Curators

"During the last hundred years parents and teachers have ceased to take childhood and adolescence for granted. They have attempted to fit education to the needs of the child, rather than to press the child into an inflexible educational mould. To this new task they have been spurred by two forces, the growth of the science of psychology, and the difficulties and maladjustments of youth."

"As the traveler who has once been from home is wiser than he who has never left his own doorstep, so a knowledge of one other culture should sharpen our ability to scrutinize more steadily, to appreciate more lovingly, our own."

"I have tried to answer the question which sent me to Samoa: Are the disturbances which vex our adolescents due to the nature of adolescence itself or to the civilization? Under different conditions does adolescence present a different picture?"

"The Samoan puts the burden of amatory success upon the man and believes that women need more initiating, more time for maturing of sexual feeling. A man who fails to satisfy a woman is looked upon as a clumsy, inept blunderer."

"With the exception of the few cases to be discussed in the next chapter, adolescence represented no period of crisis or stress, but was instead an orderly developing of a set of slowly maturing interests and activities. The girls' minds were perplexed by no conflicts, troubled by no philosophical queries, beset by no remote ambitions. To live as a girl with many lovers as long as possible and then to marry in one's own village, near one's own relatives, and to have many children, these were uniform and satisfying ambitions."

"A society which is clamouring for choice, which is filled with many articulate groups, each urging its own brand of salvation, its own variety of economic philosophy, will give each new generation no peace until all have chosen or gone under, unable to bear the conditions of choice."

"What are the rewards of the tiny, ingrown, biological family opposing its closed circle of affection to a forbidding world of the strong ties between parent and children, ties which an active personal relation from birth until death?... Perhaps these are too heavy prices to pay for a specialization of emotions which might be bought about the other ways, notable through coeducation. And with such a question in our minds its interesting to note that a larger family community, in which there are several adult men and women, seems to ensure the child against the development of the crippling attitudes which have been labelled Oedipus complexes, the Electra complexes, and so on."

"[In Western Samoa] native theory and vocabulary recognized the real pervert who was incapable of normal heterosexual response."

"Our young people are faced by a series of different groups which believe different things and advocate different practices, and to each of which some trusted friend or relative may belong. So a girl's father may be a Presbyterian, an imperialist, a vegetarian, a teetotaller, with a strong literary preference for Edmund Burke, a believer in the open shop and a high tariff, who believes that women's place is in the home, that young girls should wear corsets, not roll their stockings, not smoke, nor go riding with young men in the evening. But her mother's father may be a Low Episcopalian, a believer in high living, a strong advocate of States' Rights and the , who reads Rabelais, likes to go to musical shows and horse races..."

"… Her aunt is an agnostic, an ardent advocate of women's rights, an internationalist who rests all her hopes on Esperanto, is devoted to Bernard Shaw, and spends her spare time in campaigns of anti-vivisection. Her elder brother, whom she admires exceedingly, has just spent two years at Oxford. He is an Anglo-Catholic, an enthusiast concerning all things medieval, writes mystical poetry, reads Chesterton, and means to devote his life to seeking for the lost secret of medieval stained glass. Her mother's younger brother is an engineer, a strict materialist, who never recovered from reading Haeckel in his youth; he scorns art, believes that science will save the world, scoffs at everything that was said and thought before the nineteenth century, and ruins his health by experiments in the scientific elimination of sleep. Her mother is of a quietistic frame of mind, very much interested in Indian philosophy, a pacifist, a strict non-participator in life, who in spite of her daughter's devotion to her will not make any move to enlist her enthusiasms. And this may be within the girl's own household. Add to it the groups represented, defended, advocated by her friends, her teachers, and the books which she reads by accident, and the list of possible enthusiasms, of suggested allegiances, incompatible with one another, becomes appalling."

"Chief among our gains must be reckoned this possibility of choice, the recognition of many possible ways of life, where other civilizations have recognized only one. Where other civilizations give a satisfactory outlet to only one temperamental type, be he mystic or soldier, business man or artist, a civilization in which there are many standards offers a possibility of satisfactory adjustment to individuals of many different temperamental types, of diverse gifts and varying interests."

"In contrast to our own social environment which brings out different aspects of human nature and often demonstrated that behavior which occurs almost invariably in individuals within our society is nevertheless due not to original nature but to social environment; and a homogeneous and simple development of the individual may be studied."

"It is not until science has become a discipline to which the research ability of any mind from any class in society can be attracted that it can become rigorously scientific."

"The semimetaphysical problems of the individual and society, of egoism and altruism, of freedom and determinism, either disappear or remain in the form of different phases in the organization of a consciousness that is fundamentally social."

"It [this book] is, very simply, an account of how three primitive societies have grouped their social attitudes towards temperament about the very obvious facts of sex-difference."

"Standardized personality differences between the sexes are of this order, cultural creations to which each generation, male and female, is trained to conform."

"[Mead described the Arapesh as a culture in which both sexes were] placid and contented, unaggressive and noninitiatory, noncompetitive and responsive, warm, docile, and trusting."

"[Among the Arapeh... both father and mother are held responsible for child care by the entire community...] If one comments upon a middle-aged man as good-looking, the people answer: 'Good-looking? Ye-e-e-s? But you should have seen him before he bore all those children'."

"Both men and women are conceived as merely capable of response to a situation that their society has already defined for them as sexual, and so the Arapesh feel that it is necessary to chaperon betrothed couples who are too young... with their definition of sex as a response to an external situation rather than as spontaneous desire, both men and women are regarded as helpless in the face of seduction. Parents warn their sons even more than they warn their daughters against permitting themselves to get into situations in which someone can make love to them."

"Human nature is almost unbelievably malleable, responding accurately and contrastingly to contrasting cultural conditions."

"We may say that many, if not all, of the personality traits which we have called masculine or feminine are as lightly linked to sex as are the clothing, the manners, and the form of headdress that a society at a given period assigns to either sex."

"If a society insists that warfare is the major occupation for the male sex, it is therefore insisting that all male children display bravery and pugnacity. Even if the insistence upon the differential bravery of men and women is not made articulate, the difference in occupation makes this point implicitly. When, however, a society goes further and defines men as brave and women as timorous, when men are forbidden to show fear and women are indulged in the most flagrant display of fear, a more explicit element enters in. Originally two variations of human temperament, a hatred of fear or willingness to display fear, they have been socially translated into inalienable aspects of the personalities of the two sexes. And to that defined sex-personality every child will be educated, if a boy, to suppress fear, if a girl, to show it."

"[Partly as a consequence of male authority] prestige value always attaches to the activities of men."

"We must recognize that beneath the superficial classifications of sex and race the same potentialities exist, recurring generation after generation, only to perish because society has no place for them."

"No skill, no special apti­tude, no vividness of imagination or precision of thinking would go unrecognized because the child who possessed it was of one sex rather than the other. No child would be relentlessly shaped to one pattern of behavior, but instead there should be many patterns, in a world that had learned to allow to each individual the pattern which was most congenial to his gifts."

"Historically our own culture has relied for the creation of rich and contrasting values upon many artificial distinctions, the most striking of which is sex. It will not be by the mere abolition of these distinctions that society will develop patterns in which individual gifts are given place instead of being forced into an ill-fitting mould. If we are to achieve a richer culture, rich in contrasting values, we must recognize the whole gamut of human potentialities, and so weave a less arbitrary social fabric, one in which each diverse human gift will find a fitting place."

"In every human society of which we have any record, there are those who teach and those who learn, for learning a way of life is implicit in all human culture as we know it. But the separation of the teacher's role from the role of all adults who inducted the young into the habitual behavior of the group, was a comparatively late invention. Furthermore, when we do find explicit and defined teaching, in primitive societies we find it tied in with a sense of the rareness or the precariousness of some human tradition."

"The institution of marriage in all societies is a pattern within which the strains put by civilization on males and females alike must be resolved, a pattern within which men must learn, in return for a variety of elaborate rewards, new forms in which sexual spontaneity is still possible, and women must learn to discipline their receptivity to a thousand other considerations."

"[Our goal was to] translate aspects of culture never successfully recorded by the scientist, although often caught by the artist, into some form of communication sufficiently clear and sufficiently unequivocal to satisfy the requirements of scientific enquiry."

"Each man's place in the social scheme of his village is know; the contribution which he must make to the work and ceremonial of the village and the share of the whole which he will receive back again are likewise defined. For failure to receive what is due to him, he is fined even more heavily than for failure to give that which is due from him. Just as a man must accept his privileges as well as discharge his duties, so is he also the guardian of his own status and if, as may happen to a high caste, that status is affronted, he himself must perform a ceremony to restore it."

"Orientation in time, space, and status are the essentials of social existence, and the Balinese, although they make very strong spirits for ceremonial occasions, with a few startling exceptions resist alcohol, because if one drinks one loses one's orientation. Orientation is felt as a protection rather than as a strait jacket and its loss provokes extreme anxiety."

"They draw back into themselves, and are thrown back on their own bodies for gratification. The men become narcissistic and uncertain of the power of any woman, no matter how strange and beautiful, to arouse their desire, but the women remain continually receptive to male advances."

"The older child who has lost or broken some valuable thing will be found when his parents return, not run away, not willing to confess, but in a deep sleep The thief whose case is being tried falls asleep"

"[In Bali] life is a rhythmic, patterned unreality of pleasant, significant movement, centered in one's own body to which all emotions long ago withdrew."

"There is no necessary connection between warfare and human nature. Human nature is potentially aggressive and destructive and potentially orderly and constructive."

"If we are to give our utmost effort and skill and enthusiasm, we must believe in ourselves, which means believing in our past and in our future, in our parents and in our children, in that particular blend of moral purpose and practical inventiveness which is the American character."

"Female animals defending their young are notoriously ferocious and lack the playful delight in combat which characterizes the mock combats of males of the same species. There seems very little ground for claiming that the mother of young children is more peaceful, more responsible, and more thoughtful for the welfare of the human race than is her husband or brother."

"How are men and women to think about their maleness and their femaleness in this twentieth century, in which so many of our old ideas must be made new? Have we over-domesticated men, denied their natural adventurousness, tied them down to machines that are after all only glorified spindles and looms, mortars and pestles and digging sticks, all of which were once women's work? Have we cut women off from their natural closeness to their children, taught them to look for a job instead of the touch of a child's hand, for status in a competitive world rather than a unique place by a glowing hearth? In educating women like men, have we done something disastrous to both men and women alike, or have we only taken one further step in the recurrent task of building more and better on our original human nature?"

"I have tried, in this book, to do three things. I try first to bring a greater awareness of the way in which the differences and the similarities in the bodies of human beings are the basis on which all our learnings about our sex, and our relationship to the other sex, are built. Talking about our bodies is a complex and difficult matter. We are so used to covering them up, to referring to them obliquely with slang terms or in a borrowed language to hiding even infants' sex membership under blue and pink ribbons. It is difficult to become aware of those things about us which have been, and will always be, patterned by our own particular modesties and reticences. We reject, and very rightly, catalogues of caresses arranged in frequency tables, or accounts of childhood that read like a hospital chart..."

"The differences between the two sexes is one of the important conditions upon which we have built the many varieties of human culture that give human beings dignity and stature."

"Envy of the male role can come as much from an undervaluation of the role of wife and mother as from an overvaluation of the public aspects of achievement that have been reserved for men."

"Man's role is uncertain, undefined, and perhaps unnecessary. By a great effort man has hit upon a method of compensating himself for his basic inferiority. Equipped with various mysterious noise-making instruments, whose potency rests upon their actual form's being unknown to those who hear the sounds — that is, the women and children must never know that they are really bamboo flutes, or hollow logs, or bits of elliptic wood whirled on strings — they can get the male children away from the women, brand them as incomplete, and themselves turn boys into men. Women, it is true, make human beings, but only men can make men."

"The recurrent problem of civilization is to define the male role satisfactorily enough … so that the male may in the course of his life reach a solid sense of irreversible achievement, of which his childhood knowledge of the satisfactions of child-bearing have given him a glimpse. In the case of women, it is only necessary that they be permitted by the given social arrangements to fulfil their biological role, to attain this sense of irreversible achievement. If women are to be restless and questing, even in the face of child-bearing, they must be made so through education.... Each culture--in its own way--has developed forms that will make men satisfied in their constructive activities without distorting their sure sense of their masculinity. Fewer cultures have yet found ways in which to give women a divine discontent that will demand other satisfactions than those of child-bearing."

"Coming to terms with the rhythms of women's lives means coming to terms with life itself, accepting the imperatives of the body rather than the imperatives of an artificial, man-made, perhaps transcendentally beautiful civilization. Emphasis on the male work-rhythm is an emphasis on infinite possibilities; emphasis on the female rhythms is an emphasis on a defined pattern, on limitation."

"Learned behaviors have replaced the biologically given ones."

"[Mead saw at least two major problems in dating. First, it encourages men and women to define heterosexual relationships as situational, rather than ongoing] You "have a date," you "go out with a date," you "groan because there isn't a decent date in town." A situation defined as containing a girl — or boy — of the right social background, the right degree of popularity, a little higher than your own."

"People are still encouraged to marry as if they could count on marriage being for life, and at the same time they are absorbing a knowledge of the great frequency of divorce."

"I have been accused of having believed when I wrote Sex and Temperament that there are no sex differences … This, many readers felt, was too much. It was too pretty. I must have found what I was looking for. But this misconception comes from a lack of understanding of what anthropology means, of the open-mindedness with which one must look and listen, record in astonishment and wonder, that which one would not have been able to guess."

"It is utterly false and cruelly arbitrary... to put all the play and learning into childhood, all the work into middle age, and all the regrets into old age."

"When human beings have been fascinated by the contemplation of their own hearts, the more intricate biological pattern of the female has become a model for the artist, the mystic, and the saint. When mankind turns instead to what can be done, altered, built, invented, in the outer world, all natural properties of men, animals, or metals become handicaps to be altered rather than clues to be followed. Women want mediocre men, and men are working hard to be as mediocre as possible."

"In the modern world we have invented ways of speeding up invention, and people's lives change so fast that a person is born into one kind of world, grows up in another, and by the time his children are growing up, lives in still a different world."

"Our first and most pressing problem is how to do away with warfare as a method of solving conflicts between national groups within a society who have different views about how the society is to run."

"The first step in the direction of a world rule of law is the recognition that peace no longer is an unobtainable ideal but a necessary condition of continued human existence. But to take even this step we must return to a calm and responsible frame of mind in which we can face the long patient tasks ahead."

"Every time we liberate a woman, we liberate a man."

"As an anthropologist, I have been interested in the effects that the theories of Cybernetics have within our society. I am not referring to computers or to the electronic revolution as a whole, or to the end of dependence on script for knowledge, or to the way that dress has succeeded the mimeographing machine as a form of communication among the dissenting young. Let me repeat that, I am not referring to the way that dress has succeeded the mimeographing machine as a form of communication among the dissenting young. I specifically want to consider the significance of the set of cross-disciplinary ideas which we first called “feed-back” and then called “teleological mechanisms” and then called it “cybernetics,” a form of crossdisciplinary thought which made it possible for members of many disciplines to communicate with each other easily in a language which all could understand."

"Women should be permitted to volunteer for non-combat service, [...] We have no real way of knowing whether the kinds of training that teach men both courage and restraint would be adaptable to women or effective in a crisis. But the evidence of history and comparative studies of other species suggest that women as a fighting body might be far less amenable to the rules that prevent war from becoming a massacre and, with the use of modern weapons, that protect the survival of all humanity. That is what I meant by saying that women in combat might be too fierce."

"Our humanity rests upon a series of learned behaviors, woven together into patterns that are infinitely fragile and never directly inherited."

"For Immanuel Kant, the term anthropology embraced all the human sciences, and laid the foundation of familiar knowledge we need, to build solidly grounded ideas about the moral and political demands of human life. Margaret Mead saw mid-twentieth-century anthropology as engaged in a project no less ambitious than Kant's own, and her Terry Lectures on Continuities in Cultural Evolution provide an excellent point to enter into her reflections."

"In this book I am concerned with certain kinds of communication: communication between parents and children, between associates of the same status, between members of different societies and, through the mediation of various kinds of coding—tools, art, script, formulas, film—between cultures distant from each other in time and place. I shall be concerned to show that we must deal not only with evolutionary sequences, in which our ability to articulate and codify parts of the culture enormously increases our ability to intervene in the cultural process, but also with the coexistence at any period of history of earlier forms of communication side by side with later ones."

"We — mankind — stand at the center of an evolutionary crisis, with a new evolutionary device — our consciousness of the crisis — as our unique contribution."

"The student of culture is concerned with a characteristic which man displays more markedly than any other known creature — the ability to transmit what he has learned. In following the procedure I suggest, the learning of Homo sapiens would be treated as a further specialization of the concept of grades, with the recognition that in some species — possibly even in some orders — the ability to learn may represent not only an improvement, in an evolutionary sense, but also an increase in vulnerability. Man's unique, high ability to learn, coupled as it is with a small amount of built-in behavior, represents such a vulnerability."

"Cultural systems will be treated as extensions of the power to learn, store, and transmit information, and the evolution of culture as dependent upon the biological development of these abilities and the cultural developments that actualize them. Man's increasing mastery over the natural world, with its increments of available energy use, can be seen from this point of view as one consequence of his capacity to learn, invent, borrow, store, and transmit the necessary technological and political inventions for the changes of scale involved in increasing utilization of energy. Instead of focusing attention on discontinuities — the invention of tool-making tools, the invention of agriculture, the invention of writing, and the invention of invention as a conscious pursuit—this discussion will focus on the continuities involved and on the extent to which older forms of communication, energy use, and social organization also undergo transformation in the course of cultural evolution."

"The ability to learn is older — as it is also more widespread — than is the ability to teach."

"In 1946, a Macy Foundation interdisciplinary conference was organized to use the model provided by "feedback systems," honorifically referred to in earlier conferences as "teleological mechanisms," and later as "cybernetics," with the expectation that this model would provide a group of sciences with useful mathematical tools and, simultaneously, would serve as a form of cross-disciplinary communication. Out of the deliberations of this group came a whole series of fruitful developments of a very high order. Kurt Lewin (who died in 1947) took away from the first meeting the term "feedback". He suggested ways in which group processes, which he and his students were studying in a highly disciplined, rigorous way, could be improved by a "feedback process," as when, for example, a group was periodically given a report on the success or failure of its particular operations."

"In this very special form, feedback became part of the jargon of Group Dynamics, which has also assumed many of the characteristics of a cult in the efforts made to conserve some of the rigor of procedure with which Kurt Lewin and the experimentalist, Alex Bavelas, had attempted to imbue it. In this case, far from serving as a catalyzing, high-level theoretical tool, the term feedback has become a jargon-catchall for any kind of report back to government, management, the subjects of an experiment, subjects during an experiment, and so on. Stripped of its intellectual potential, the term knocks about the corridors of Unesco and for the most part those who use it have no idea that this bit of enjoined, Group Dynamic-recommended behavior is in any way related to the forbidding cross-disciplinary integration known as cybernetics."

"Today our approaches to children are fragmented and partial. Those who care for well children know little of children who are sick. The deep knowledge that comes from the intensive attempt to cure is separated from the knowledge of those whose main task is to teach."

"My material on Samoa was gathered during a nine-month field trip in 1925–26 as a Fellow in the Biological Sciences of the National Research Council, on a research project designated as the study of the adolescent girl. The Samoan Islands, with a population in 1926 of 40,229, are peopled by a Polynesian group, a people with light brown skin and wavy black hair who speak a Polynesian language. The islands were Christianized in the first half of the nineteenth century and were administratively divided between a League of Nations Mandate under New Zealand called Western Samoa, which comprised the islands of Upolu and Savaii, and American Samoa, which was governed by the United States Navy. All my detailed work was done in the remote islands of the Manua group, principally in the village of Tau on the island of Tau."

"Nobody has ever before asked the nuclear family to live all by itself in a box the way we do. With no relatives, no support, we've put it in an impossible situation."

"Instead of being presented with stereotypes by age, sex, color, class, or religion, children must have the opportunity to learn that within each range, some people are loathsome and some are delightful."

"No matter how many communes anybody invents, the family always creeps back. You can get rid of it if you live in an enclave and keep everybody else out, and bring the children up to be unfit to live anywhere else. They can go on ignoring the family for several generations. But such communities are not part of the main world."

"We are living beyond our means. As a people we have developed a life-style that is draining the earth of its priceless and irreplaceable resources without regard for the future of our children and people all around the world."

"The contempt for law and the contempt for the human consequences of lawbreaking go from the bottom to the top of American society."

"Life in the twentieth century is like a parachute jump: you have to get it right the first time."

"Sooner or later I'm going to die, but I'm not going to retire."

"We women are doing pretty well. We're almost back to where we were in the twenties. (1976)"

"Our treatment of both older [people and children] reflects the value we place on independence and autonomy. We do our best to make our children independent from birth. We leave them all alone in rooms with the lights out and tell them, Go to sleep by yourselves. And the old people we respect most are the ones who will fight for their independence, who would sooner starve to death than ask for help."

"I do not believe in using women in combat, because females are too fierce."

"The United States has the power to destroy the world, but not the power to save it alone."

"If you associate enough with older people who do enjoy their lives, who are not stored away in any golden ghettos, you will gain a sense of continuity and of the possibility for a full life."

"Instead of needing lots of children, we need high-quality children."

"It has been a woman's task throughout history to go on believing in life when there was almost no hope. lf we are united, we may be able to produce a world in which our children and other people's children will be safe."

"It seems to me very important to continue to distinguish between two evils. It may be necessary temporarily to accept a lesser evil, but one must never label a necessary evil as good."

"Today, as we are coming to understand better the circular processes through which culture is developed and transmitted, we recognize that man's most human characteristic is not his ability to learn, which he shares with many other species, but his ability to teach and store what others have developed and taught him. Learning, which is based on human dependency, is relatively simple. But human capacities for creating elaborate teachable systems, for understanding and utilizing the resources of the natural world, and for governing society and creating and creating imaginary worlds all these are very complex. In the past, men relied on the least elaborate part of the circular system, the dependent learning by children, for continuity of transmission and for the embodiment of the new. Now, with our greater understanding of the process, we must cultivate the most flexible and complex part of the system; the behavior of adults. We must, in fact, teach ourselves how to alter adult behavior so that we can give up postfigurative upbringing, with its tolerated configurative components, and discover prefigurative ways of teaching and learning. We must create new models for adults who can teach their children not what to learn but how to learn and not what they should be committed to, but the value of commitment."

"p. 14-15 as cited in: Theodore Schwartz (1979) Socialization As Cultural Communication. p. 14-15"

"I think it was my grandmother who gave me my ease in being a woman. She was unquestionably feminine — small and dainty and pretty and wholly without masculine protest or feminist aggrievement. She had gone to college when this was a very unusual thing for a girl to do, she had a very firm grasp of anything she paid attention to, she had married and had a child, and she a career of her own. All this was true of my mother as well. But my mother was filled with passionate resentment about the condition of women, as perhaps my grandmother might have been had my grandfather lived and had she borne five children and had little opportunity to use her special gifts and training. As it was, the two women I knew best were mothers and had professional training. So I had no reason to doubt that brains were suitable for a woman. And as I had my father's kind of mind — which was also his mother's — I learned that the mind is not sex-typed."

"Because of their age — long training in human relations — for that is what feminine intuition really is — women have a special contribution to make to any group enterprise, and I feel it is up to them to contribute the kinds of awareness that few men... have incorporated through their education."

"I have spent most of my life studying the lives of other peoples — faraway peoples — so that Americans might better understand themselves."

"The last 20 years have· seen an enormous growth of institutions devoted to anthropological enterprises, membership within the discipline, and students, text ­books, and paraphernalia. From a tiny scholarly group that could easily be fitted into a couple of buses, and most of whom knew each other, we have grown into a group of tremendous, anonymous milling crowds, meeting at large hotels where there are so many sessions that people do well to find those of their colleagues who are interested in the same specialty. Today we look something like the other social science disciplines, suffering some of the same malaise, and becoming cynical about slave markets and worried when grants and jobs seem to be declining."

"There has been an increased but still rather limited response to general systems theory, as variously reflected in the work of Bateson, Vayda, Rappaport, Adams, and an interest in the use of computers, programming, matrices, etc. But the interaction between general systems theory (as represented, for example, by the theoretical work of Von Bertalanffy) has been compromised, partly by the state of field data, extraordinarily incomparable as it inevitably is, as well as historical anthropological methods of dealing with wholes. General systems theory has taken its impetus from the excitement of discovering larger and larger contexts, on the one hand, and a kind of microprobing into fine detail within a system, on the other. Both of these activities are intrinsic to anthropology to the extent that field work in living societies has been the basic disciplinary method. It is no revelation to any field-experienced anthropologist that everything is related to everything else, or that whether the entire sociocultural setting can be studied in detail or not, it has to be known in general outline."

"General systems theory, in a sense, is no news at all, as Von Foerster found out when he attempted to organize a conference of general systems people and anthropologists. In a sense, the situation is comparable to that found by the Committee for the Study of Mankind, in which a committee that included Robert Redfidd tried to get each discipline to consider its relationship to the concept of Mankind. An­thropologists replied, "we are related already," and so they were. Something similar may be said of attempts to date in mathematical anthropology. The kind of information that a computer program can finally provide, on a level of a particular culture, is simply a reflection of how detailed field work has been done, and to the careful field worker, on kinship, for example, it provides no illumination."

"We will be a better country when each religious group can trust its members to obey the dictates of their own religious faith without assistance from the legal structure of their country."

"A city must be a place where groups of women and men are seeking and developing the highest things they know."

"Laughter is man's most distinctive emotional expression. Man shares the capacity for love and hate, anger and fear, loyalty and grief, with other living creatures. But humour, which has an intellectual as well as an emotional element belongs to man."

"I must admit that I personally measure success in terms of the contributions an individual makes to her or his fellow human beings."

"If one cannot state a matter clearly enough so that even an intelligent twelve-year-old can understand it, one should remain within the cloistered walls of the university and laboratory until one gets a better grasp of one's subject matter."

"Fathers are biological necessities, but social accidents."

"To cherish the life of the world."

"Be lazy, go crazy."

"Everything is grist for anthropology's mill."

"Prayer does not use up artificial energy, doesn't burn up any fossil fuel, doesn't pollute. Neither does song, neither does love, neither does the dance."

"Throughout history, females have picked providers for mates. Males pick anything."

"I was brought up to believe that the only thing worth doing was to add to the sum of accurate information in the world."

"One of the oldest human needs is having someone to wonder where you are when you don't come home at night."

"It is an open question whether any behavior based on fear of eternal punishment can be regarded as ethical or should be regarded as merely cowardly."

"The way to do fieldwork is never to come up for air until it is all over."

"A city is a place where there is no need to wait for next week to get the answer to a question, to taste the food of any country, to find new voices to listen to and familiar ones to listen to again."

"Thanks to television, for the first time the young are seeing history made before it is censored by their elders."

"Of all the peoples whom I have studied, from city dwellers to cliff dwellers, I always find that at least 50 percent would prefer to have at least one jungle between themselves and their mothers-in-law."

"We are now at a point where we must educate our children in what no one knew yesterday, and prepare our schools for what no one knows yet."

"I think extreme heterosexuality is a perversion."

"What people say, what people do, and what they say they do are entirely different things."

"The solution to adult problems tomorrow depends on large measure upon how our children grow up today."

"Sister is probably the most competitive relationship within the family, but once the sisters are grown, it becomes the strongest relationship."

"I learned the value of hard work by working hard."

"No society has ever yet been able to handle the temptations of technology to mastery, to waste, to exuberance, to exploration and exploitation. We have to learn to cherish this earth and cherish it as something that's fragile, that's only one, it's all we have. We have to use our scientific knowledge to correct the dangers that have come from science and technology."

"Never depend upon institutions or government to solve any problem. All social movements are founded by, guided by, motivated and seen through by the passion of individuals."

"She (Judith Plaskow) and Martha Ackelsberg are fond of quoting Margaret Mead's words: "Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has""

"Margaret Mead was both a student of civilization and an exemplar of it. To a public of millions, she brought the central insight of cultural anthropology: that varying cultural patterns express an underlying human unity. She mastered her discipline, but she also transcended it. Intrepid, independent, plain spoken, fearless, she remains a model for the young and a teacher from whom all may learn."

"Mead's anthropology had many other red, white and blue- blooded virtues. One was the common anthropological conceit, out of which she made a career, to the effect that the ultimate value of studying other cultures was the use we could make of them to reconstruct our own – a heady kind of intellectual imperialism, as if the final meaning of others' lives was their significance for us."

"Margaret Mead was probably the most famous anthropologist of her time, and even more probably the most controversial. Author of more than fifteen hundred books, articles, films, and occasional pieces; a tireless public speaker traveling the world to instruct and persuade; a field researcher of extraordinarily extensive and varied experience; a hyperactive organizer of projects, conferences, programs, and careers; and possessed of a seemingly endless fund of opinions on every subject under the sun that she was all too willing to share with anyone who asked, and many who did not; she left no one who came into contact with her or her works indifferent to either."

"Margaret Mead describes us as a "third generation" society. She does not mean, of course, that we are all the grandchildren of pioneers and immigrants; but she does mean that our parents shared the attitudes of the children of foreigners, who because of their strange families, with their old-country ways, their effusive gestures, the flavor of their speech, leaned over backward to rule out any foreignness, any color at all. We suffer from that background, with its hunger for uniformity, the shared norm of ambition and habit and living standard. The repressive codes are everywhere."

"we may protest that women's small contribution to culture doesn't indicate a lack of capacity but merely reflects the way men have contrived things to be: we can blame women's small place in culture on culture. But this leaves unanswered the question of why it is that over so many hundreds of years women have consented to follow the male dictate and allowed men to fashion the culture according to male design. It also leaves unanswered the even more fundamental question of why it is that in every society which has ever been studied-so Margaret Mead tells us-whatever is the occupation of men has the greater prestige"

"Marriages held together solely by desire are by definition unpredictable; as thrice-married Margaret Mead once blurted out to psychologist and divorce counselor Judith S. Wallerstein, "Judy, there is no society in the world where people have stayed married without enormous community pressure to do so.""

"Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has."

"Always remember that you are absolutely unique. Just like everyone else."

"I [Paul Brand] was soon to be reminded of a lecture given by anthropologist Margaret Mead, who spent much of her life studying primitive cultures. She asked the question, "What is the earliest sign of civilization?" A clay pot? Iron? Tools? Agriculture? No, she claimed. To her, evidence of the earliest true civilization was a healed femur, a leg bone, which she held up before us in the lecture hall. She explained that such healings were never found in the remains of competitive, savage societies. There, clues of violence abounded: temples pierced by arrows, skulls crushed by clubs. But the healed femur showed that someone must have cared for the injured person—hunted on his behalf, brought him food, and served him at personal sacrifice. Savage societies could not afford such pity."

"The State of Israel is a national home for the entire Jewish people and it is clear to me that there is no dispute between any party or Zionist movement, while the nation-state law was originally intended to reinforce this principle, the most recent amendments to it are of great concern because they drive a wedge between Jews in Israel and in the Diaspora."

"A lack of moral clarity is also the tragedy that has befallen efforts to advance peace and security in the world. Promoting peace and security is fundamentally connected to promoting freedom and democracy."

"The conviction that freedom is a universal desire is not the property of any political camp. ... Yet those who hold it remain a precious few, outnumbered many times over by the skeptics who don't."

"A simple way to determine whether the right to dissent in a particular society is being upheld is to apply the town square test: Can a person walk into the middle of the town square and express his or her views without fear of arrest, imprisonment, or physical harm? If he can, then that person is living in a free society. If not, it's a fear society."

"Now we can see why nondemocratic regimes imperil the security of the world. They stay in power by controlling their populations. This control invariably requires an increasing amount of repression. To justify this repression and maintain internal stability, external enemies must be manufactured."

"Freedom's skeptics must understand that the democracy that hates you is less dangerous than the dictator who loves you. Indeed, it is the absence of democracy that represents the real threat to peace."

"The free world should not wait for dictatorial regimes to consent to reform."

"In 1987 a Civil Service inquiry decided that the pay of the Director of the Tate Gallery should match that of the Director of the much larger Victoria & Albert Museum and of the National Gallery, where the pictures were regarded as being much more important, because, and here I quote, "the Director of the Tate has to deal with the very difficult problem of modern art"."

"For in spite of much greater public interest in all aspects of visual culture, including design and architecture, the challenge posed by contemporary art has not evaporated. We have only to recall the headlines for last year's Turner Prize. "Eminence without merit" (The Sunday Telegraph). "Tate trendies blow a raspberry" (Eastern Daily Press), and my favourite, "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled bed threaten to make barbarians of us all" (The Daily Mail). Are these papers speaking the minds of their readers? I have no delusions. People may be attracted by the spectacle of new buildings, they may enjoy the social experience of visiting a museum, taking in the view, an espresso or glass of wine, purchasing a book or an artist designed t-shirt. Many are delighted to praise the museum, but remain deeply suspicious of the contents."

"In 1964 I was at school, planning to study economics and sociology, when curiosity took me to the Tate Gallery to see an international survey exhibition of contemporary art. It brought together the painting and sculpture of the previous decade, beginning with the late works of the modern masters, Matisse and Picasso, and concluding with the twenty-seven year olds Allen Jones and David Hockney. I was bowled over. Suddenly, art was not just Turner and Constable, or Leonardo and Michelangelo, but objects of considerable size and brilliant colour, dealing with the sensations, subjects and issues of the Sixties."

"Damien Hirst's Mother and Child Divided (1993) is a work which can at first glance be read as nothing more than two brutally severed carcasses. "A freak show" was how the art critic of the Sunday Telegraph responded to its presentation in the Turner Prize in 1995. For me, the undoubted shock, even disgust provoked by the work is part of its appeal. Art should be transgressive. Life is not all sweet."

"For the late twentieth-century museum director there is no more certain prospect for audience acclaim and sponsor success than those Impressionist and Post-impressionist artists who were so reviled a century earlier"

"After thirty years of looking at new work in galleries and even newer work in studios, I am very familiar with the experience of being completely at a loss when confronting a new idea or image."

"A visit to a studio never fails to test my resources. It constantly reminds me of the condition in which most people first confront contemporary art. This is a state of "not knowing", of "not understanding", of being disorientated or challenged by the unfamiliar. One of my responsibilities as a curator is therefore to remember that a visitor encountering an unfamiliar work of art in the museum is likely to be as unprepared as I was in the studio. But I've come to realise that it's precisely when I am most challenged in my own reactions that the deepest insights emerge."

"For many years, and like many British people, I had little feeling for the most expressive and roughest form of early twentieth century European painting, the expressionism of German artists around the First World War like Kirchner."

"The argument that new vision becomes the reference point for the future, is a line that I have been driven to use on many occasions."

"Craft, I would argue, is not an essential part of art, though skill is. That skill may indeed find its expression in draughtsmanship or carving, realised through the hand of the artist, but it may also be directed towards the selection of material or the choice of an expert fabricator."

"I have never really understood the objection to art which is specifically made for a gallery or museum, and so cannot be collected by an individual or taken home. It is rather like saying that all music should be confined to the chamber work or novels to the short story."

"But when the artist abandons visible appearance, as in Mondrian's black grids on white grounds filled with balancing rectangles of colour, many people feel left behind. And yet the rhythms of Mondrian are those of nature. The harmonies are those which guided proportion in classical buildings and Renaissance churches. Rothko's glowing maroon Seagram Murals at the Tate may, like Turner's late canvases, appear to be "of nothing" but in their brooding depth Rothko suggests another world. As one four year old child said of the Rothko room at the Tate "it makes me think of God"."

"An honest curator will admit that judgement is fallible, especially for art made yesterday."

"This museum is a torpedo moving through time, its head the ever-advancing present, its tail the ever-receding past of 50 to 100 years ago."

"In a country where feeling for art is not one of the national characteristics, it is particularly difficult to arrive at a common understanding of the term "art". There are many obstacles in the way, and some of them are imposed by the mere existence of such a body as the Royal Academy, for lacking any intuition in this matter of art, the majority of people turn to that institution for guidance, and naturally assume that any work receiving its blessing must be a work of art in the strict meaning of the word, and consequently the artistic quality of a painting is, in the popular estimation, measured in ratio to its degree of photographic realism."

"Tell the Trustees I think it is a very good Sickert — but the question is whether he is important enough for the Tate. I think not; but as an old friend of the artist perhaps I am a prejudiced judge."

"Over my dead body."

"My doctor has warned me that my nerves will not stand any further strain... I have begun to have blackouts, in which my actions become automatic. Sometimes these periods last several hours.... I had one of these blackouts at an official luncheon in Paris recently, and startled guests by suddenly crowing like a cock...."

"The roses are dying, and so am I."

"A flushed face, white hair and a twinkle in his eye; and this twinkling got him out of scrapes that would have sunk a worthier man without trace."

"Hopelessly insular."

"Manson arrived at the déjeuner given by the minister of Beaux Arts fantastically drunk—punctuated the ceremony with cat-calls and cock-a-doodle-doos, and finally staggered to his feet, hurled obscene insults at the company in general and the minister in particular, and precipitated himself on the ambassadress, Lady Phipps, some say with amorous intent others with lethal intent... the guests fled ices uneaten, coffee undrunk... I hope an example will be made, and that they will seize the opportunity for turning the sot out of the Tate, not because he is a sot, but because he has done nothing but harm to modern painting."

"When I think of the thousands and thousands of pounds which have been spent by the National Art Collections Fund on the purchase of paintings—some of questionable merit and dubious condition—by Old Masters already represented in the National Gallery—it makes me boil with rage to think that in 1905 it would not contribute one halfpenny towards the purchase for the nation of a picture by one of the Great French Masters of the late nineteenth century. It was a short-sighted policy, but the Fund's inertia and snobbish ineptitude are entirely characteristic of the habits of art-officialdom in England."

"Hullo! What's this? What are these funny brown-and-olive landscapes doing in an impressionist exhibition? Brown! I ask you? Isn't it absurd for a man to go on using brown and call himself an impressionist painter?"

"Where, oh where was Mr. Roger Fry in 1905, and why was his voice not heard in the land? How could he allow anybody to call Cézanne an "amateur" with impunity?"

"That, by the accident of an illegality in the codicil to his will, it should have been possible for Hugh Lane's pet collection to be snaffled by the British Government, is a fitting conclusion to the shabby story of England's appreciation of French impressionist painting."

"A photographer's best work is, alas, generally done for himself."

"How and among whom this Palladian taste became formed it will be our business presently to inquire. The first point to note is that it had nothing to do with Wren, Vanbrugh, Hawksmoor, or Archer except in so far as, by excluding the works of these architects from salvation, it was better able to distinguish its own particular sort of grace. The second point to note is that, once formulated, the Palladian taste became the taste of the second generation of the Whig aristocracy, the sons of that Whiggery which dated its accession to power from 1688 and to which, in Anne’s time, artistic and intellectual leadership, once centred at the Court, had passed. This second Whig generation had strong beliefs and strong dislikes, conspicuous among the latter being the Stuart dynasty, the Roman Church, and most things foreign. In architectural terms that meant the Court taste of the previous half-century, the works of Sir Christopher Wren in particular and anything in the nature of Baroque."

"Wanstead was a key building of its age. It looked back to Castle Howard, but by virtue of its purity of detail superseded that house as a model. In its designing there were three stages."

"With the completion of Shepherd's Grosvenor Square houses, about 1730, the development of urban design in London ceases, for a time, to be of much interest. The story, however, continues and reaches its climax in Bath where street design developed in a most important way for a matter of forty years."

"[Describing Bath, Somerset] The elder Wood lived only to see his Circus begun. He died in 1754, and it was completed by his son. In 1766 the younger Wood acquired, in partnership with another person, a piece of land westwards of the Circus and on this he built the Royal Crescent (1767–75). This great semi-elliptical block, comprising thirty houses, is of very special importance in the history of English architecture, for it introduced a type of urban composition which was employed over and over again, with innumerable variations, until well into the nineteenth century."

"Street design up to the time of the Regency will be found to be loyal, in principle, to what had been developed in Bath. The two most important names in English planning during the period are those of Robert Adam and George Dance II, whose careers will be dealt with in the chapters which follow. Both of them recognized the principle of the monumentally treated block of ordinary houses, with centre and wings emphasized, as the proper solution of the urban street problem."

"Photography is not an art. Neither is painting, nor sculpture, literature or music. They are only different media for the individual to express his aesthetic feelings.. .You do not have to be a painter or a sculptor to be an artist. You may be a shoemaker. You may be creative as such. And, if so, you are a greater artist than the majority of the painters whose work is shown in the art galleries of today."

"Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture."

"Photography as a fad is well-nigh on its last legs, thanks principally to the bicycle craze."

"to show that [the success of my portray-] photographs was not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone.. .I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life.. .My aim is increasingly to make my photographs look so much like photographs that unless one has eyes and sees, they won't be seen – and still everyone will never forget them having once looked at them."

"I know exactly what I have photographed [in his series 'Equivalents', 1925 - 1934]. I know I have done something that has never been done.. .I also know that there is more of the really abstract in some 'representation' than in most of the dead representations of the so-called abstract so fashionable now."

"There is a reality — so subtle that it becomes more real than reality. That's what I'm trying to get down in photography."

"I have always been a great believer in today. Most people live either in the past or in the future, so that they really never live at all. So many people are busy worrying about the future of art or society, they have no time to preserve what is. Utopia is in the moment. Not in some future time, some other place, but in the here and now, or else it is nowhere."

"Nearly right is child's play"

"Man: [looking at a Stieglitz's photo of 'Equivalents'] Is this a photograph of water? Stieglitz: What difference does it make of what it is a photograph? Man: But is it a photograph of water? Stieglitz: I tell you it does not matter. Man: Well, then, is it a picture of the sky? Stieglitz: It happens to be a picture of the sky. But I cannot understand why that is of any importance."

"AS A KID I WAS PROMISED an America - An America I believed in - and I insist on living - and dying - in that America, even I have to create it myself."

"When I make a photograph, I make love."

"I am an American. Photography is my passion. The search for truth my obsession"

"Stieglitz, in America through photography, has shown us, as far as possible, the objectivity of our outer world. I speak of that photography in which the genius of man leaves to the machine its full power of expression. For it is only thus that we can reach a comprehension of pure objectivity. Objective truth takes precedence over Stieglitz in his work. By means of a machine he shows us the outer life."

"Then, one afternoon he turned me [Stieglitz, in 1941] loose, alone, among the several boxes of [his photo-series:] 'w:Equivalents'. He had learned to trust me.. ..A couple of hours later I came out in tears. I had been through a tremendous experience. It was like the thunderstorm I felt in my head once in Paris.. ..Music has done this to me many times, but though I already deeply loved photographs, nothing like this had happened to me before.. .Stieglitz, amused and compassionate, waited until I could speak.."

"..he persisted in following his instinctive feeling that the photographic image was more beautiful than anything the human hand could do to it. In the middle of his activities [for 'w:Photo-Secession' and 'w:291 (magazine)' ], he still found time to greet the new [20th] century with the penetrating tenderness that characterizes his work - photographs of a locomotive, an airplane, of the rising changing city, and the Steerage, that strange picture of immigrants returning to Europe, with his prophetic split organization of form."

"It seems odd to think of you at 'Lake George' tonight – I can smell the outdoors – and hear it – and see the stars – So often before I went to bed at night I would walk out toward the barn and look at the sky in the open space. There was no light little house – there were no people – there was only the night – I will never go back again – maybe to stand just for a moment where I put the little bit that was left of Alfred [Stieglitz], her husband] after he was cremated – but I think not even for that. I put him where he would hear the lake. – That is finished."

"Believe me, if there's an animal misbehaving on this planet, I know about it."

"It’s not just about giving a voice to those otherwise unheard but trying to demonstrate by example, a new way of living and thinking about money."

"Over the next few decades one billion lives and trillions of pounds will be at risk due to a single issue: climate change."

"All art is political and most artists want to change something in the world; they want to spur action."

"All is fair in love and art but nothings ever fine in war."

"It is about recognising dual materiality, understanding where we can invest to make the world a better place and where risks may impact our bottom line."

"You cannot always bang the drum for financial returns."

"Project "City" by Alexey Parygin and Timofey Markov is sure an example of livre d'artiste with all its classical characteristics from the form (portfolio with impressions) to the choice of participants who mostly see this work as a kind of experiment, just an episode in their artistic work. Inviting new authors to play with the idea of a book is a very positive decision that provides a lot of new ideas. The chosen subject — “urban theme” — connects the project with its prototype, because the city was one of the most popular and actual subjects for collections of printings. Some format restrictions are traditional for such a project: Their size of paper is defined. And the sheet doubled up. Actually, each participant of the project is invited to decorate a page-spread. The difference is in the absence of any literary text. Furthermore, the subject is given abstractedly: Just a city, without any personifications, details, geographical coordinates. It forms a huge field for reflection and gives every artist the maximal freedom to narrate about his personal connections to the city. Thirty-five voices, views, private stories about the city, thirty-five visions and arts to be in and with it. The visual part is completed with the words the artists tell about the city. These sentences are not always connected directly to the printed impressions but they give more volume and depth to them anyway."

"The artist’s book is a territory of an experiment. "City" demonstrates a diversity of methods and a huge spectrum of artistic languages that create the unique atmosphere of this publication. All the common print techniques are used here: etching, lithography, linocut, silkscreen, plywood print and stencil. At the same time every work of art shows the individuality of its creator. Almost all of them were completely made by the authors themselves. In some cases, the help of professional typographers was needed. All the compositions and details were discussed with the art-moderator. That is why it is possible to talk about the synthesis of livre d’artiste and artist’s book."

"Another important direction in contemporary Russian artists’ books, with many precedents set by the Futurists, is the fusion of poetic and artistic talent of artist-authors blessed with Doppelbegabung. The intimate relationships between text and image is enhanced when author and artist are one and the same person and engage in an inter-art discourse that leads to creations that are truly unified works of art. An artist who achieved equal mastery in more than one medium and made different arts merge in his personality was no doubt Alexey Parygin. His poetic collections <...> represent an attempt to synthesize text and plastic figurative form in books where literary and visual languages are calculated to have a simultaneous effect on the reader/viewer. The work of Alexey Parygin have common features that are not accidental as the books were created at more or less the same time."

"It’s impossible to define what is design. You know, it’s like trying to define what art is. It’s everything that we make, if you wish. And some of it is good, and some of it is bad."

"I studied architecture but it was not my mission."

"So much of the time, when I read a short, 150-word bio of a female artist, male artists are referenced in relation to them. To be honest, I got a bit sick of it. Dora Maar is always being referred to as Picasso's lover, and actually what I want to do is scream and say Dora Maar was an incredible street photographer and Surrealist, and she was amazing. But how often does her name come up in telling his story?"

"New York is such an instrumental city for art, and it’s extraordinary the impact that America’s had in art history, especially in the 20th century."

"Women have been artists for millennia, since the cave paintings. And yet Gombrich and Janson, their first editions didn't include a single woman artist. So it's actually down to who has been able to tell the story of art history. And of course, there are so many sexist barriers that the women had to jump over. Women artists in Europe weren't even allowed to be admitted to the life drawing studio until the 1890s. The fact that they even became professional artists despite these boundaries and everything being against them is so remarkable."

"I walked into the art fair, and I suddenly realized that none of the works were by women. It just was this epiphany moment. I had just finished a B.A. in art history, and I had to ask myself—could I name 20 women artists? The answer was no. I challenged myself to write an article about female Baroque and Renaissance artists, and suddenly I was learning about Elisabetta Sirani and Artemisia Gentileschi and Sofonisba Anguissola. I was unearthing all these stories—but they’re all there, and we shouldn’t have to hunt for them."

"[About the Guerilla Girls] Essentially, what they unveiled was the fact that museums are celebrating the history of patriarchy, as opposed to the history of art. And if we're not seeing art by a wide range of people and subjects of a wide range of people, then we’re not seeing society as a whole."

"[About The Story of Art by E.H. Gombrich] It's the introductory bible to our history. And I love it because it is for everyone. The fact that he writes in such beautiful prose that anyone can understand, you want to — you have heard of a term such as the Renaissance or the Baroque, and you can look that up in Gombrich. But he doesn't include any woman artist. He only includes one in his 16th edition, which is crazy. And the fact that I loved this book growing up, I wanted to write — if he was going to leave that women, I thought I'd leave out men."

"[T]his is the ultimate question that I want to ask my predecessors from 100 years ago: What happened to these women artists? It's almost as though they were consciously written out of art history. I don't really know. Was it ignorance or was it purposeful?"

"I don't agree that we should dismiss certain art forms and we should create a hierarchy. That's what the academies in the 18th century really did. They said painting and sculpture is at the top, and embroidery and craft like decorative arts is at the bottom. And what did women have access to? Decorative arts and craft."

"In the years around the turn of the present century, relying on the contacts and expertise of , (1835–1909), put together what came to be one of the most wide-ranging and important collections of cuneiform tablets to have been assembled in private hands in this country. Since the publication of Volume 1 of The Amherst Tablets in 1908 by Pinches, followed much later by 's The Pinches Manuscript, the Amherst Collection has been familiar enough among Assyriologists, but perhaps less has been known of the collector, and of his other collections. The Museum at the family estate of Didlington Hall, Northwold, Norfolk, contained in its heyday a much broader range of material than cuneiform inscriptions. From the Near Eastern world there were very extensive collections of Egyptian papyri and antiquities, but the Hall also housed remarkable accumulations of incunabula and printed books, porcelain, tapestries, sculpture and other works of art."

"The is one of the world's best-known cuneiform inscriptions and at the same time one of the most famous archaeological objects in the British Museum in London."

"Within the field of Assyriology the royal cuneiform libraries of , the Assyrian capital city, have no parallel for size, breadth, or document quality. ... The bulk of the library material had been put together at royal bequest with the specific intention of housing, editing, and recopying the traditional written expressions of Mesopotamian culture in, as far as possible, a complete state. Assurbanipal's long reign (668–c.627 ) in character was one of stability and affluence and there was ample opportunity for the pursuit and accumulation of manuscripts in abundance. Thus it fell to and those who came after him to uncover what was in essence a 'state of the art' royal library, whose underlying conception constitutes the only rival to the lost resources of Alexandria that the ancient world can provide."

"... I think the ultimate issue about ghosts is human arrogance. The ultimate, ultimate point is that I am me — the greatest hunter in the world — nineteen wives and four hundred and thirty-two children — and the best spear thrower in the world. I'm going to die? And it's all going to be over? No way!"

"'s discoveries led to unease in more than one quarter. It was simply bizarre that a close relative of Holy Writ should emanate from such a primitive, barbaric world through so improbable a medium, to thrust itself uncompromisingly into public consciousness. How could Noah and his Ark possibly been known and important to the Assyrians of noble and the Babylonians of mad, dread ? Worried people over garden fences and in church pews clamoured to have important questions answered."

"! The world's oldest and hardest writing, older by far than any alphabet, written by long-dead Sumerians and Babylonians over more than three thousand years, and as extinct by the time of the Romans as any dinosaur. What a challenge! What an adventure!"

"... I have still never seen a ghost for myself, even in the shadier vaults of the British Museum, where the ancient dead can lie peacefully, and many of the living have witnessed strange things. Sometimes I have crouched immobile in the evening darkness at the top level of our Victorian Arched Room library, like a wildlife photographer at a waterhole, waiting in silence for a spectral figure who has, they say, more than once been observed. For me, though, no shady visitor."

"In contrast to mourning and burial, it is the deep-seated conception that some part of a person does not vanish forever that separates us absolutely from the whole animal kingdom. No gorilla or bald-headed eagle ever had an inkling of their inner self finishing up somewhere once the proud body had collapsed into chemicals. It is only the early human mind that grew to strive against the prospect of the final annihilation of self, a hallmark rebellion that became hard-wired into, and always an essential element of, human nature. It is the incalculable antiquity of the first stirrings towards post-mortem existence that explains the enduring and universal belief in ghosts. Ghosts have waited in the wings from the beginning and have fluttered persistently as part of human cultural, religious or philosophical baggage ever since. Practically speaking, as a result, they are inexpungible."

"I am impacting positively on the general well-being of our society by grooming the children young. It also gives the children happy memories of growing up. Directly, these help the children appreciate nature and humanity."

"As a politician, I am a servant of the people and one of my tasks is to contribute positively to the community and ensure a better quality of life for all, especially our children who are our future heroes."

"There is humanity in art and charitable work and this is a powerful tool to use in politics if one is to serve the people correctly. We have to care for our youth, elders, under-privileged and those with other challenges. This is the focus of my charity and the message I send through my art."

"Education starts from teaching our young ones these values from an early age."

"It’s amazing. Kids love gardening. The point is that whatever you want children to learn, it is best to start early. They see it as fun, relaxing and the end result of seeing what they have planted blossom is satisfying. In order words catch them young. I also find it elating when I give back to those that will eventually run the world. In a way, it is one of my ways to gradually introduce politic to the kids; we do engage in conversations while working. I want to say I’m proud that as a politician I’m certain that I can impact a lot of positive changes in society, especially through the children."

"It has been science that has greatly accelerated the human endeavor over the last few centuries and it will be science that will meet the challenges of the present century."

"I am stubbornly optimistic and that helps me take on challenges of all sizes. During my life, I have witnessed breathtaking scientific discoveries and situations where single individuals have driven positive change. I am also a big believer in the power of teams and the ability of small groups of committed people to achieve great things."

"“Most people think about, at most, an election cycle,” he says. That can lead to shortsightedness on issues such as climate change: “How do we, as humans with our rapidly growing populations, not destroy all the natural ecosystems?” he wonders."

"Once you see what science is, then there's no stopping you. If you have curiosity, if you keep your childhood curiosity, then every day is amazing."

"A very recent survey of natural s has pointed out that more than 200 species of higher plants comprise the study, that they are widely distributed in the plant kingdom (146 genera in more than 50 families) and that the active principles are known for only about 45 species (Schultes and 1980) , Harvard Univ. 28 (186–190). This survey attributes the lack of chemical knowledge of these plants to two causes: (i) the lack of good animal models which the chemist can utilize in monitoring his isolation work; and (ii) the paucity of field work of scientific trustworthiness in fast disappearing aboriginal societies. The survey ends with the statement that the “… Plant kingdom remains a fertile and almost virgin territory for those interested in the discovery of new psychoactive drugs, not to mention other types of biologically active compounds waiting in silent hiding.”"

"There have long been two strongly divergent poles in our evaluation of ethnobotany. Some students are carried away in an enthusiastic assumption that native peoples everywhere have a special intuition in unlocking the secrets of the Plant Kingdom. Others cast aside or at least denigrate all aboriginal folk lore as not worthy of serious scientific consideration. Both viewpoints, of course, are unwarranted. The accomplishments of native peoples in understanding plant properties so thoroughly must be simply a result of a long and intimate association with their s and their utter dependence on them. Consequently — and especially since so much aboriginal knowledge is based on experimentation — it warrants careful and criticai attention on the part of modern scientific efforts. It behooves us to take advantage now of this extensive knowledge that still exists in many parts of the world, lest it be lost with the inexorable onrush of civilization and the resulting extinction of one primitive culture after another. This experimentally acquired knowledge may not much longer be avaílable."

"has given the world some of its most important plants: the Pará Rubber-tree ('), the Pineapple ('), Cacao ('), the Tapioca Plant or Cassava ('), Coca (' var. ipadu), the Brazil-nut Tree ('), paradise nuts (' spp.), the Curare liana ('), and yet others. Each of these species has local s and wild relatives that may be of inestimable value in future genetic projects that may be oriented towareds various aspects of improving cultivated forms for greater yield, disease resistance, adaptation to different soil and climatic conditions, and sundry other characteristics."

"You can’t expect people to live in cities, to trade in cities, to exchange ideas in cities, if they don’t have the basic right to shelter in those cities."

"I think that’s the work that curator’s do. I see it less as a challenge, it’s just the task at hand."

"There are moments when you’re driving or walking around, and you find yourself in that meeting point."

"Collecting a pile of fossils is only the beginning. Many fossils are only fragments of the whole animal or plant. To piece together the whole organism is rather like doing a jigsaw puzzle without the benefit of the complete picture to work towards. Piece has to be added to piece, and the larger and more fragmentary the animal the more the result is in question. Not surprisingly mistakes have been made. The first reconstruction of the dinosaur Iguanodon finished up with its thumb on its nose!"

"... Time piles rock upon rock. The sea comes and goes with the passing geological ages. Unless other events intervened, my trilobite would have become interred within an ever deeper pile of sediments, to a depth possibly beyond the deepest coal seam, and buried into an obscurity from which it would never emerge. But often in geology that which is buried is destined to rise. Phases of mountain building throw up rocks that were once deep beneath the surface. The British isles have been through no fewer than three such phases since my trilobite scuttled about on the sea floor. The first of these — the — was responsible for disinterring my fossil."

"… if you look back into history, the way the world has divided up into, say, linguistic groups, cultural groups, is ultimately under the control of geology. So, for example, think of the differences between the peoples north and south of the Himalayas. It’s extremely hard for people to cross – even the individual valleys within the Himalayas have cultural differences. Their history has been controlled to a large extent by those barriers. That’s a great control. But even on a small scale, the way cities looked – you know, the kind of cities that could be built – was controlled by the rocks that underlay it. For example, you could build tower blocks in New York because you had that nice, firm metamorphic rock to drive your piles down into. And the particular building stones are what have given, well, let’s say the majority of French cities and towns their own peculiar and interesting flavor. So geology controls the character of the world to a large extent."

"The public galleries take up much less than half of the space of the Natural History Museum. Tucked away, mostly out of view, there is a warren of corridors, obsolete galleries, offices, libraries and above all, collections. This is the natural habitat of the curator. It is where I have spent a large part of my life—indeed, the Natural History Museum provides a way of life as distinctive as that of a monastery. Most people in the world at large know very little about this unique habitat. This is the world I shall reveal."

"The trilobites, of course, overall have a fantastic variety of morphologies — fantastic variety of shapes. So you would expect them to have many different sorts of life habits."

"One lies upturned on the sand. Its tail sake waggles feebly, quite unable to perform the task of turning the body back over again. Five paris of legs twitch ineffectually in a vain attempt to achieve the same end. I find it impossible to resist the temptation to right the poor animal. It is easy to grasp it by the edges of the head-shield. Once righted again those spindly legs allow the crab to trundle slowly away. Its behaviour seem at once strangely determined, but also apparently random, like the slow progress of a confused old lady on a ."

"I ought to introduce you to trilobites ... fossil arthropods distantly related to the s and s of today, but very distantly related — enormously diverse in the ... rocks ... with an evolutionary history of their own of several hundred millions of years ..."

"Fossil hunting was a slightly more esoteric pastime, but what is perhaps most telling about Fortey’s childhood was his awakening to s. Today there is a whole library of richly illustrated guides and scholarly works on mushrooms. The fungus foray is a popular activity offered for public participation up and down the country. Yet when Fortey did it there were no teachers and the only widely available book was The Observer’s Book of Common Fungi. It covered 200 of the many thousands of British species. Fungi, in short, are difficult. The author tells us he remains an amateur enthusiast, but it is a mark of his ability that he describes how, in 2006, he found a tiny fungus Ceriporiopsis herbicola new to science. The discovery of entirely unknown organisms happens to few, but it happens in Britain to almost none. You realise that a challenge in this funny and entertaining book is peeling back the curtain of the author’s self-deprecation."

"In 2011, after retiring from his role as senior palaeontologist at the Natural History Museum, and following a windfall from presenting a TV series, Fortey purchased four acres of prime and wood. Located in the , a mile from his hometown of , Grim’s Dyke Wood is the very patch that had Mill so enraptured two centuries ago. Though it has changed in the intervening years, it is still a glorious spot – Fortey’s initial intention was to use the wood as a way to “escape into the open air”, to record a rich ecology of living wildlife following a career locked away in dusty museums studying dead things. He soon realised, however, that any portrait of the place would be incomplete without its human histories, too."

"… Trilobite expert, tiddlywinks player, mushroom hunter, poetry enthusiast and ardent lover of the museum, Fortey joined the staff of the paleontology department in 1970. He tells us that at the time he joined, the museum was so hierarchical that there were separate lavatories for “scientific officers” and “gentlemen.” (Both, however, were supplied with toilet paper that had “Government Property” stamped on each sheet.)"

"It was that did it for me. “Dr was an eccentric in the grand manner … he always wore hand-tooled cowboy boots with elaborate curlicues in the stitching and a hat and jacket to match. He was very shortsighted, and tended to stumble along in the purposeful way adopted by the cartoon character Mr Magoo, while mumbling vigorously to himself.” The Magoo lookalike also carries a whip and a six-shooter, but that is not what matters most about him: what matters is that he was an expert on the s of the . .. A book that starts with slimy things in the oceans and continues to the dawn of human civilisation in the must offer more than just a procession of challenging concepts and unfamiliar words, and accordingly up pops Mr Magoo, with whom Fortey (himself big on the trilobites of the Ordovician) once shared a hotel room."

"The performance bridges the gap between the physical, the digital and immaterial realms. In a way, looking at all the different elements that constitute your performance, I would argue that it inhabits the discursive space prompted by the physical space that engages its viewer?"

"Writing, remembering, narrating history and – as with your work – performing history, becomes a duty and responsibility towards knowledge. But at the same time, this responsibility and the striving for knowledge is inherently akin to tensions."

"Derrida, in Writing and Difference, discusses the contradiction of simultaneously writing to remember and writing to forget and quotes Hegel: 'I will speak later about the profound differences between the person of sacrifice, who operates ignorant (unconscious) of the ramifications of what they are doing, and on the Sage (Hegel), who surrenders to a knowledge that, in their own eyes, is absolute."

"Nathan Witt's work is primarily interested in identifying value and meaning through the dissemination of visual culture and learned history. Since 2002, Witt has produced a varied body of work that includes texts as specific counter-images and counter-objects, focusing on the integrity of the motive and its manipulation; as well as defacing press releases, making books and drawing."

"His work is interested in looking at the material as a by-product, as well as questioning contemporary notions of participation and authorship. The research-based practices result in research-performance installations as with his more recent 'Non-Participation Performance' and 'Continuity' works. Over the last four years, Witt has been exploring seemingly disparate subjects in Occupied Palestine, Israel and Lebanon on his project 'A Interloper' which looks at the vernacular of religious calendars found in Jerusalem and originating in the Middle East, looking at different notions of bodily displacement."

"It is interesting to look at how the advent of technology can have an impact on museum practices and the works of contemporary artists."

"I thrive in challenges and finding ways to break down barriers."

"We already have some ideas there. And the connection to CeNak and the partnership between the cities of Hamburg and Dar es Salaam can help."

"Our study of high-resolution satellite images revealed the Teniky site was much larger than previously known. It showed there were more terraces and stone walls on a hill 2km to the west. This led us to take a closer look, hoping to get a better sense of who had lived there and when."

"What we found at Teniky"

"There is no other archaeological site like Teniky in Madagascar. So, the question arises as to what group of people settled there, far inland, and carved the niches and chambers in the cliff walls about 1,000 years ago. The presence of imported ceramics indicates that they took part in the Indian Ocean trade networks at the time but doesn't tell us where they came from."

"Who were the people who lived at Teniky?"

"There are few accounts of Madagascar written at the turn of the first and second millennia AD. Buzurg Ibn Shahriyar, a tenth-century Persian sailor and writer, collected stories from sailors in port towns on the Persian Gulf which suggest that Persian contacts with Madagascar may have existed then. The name Madagascar did not exist at that time but names like "Wak-wak" or "Qumr"/"Komr" may have referred to the island."

"Chinese ceramics in the collection of the Museum of Art and Archaeology of the University of Antananarivo."

"A major contribution to African and Indian Ocean archaeology."

"On the approach of winter, s bury themselves in the ground, and those that have shells retire within the shell as far as possible, and close the aperture of the shell with a film of the mucus which the body secretes so abundantly. In this condition they remain dormant until revived by the warm weather of spring. If the pupil will collect a number of snails in the early spring, and keep them confined in a box, with earth, damp leaves, or bits of rotten wood or bark, the snails in the course of a few weeks will lay a number of little eggs. These eggs will be white and round, about the size of a pin’s-head. By careful tending, that is, by keeping the leaves slightly moist, the eggs will hatch out tiny snails, and these will attain half their mature size the first season."

"In the gardens of the better classes summer-houses and shelters of rustic appearance and diminutive proportions are often seen. Rustic arbors are also to be seen in the larger gardens. . High fences, either of board or , or solid walls of mud or tile with stone foundations, surround the house or enclose it from the street. Low rustic fences border the gardens in the suburbs. Gateways of various styles, some of imposing design, form the entrances; as a general thing they are either rustic and light, or formal and massive."

"One of the reasons why the Catholic Church attains greater success than the Protestants in China is that its missionaries are men, its preachers are men, the dresses in Chinese garb, he lives among them and becomes one of them ; he is careful not to interfere with their superstitions only so far as these interfere with his own, and is especially careful not to inveigh against the . His , , and picturesque ritual does not widely differ from the Buddhist."

"Fifty years ago in , while walking along the road I passed an open field and noticed to my astonishment hundreds of flashing in perfect unison. I watched this curious sight for some time and the synchronism of the flashing was unbroken. Many times after I have watched these luminous insects, hoping to see a repetition of this phenomenon, but the flashes in every instance were intermittent. Since that time I have read about these insects in various books without meeting any allusion to this peculiar behavior. At last I have found a confirmation of my early observations. In of December 9, page 414, is the report of an interesting paper read before the by entitled “ Luminous Insects ” in which reference is made to the remarkable synchronism of the flashes in certain European species of fireflies. ..."

"Whatever value these records may possess lies in the fact that when they were made, Japan had within a few years emerged from a peculiar state of civilization which had endured for centuries. Even at that time, however (1877), changes had taken place, such as the modern training of its armies; a widespread system of public schools; government departments of war, treasury, agriculture, telegraph, post, statistics, and other bureaus of modern administration, — all these instrumentalities making a slight impress on the larger cities such as Tokyo and , sufficiently marked, however, to cause one to envy those who only a few years before had seen the people when all the wore the two swords, when every man wore the and . The country towns and villages were little, if at all, affected by these foreign introductions, and the greater part of my memoranda and sketches were made in the country."

"Soon after his first arrival in Japan, Morse became interested in everything bearing on the ancient culture of the people. This was shown in the epoch making discovery and excavation of the . Implements and pottery were found there. In 1878 he wrote that he was starting a collection of pottery. ... In 1890 this great collection was deposited with the Boston Art Museum and two years later the Museum bought it, Morse being made Keeper of Japanese Pottery and holding the office for the rest of his life."

"With few exceptions, luminous insects throughout the world belong, broadly speaking, to one family of Beetles, the , or to give them their popular name, the Fireflies and Glow-worms. The most important exception to this statement is afforded by the Fireflies of the West Indies and Central America, locally known as " Cucujos," which, though still Beetles, belong to quite a different family, the or Skipjacks. ... Though usually present to a greater or lesser degree in both sexes, the luminous property is generally developed much more highly in one sex than in the other. When it is the male beetle that possesses it in the greater degree, the light is shown when the insect is on the wing, and is generally of an intermittent or flashing character, and gives to the insects their popular name of Fireflies. On the other hand, when the power of luminosity is the more highly developed in the female beetle, the character is usually associated with a more or less complete absence of wings, and the insect becomes merely a crawling, unpleasant-looking, worm-like creature, generally known in fact as a Glow-worm, which nobody who is not an entomologist would ever dream of calling a Beetle. The males of these insects are winged, in form closely resembling the Fireflies, and are totally unlike their spouses. The consequence of this utter dissimilarity between the two sexes of one species is, that it is not easy to co-relate them properly in our collections."

"... After a brief period spent in other government offices, he transferred in 1910 to the , being appointed assistant in the Department of Zoology, which then included entomology. Under Dr. , Blair was put in charge of a large section of the comprising principally the , which had perforce been largely neglected for many years. His systematic critical revision of genera and species, the description of new ones, the elucidation of the work of the early authors, a catalogue of the and , and so on. Concurrently he published many papers of faunistic interest, based largely on collections made by various expeditions."

"The early literature of has, from very remote times, contained allusions to huge species of s, often accompanied by more or less fabulous and usually exaggerated descriptions of the creatures ... In a few instances figures were attempted which were largely indebted to the imagination of their authors for their more striking peculiarities. In recent times, many more accurate observers have confirmed the existence of such monsters, and several fragments have found their way into European museums. To and to , however, belongs the credit of first describing and figuring, in a scientific manner, a number of fragments sufficient to give some idea of the real character and affinities of these colossal species."

"The following catalogue is intended to include all the now known to inhabit the that are not included in 's edition of 's Invertebrata of Massachusetts, published in 1870. In the "New England Region" I include, on the north, the coasts of Nova Scotia and , and their outlying banks; while on the south, I include the entire region, about 100 to 120 miles wide, between the shore and the , off the southern coast of New England, and embracing all depths down to 600 s. ... I have also included the free-swimming and floating forms, ordinarily inhabiting the same region, which may be considered as meeting and including the innermost edge of the Gulf Stream in summer, but most of these surface forms are usually to be found, in summer, far inside the actual limits of the Gulf Stream. The and the northern parts of the I have considered as extra-limital, for my present purposes. Those localities are inhabited by an extremely , including many species of mollusca that have not yet been found farther south. Among these are several species of ' and allied genera."

"On the first trip of the from , which was made July 16 to 19, four successful hauls were made with a large trawl, in 1,346 to 1,735 s, on the 17th and 18th of July, two each day, besides the soundings and temperature determinations, including series of temperatures at various distances from the surface. On this trip about one hundred and five species of s were obtained, not including the and other minute forms. There were among them fourteen species of ; two of s; twenty-two of s; thirty-eight of ; fifteen of ; one of ; ten of ; one of ; two of s."

"Among these pioneer zoologists the name of Verrill stands out prominently because of the amount and accuracy of his contributions to our knowledge of s. More than a thousand species, including , were discovered and described by him, and their relationships to previously known forms were diagnosed with almost unerring accuracy and with a facility that amounted almost to genius. He was much more than systematic zoologist, however; he was a real naturalist in that he was always interested in the of the animals which he studied as well as the morphological characters which distinguished the species new to science. His work on the natural history of he marine invertebrates of southern New England was the first extensive ecological study of its kind in America, and his Vineyard Sound report (published in 1871) was the standard reference book for all students of the seashore life of the region for more than thirty years."

"Practically nothing was known of the s of the North Pacific coast before Johnson's valuable reports of 1897 and 1901 — the first entitled 'A Preliminary Account of the Marine Annelids of the Pacific Coast,' the other 'The Polychæta of the Puget Sound Region.' This is especially true of Alaska, a few species only having been recorded north of , British Columbia; therefore the collections made by , of the , and Dr. Wesley R. Coe, of Yale University, as members of the of 1899, are of great interest."

"P, Bush, 1905. Nine tubes of moderate size were found in 1898 and 1901, dredged in 30-40 feet in and other localities at Bermuda. They were taken usually from dead but occasionally attached to s, forming an irregularly twisted mass. The surface is sometimes ornamented with five conspicuous, longitudinal carinæ, the two outer ones usually the largest."

"The Fish Commission explorations began 1891, in connection with the between California and the , when ten hauls of the trawl and tangles were made, mostly between 300 and 375 s. The results were meager compared with those realized by the three months' systematic exploration by a land party in 1901 under the leadership of Dr. and Dr. and the in 1902. ... This vessel occupied 397 stations in the vicinity of the islands, while field parties, led by Dr. , explored the shores and reefs as well as the fresh-water streams. Mr. , of , has given added value to the specimens by notes on their habits, color, etc. Mr. , for many years a resident of , has from time to time sent to the National Museum, and has added several species to this list. Other contributors are the late , a wealthy planter of the island of who was much interested in natural history, and Mr. R. C. McGregor, of the ."

"... Through the activities of its various vessels and laboratories the has been able to transfer to the vast accumulations from nearly all the coasts of America. The amount of work accomplished by the steamers ' and ' and the schooner ', as well as by other vessels of the commission in earlier years, is indicated in the detailed lists of specimens. Other Government explorations that have yielded considerable results are those constantly carried on by the of the Department of Agriculture and those occasional expeditions under the auspices of the National Museum itself and the . Of the obtained by the and by the very little remains, owing to the inadequate housing of the former collection before the existence of a National Museum building, and to the destruction of the latter collection in the while it was in the custody of Dr. ."

"Her own special field of interest was the , particularly the s, both recent and fossil. Her bibliography on the animals embraces 158 titles. Perhaps her most important and best-known works are her four large monographs on the , , and of America, published as bulletins of the between 1918 and 1937. In 1917 the conferred upon her the degree of doctor of philosophy in recognition of her work on the grapsoid crabs."

"I have been preoccupied with 'forensic' methods of observation and perception for many years. Much of my work requires viewers to take on the persona of a kind of detective, deconstructing and unravelling clues and references that may not announce themselves outright. These clues are invested in the subject matter and iconography I employ but also live firmly in the media in which I choose to work."

"When working through ideas, I don't draw; I make collages. These can be visual, or more often they take the form of bits of conversations, observations and sampled words from pretty much anywhere. For this series, we decided to experiment with exposing photo-based images onto polymer plates, effecting a photogravure process, but combining this with a photolitho process."

"Working with films in this way was very interesting, considering that they were originally shot on film, processed and printed, and now transferred onto VHS or digitized onto DVD for home consumption. This process underwent a curious inversion in this work, as I photographed countless frames off my laptop screen as the DVD played."

"Watching films is no longer an exclusively public experience in cinemas. With the kinds of technologies available today, I am able to indulge my interests in capturing what lies beyond the between frames in films at my leisure, in my private space. These 'autopsied' images seem to give rise to other hidden, secret narratives when characters are caught in freeze-frame, or in the background, apparently unnoticed when not taking centre stage."

"The printmaking process for me is all about seriality - the ability to reproduce, copy, and repeat systematically. I like to think of it as a kind of failed forgery; failed as there really was no 'original' to begin with, just the possibility of many of the same."

"Monroe strikes me as being the quintessential symptom of modern society; displaced, alienated, capable of (and required to) taking on a range of personae without a basis in the understanding of self and agency. On another level, her story is also the iconic intersection of celebrity, causality and death, not to mention conspiracy. For someone whose identity is inextricably tied to her image and nothing more, it seemed right to recast her with a host of screen characters that more accurately reflected on her private experiences rather than her public persona."

"The great religious works of the ns are known to us from documents which do not date from an earlier period than the seventh century In the palaces that were unearthed at , there were found, scattered throusjh the mounds of earth, thousands of s written in the , and in many cases with colophons bearing the name of and the statement that he had caused them to be included in his library. This monarch reigned from 669 to about 625, and, though one of the last kings to occupy the , he made strenuous efforts to preserve the ancient literature of and Assyria. His scribes visited specially the ancient cities and temples in the south, and made copies of literary compositions of all classes which they found there. These they collected and arranged in his palace at Nineveh, and it is from them that the greater part of our knowledge of is derived."

"The great n poem, or series of legends, which narrates the , was termed by the Assyrians and s , “When in the height,” from the two opening words of the text. The poem consisted of some nine hundred and ninety-four lines, and was divided into seven sections, each of which was inscribed upon a separate . ... The poem embodies the beliefs of the Babylonians and Assyrians concerning the origin of the universe; it describes the coming forth of the gods from chaos, and tells the story of how the forces of disorder, represented by the primeval water-gods and , were overthrown by and respectively, and how Marduk, after completing the triumph of the gods over chaos, proceeded to create the world and man. The poem is known to us from portions of several Assyrian and late-Babylonian copies of the work, and from extracts from it written out upon the so-called “practice-tablets,” or students’ exercises, by pupils of the Babylonian scribes. The Assyrian copies of the work are from the great library which was founded at by , king of Assyria from 668 to about 626; the Babylonian copies and extracts were inscribed during the period of the kings of the Neo-Babylonian and Persian periods; and one copy of the Seventh Tablet may probably be assigned to as late a date as the . All the tablets and fragments, which have hitherto been identified as inscribed with portions of the text of the poem, are preserved in the . From the time of the first discovery of fragments considerable attention has been directed towards them, for not only are the legends themselves the principal source of our knowledge of the , but passages in them bear a striking resemblance to the cognate narratives in the Book of Genesis concerning the creation of the world."

"The greater part of our knowledge of early has been derived from the wonderfully successful series of excavations carried out by the late at , ... between 1877 and 1900, and continued for some months in 1903 by Captain (now Commandant) . These mounds mark the site of the city of , and lie a few miles to the north-east of the modern village of , to the east of the , and about an hour’s ride from the present course of the stream. It is evident, however, that the city was built upon the stream, which at this point may originally have formed a branch of the Euphrates, ... for there are traces of a dry channel upon its western side."

"The present energy of the archaeologist in Greece and the modern interest in early Greek archaeology date from and are a consequence of the epoch-making discoveries of the beginning of the XIXth century in the domain of Egyptian and Oriental archaeology. A new world was opened to us by these discoveries; the horizon of our knowledge of the ancient civilizations of the earth was widened indefinitely by them; and it was not long before classical students began, after much doubt and incredulity, to ask themselves how far this new knowledge might bear upon the early . But not all: many classical scholars were utterly unable to conform themselves to the new order of ideas. The keen intellect of , for instance, was unable to grasp the meaning of the new discoveries; he continued to the end of his days refusing to believe that anybody could read a single or interpret a single group of ."

"When sat on the throne of the Pharaohs and it became fashionable to inquire into the past history of the extraordinary country which had been brought willy-nilly within the pale of Hellenism, a learned priest named , "The Gift of " (Manethoth), or possibly "The Gift of " (Manutjo), of in the , was commissioned by to collect all that was known of the Egyptian annals and translate them into Greek as Αἰγυπτιαϰὰ. This was done, and until the discoveries of Manetho's work, half destroyed as it now is, imitated and garbled by generations of ignorant copyists, was, with the exception of the sketches by Herodotus and , the sole Egyptian authority on the history of Egypt. A similar rôle with regard to the history of Mesopotamia was played by the work of a Babylonian priest named , who is said to have been a contemporary of (250 B.C.). ... Like that of Manetho, his work is only known to us through the labours of copyists and compilers."

"The new discoveries of the earliest age of Greece are chiefly associated with the name of , and rightly so, as his work first revealed prehistoric Greece to us. But since his time a totally new face has been given to our knowledge by the Cretan discoveries of and , which has rendered out of date all books on the general subject published before 1902. The now prehistooric Greece is very different from the old one of the two decades succeeding Schliemann’s discoveries. He, however, was the pioneer, and his finds explained various ieolaied discoveries made before his time, chiefly of vases, which it had been impossible to bring into any intelligible relation with our knowledge of the relics of classical antiquity. Best known to us of these are perhaps the vases of in , presented to the by in 1870."

"In spite of the fact that one knew it all beforehand as an Englishman would to whom India in picture and by hearsay was familiar from childhood, who had played with brass s and had broken gilt alabaster s and s and s (with dire corporeal results) before he donned , it was strange to me to realize the fact of the actual worship of Ganesa and Siva and Vishnu in their own land in the temples of their cults at , as strange as if I were to find and still venerated in some Egyptian temple such as or . Egypt and her gods and priests all alive, mixed up with London; with the , , , the , and the : that was the impression I gained of Bombay. There was no doubt of the specifically English (not merely European) impression, and the combination is extraordinary. I felt I loved better Egypt, where the old gods are safely dead and their lore can be studied by such as I without impossible modern contaminations and antinomies, where the ; now calls uncontradicted the simple praises of the One, where the clean desert air breathes health, not septic soddenness, and where one is not likely nowadays to find an - in one’s bed."

"The name }} is assigned by botanists to a large group or natural class of ic or flowerless plants, which form the principal and characteristic vegetation of the waters. The sea, in no climate from the s to the , is altogether free from them, though they abound on some shores much more than on others, a subject which will come particularly under notice when we speak of the distribution of their several tribes. Species abound likewise in fresh water, whether running or stagnant, and in mineral springs. The strongly impregnated sulphureous streams of Italy,—the eternal snows of the and regions,—and the of Iceland, have each their peculiar species ; and even chemical solutions, if long kept, produce Algae. Very few, comparatively, inhabit stations which are not submerged or exposed to the constant dripping of water; and, in all situations where they are found, great dampness, at least, is necessary to their production."

"So long as was encumbered with its pseudo-classical incubus its votaries were few in number. The more it grew into a science founded on observation, the more it attracted popular attention. The writings of , composed in a clear and elegant style, and offering a systematic arrangement such as all could readily understand, contributed more than those of any other naturalist to the spread of a taste for his favourite science. He was eminently a popular writer, and, no matter what criticism may now be passed on his system, it must be admitted that to it is greatly owing the rapidity with which the natural sciences advanced in public favour in the early part of last century."

"In 1853 Harvey started on a prolonged tour to the East; his route included Egypt, Ceylon, Singapore, Australia, New Zealand, and sundry of the islands of the Pacific, and he returned ultimately by way of and Panama. The journey was originally undertaken in the interests of the and resulted in a large addition to its treasures. His extensive collections contained a huge mass of material, all of which was practically new. He took all available opportunities of exploring the of the different coasts to which he had access and amassed such a wealth of material that the collection was unequalled by any other of the time. The use he made of it is shown by the great Phycologia Australica which occupied him for five years after his return."

"America the beautiful, Let me sing of thee; Burger King and Dairy Queen From sea to shining sea."

"... ' is widely spread over the north temperate and colder regions of the . In Great Britain it is a common plant, being found in the whole of 's 112 counties, ... whilst its altitudinal range is from the coast to some 2,700 above sea-level.... Itself a characteristic plant of the drier parts of marshes and s, ... the habitat of ' is usually where the is considerable rather than excessive. It prefers soils with a high water capacity, such as or . Provided that its needs in respect to soil moisture are satisfied, it will grow almost anywhere: at the edges of marshes and rivers; in the damper parts of meadows; in roadside ditches; on the sea-coast; ... in damp hollows between sand-dunes; ... and even in woods, if the shade is not too dense. ... It readily colonizes moist ground which has been recently disturbed; and hence frequently establishes itself at the foot of railway embankments, &c."

"and factors, though frequently of great importance, are usually indirect in their action, influencing plants by modifying more direct factors. Thus s influence . Local differences of or affect , light, wind and drainage. Associated plants modify light and for each other. , s, etc., exert a far-reaching influence on the chemical and physical characters of the soil, and so on."

"It has been said, and with more than element of truth, that the least important part of education is the acquisition of knowledge. The facts of nature, as such, have intense fascination for the nature-lover, yet the value of a mere knowledge of facts may easily be over-estimated. Facts are really s, the value of which lies in the uses to which they may be put. Of far deeper importance, therefore, than the mere committing of facts to memory, is the acquisition of correct habits of study. Habits, that is, of patient and accurate observation, and of clear and logical interpretation and correlation of the facts observed. Facts may be forgotten, but habits remain."

"Each has two (sometimes three or more) thin flat ..., at the base of each of which is a swollen part, lined with hairs and containing a single seed. The seed is covered by a thin brown testa. If you scrape away the testa you will find the inside, consisting, as in the , of a , two s, and a very minute plumule. The cotyledons are green and long and narrow, and are coiled into a sort of ball ...; they too contain a store of food."

"are reported for all but two major divisions of extant s ... No epiphytes have been reported in the or the . Ten percent of all species (23,466 species) are epiphytic. ... The s account for the great majority of epiphytic taxa at all hierarchical levels. ... The s are depauperate in epiphytes: only 0.5% of the species are epiphytes."

"s are native primarily in the American tropics from the in Central Mexico to the in , including the . A curious disjunct group of six species of Heliconia separated by thousands of miles from most other species is found in the Old World tropics (Kress, 1985, 1990a). The center of diversity of the genus is found along the northern Andes (Colombia and Ecuador) extending into southern Central America (Panama and Costa Rica; Andersson, 1989). Most species inhabit moist or wet regions, but some are found in seasonally dry areas. Although heliconias attain their most luxuriant vegetative growth in the humid lowland tropics at elevations below 500 meters, the greatest numbers of species (many locally endemic) are found in middle-elevation (800-1,500 meters) rain and cloud forest habitats. Few species occur above 2000 meters."

"The majority of species, , and of s are found in the of the Earth. Therefore it is no surprise that the greatest diversity of flower morphologies and plant-pollinator interactions are also present in the tropics. Endress has amassed a splendid display of examples and illustrations of this tremendous diversity. ... ... There are many references to the classic works of , , and , as well as many lesser known but important European workers of the nineteenth century."

"A major task for any , , , , or applied forensic specialist is to determine the correct identification of a plant sample in a rapid, repeatable, and reliable fashion. “s,” i.e., standardized short sequences of between 400 and 800 s long that in theory can be easily isolated and characterized for all species of plant on the planet, were originally conceived to facilitate this task (Hebert et al., 2003). By combining the strengths of , , and , DNA barcodes offer a quick and accurate means to recognize previously known, described, and named species and to retrieving information about them. This tool also has the potential to speed the discovery of the thousands of plant species yet to be named, especially in s (Cowan et al., 2006)."

"The may easily be mistaken for a male in flight. They are identical in size and are similarly barred below. The illusion is often fostered in late summer by young cuckoos being seen in flight with their foster-parents, much smaller birds ..."

"One of the areas whose birds have been given rather less attention than most is the arid western regions of South Africa. For various reasons it has been, and still is, an inhospitable country, in spite of the kindly disposition of its thinly scattered population. Its political history, at times somewhat turbulent; its desolate and fog-bound coastline, now made doubly inapproachable because of protective measures against illicit diamond prospecting; its vast hinterland of and ; and its own arid mountains and plains have discouraged travellers and ornithological pursuits. Although the birds of this region have been studied relatively infrequently most of the species represented have been known for a long time. The first ornithological survey of any importance took place as early as 1783-5 when the French naturalist, , made his second great journey ‘into the interior parts of Africa from the ’."

"If you are fortunate to have the chance to examine a recently dead bird, even one brought home from the poulterer with intact, spend a little time examining the s carefully and note down various points of interest."

"Horny projections which look more like teeth are found in the beaks of a special group of ducks represented in Britain by and , sometimes known as "sawbills". In these birds the beak is narrow and the "teeth" are used for gripping fish."

"Macdonald selects twelve aspects of the life and behaviour of birds, illustrating them with Australian examples. Topics covered are Territorial Behaviour, , Population Problems, Post-Breeding Activities, , Distribution, Habitats and Adaptations, , Other Important Features, Various Systems, the Senses, and Variation and . The level of detail on each subject is well suited to the intended audience and avoids both superficiality and excessive detail. Indeed, beginners are far from the only birdwatchers who would profit from reading this book. The list of references, although short, is useful and reasonably comprehensive and would give the interested reader a useful introduction to the literature on a particular topic."

"When appointed to the in 1935 he was placed in the Bird Room, where he started as Assistant Keeper and retired in 1968 as Senior Scientific Officer in charge of the Bird Room and Deputy Keeper of the Zoology Department. Apart from war service with the , his entire career was dedicated to traditional museum ornithology. He ran collecting expeditions to South Sudan in 1938–1939 and South West Africa in 1950–1951, each substantially enhancing African collections in the Museum; that led to publication of a comprehensive report on the birds of the region. ... His professional career culminated in a sponsored mostly by Major Harold Hall, an Australian philanthropist. That was the last systematic collecting of Australian birds by an overseas institute, collecting in all parts of the continent and enriching the British Museum collection of Australian birds by some 6,500 specimens (skins, skeletons, and fluid). The leader of the first expedition in 1962–1963, Jim’s party discovered a new species of bird () in . In that expedition, his wife Betty accompanied him as doctor and caterer for the team."

"This is an almost unique case of how a can be endangered by trade without specific demand. It was literally unknown in until only five years ago. There was always a local trade, within the and islands, the only places where it occurs. These islands form a chain from northern to in the Philippines. Then suddenly, hundreds of birds were captured and exported. In 1992 about 1,000 were captured, at least 700 of which were exported. In that year, at least 200 died from disease and neglect at the premises of one dealer in Jakarta. I saw dozens crowded together in the cages of a dealer in Singapore. This would have been appalling whatever the species."

"Parrots were not designed to live in houses. They are noisy and destructive and suffer probably more than any other animal when kept in an unstimulating environment. They need constant interaction, either with a human or another parrot, to keep them happy and healthy. Keeping a parrot is so much more demanding than keeping a dog or cat. Alas, the fact that many owners have failed, and failed miserably, is evidenced in the growing number of parrot refuges. They are filled with feather-plucked or phobic parrots whose former owners had no idea of their emotional needs."

"Parent-rearing keeps the pairs occupied for weeks or months, according to the species. They need the occupation. Rearing reduces the monotony of the days and weeks and years which have little to distinguish them. Boredom and lack of stimulation is a very real problem for the more intelligent species. Many s enjoy family life and most "owners" obtain a lot of enjoyment from seeing family groups in an . (And I do mean an aviary and not a little suspended cage where close confinement can result in aggressive encounters.)"

"... Colombia has one of the highest, if not the highest, number of bird species within its shores of any country worldwide: currently believed to be 1,875 (Compare that with just over 300 species found in the UK!). This high number is attributable to its unique location and to its . It is the only country in that has an Atlantic and a Pacific coast and it is also unique in stretching from to the . Three mountain ranges of the magnificent occupy the western part of the country; in the east the habitats vary from lush and flat s to sandy desert. Given this variety of s, it is not surprising that Colombia has the second or third highest number of parrot species worldwide, a total of 52. This is exceeded by Brazil with about 72 species and possibly by Australia with 52 or 53 species. (These numbers could be revised at any time as DNA research often indicates that a particular species is, in fact, two species.) There is a sad statistic connected with Colombia's 50 plus parrot species: at least 12 are in imminent danger of extinction."

"I can't emphasize enough how important parent-rearing is, because by hand-rearing we are denying s their birthright unless it is possible to wean them with ... other birds of their own species."

"A maximum of 140 species of birds can be seen more-or-less regularly each year in interior Alaska. Of these species, however, only 28 can be considered regular winter residents, including two hawks, six s, five owls, four s, and eleven s ..."

"Most s leave the during September and October (Hunt et al. 1981b), but stragglers have been recorded as far north as as late as any water exists, even to mid-November ( and 1959)."

"Young s are unable to fly when they leave the nest; they fall and flutter to the water below and swim immediately ..."

"The author takes a ian approach to identifying the major environmental factors that help define the species-specific niches of birds in Alaska. In her study, she censused breeding birds on twelve 10- plots selected to represent fairly homogeneous tracts of each of the major s described for Alaska's taiga."

"There are certain very small flies, known as . The females of this species carry a dagger at the end of the abdomen, a dual-purpose tubular dagger. This dagger is known as the , or in more common terms, the organ for laying eggs. The female ichneumon stabs a in the back and lays an egg in its body. The egg hatches, the grub emerges and feeds on the green fly."

"... every shark is a survivor of an extremely archaic race, older even than the , and there is no need to describe what everyone, and especially the ocean-going seamen, think of sharks."

"... we have to remember that the description given us by Herodotus represents the entry of the into . It is the starting-point of the phoenix myth as we know it today, the foundation of the story told by Métral, and the only solid evidence we have concerning the phoenix itself."

"Some territories are used for feeding alone and these are defended outside the breeding season. The is a well-known example. . In winter male and female occupy separate territories for feeding only."

"The 25 species of ' and one of ' (family ) are obligate s of 10 species of facultatively symbiotic sea anemones. Throughout the tropical Indo-West Pacific range of the relationship, a fish species inhabits only certain of the hosts potentially available to it. This specificity is due to the fishes. Five fishes occupy six sea anemone species at , , Australia. harbors P. biaculeatus, A. melanopus and A. akindynos. ... ns cleared of symbionts disappeared within 24 h, probably having been eaten by reef fishes. Entacmaea, the most abundant and widespread host actinian at Lizard Island and throughout the range of the association, is also arguably the most attractive to es. I believe its vulnerability to predation was a factor in its evolving whatever makes it desirable to fishes. Experimental transfers pitted fish of one species against those of another, controlling for ecophenotype of host, and sex, size and number of fish. Competitive superiority was in the same order as abundance and over-all host specificity: P. biaculeatus, A. melanopus, A. akindynos. At least three factors are necessary to explain patterns of species specificity — innate or learned host preference, competition, and es."

"are secreted by the of all ns and only cnidarians. Of the three categories of cnidae (also called cnidocysts), s occur in all cnidarians, and are the means by which cnidarians defend themselves and obtain prey; s and s are restricted to a minority of major . A cnida discharges by eversion of its tubule; venom may be associated with the tubule of a nematocyst. About 30 major morphological types of nematocysts are recognized, but no single nomenclature for them is accepted."

"Sometimes, someone in Venice will ask me, "What is it like in Des Moines?", and sometimes, someone in Des Moines asks, "What is it like to live in Venice?" I respond with the same answer - You can't imagine. It is another world."

"I have been a resident of Venice since 2004. For the past five years I have arranged my schedule so that I spend a full six months a year in Venice and a bit under six months in Des Moines. Approximately every two months, I go from one home and existence to the other. Sometimes I feel that I am living two completely different lives, but they are connected, and I love both of them."

"I began coming to Venice regularly in 1989, when Matilde Dolcetti, director of the Scuola Internazionale di Grafica di Venezia (SIGV), a school of printmaking and graphic design, invited me to come to the school as a visiting artist. In subsequent years, I taught classes in burin engraving, drawing, and the history of prints there. My involvement with the SIGV connected me with the printmakers, book printers and bookbinders of Venice. Those artists became my core group of friends in Venice, and the SIGV has long been my base and point of reference."

"We live near Campo San Giacomo de l'Orio, in the sestiere of Santa Croce. Our palazzo is visible in Jacopo de' Barbari's 1500 bird's eye view of Venice. In the Campo, during the day the elderly sit on the benches under the trees, the retired men stand and chat, and friends meet to drink coffee, wine, and spritz at the cafés. In the afternoon, babies toddle, kids rollerblade and kick soccer balls, and parents chat. On Wednesday evenings, I often attend Incontri, a weekly gathering for artists only, organized by the painter Maria Morganti. We meet at the Fondazione Bevilacqua LaMasa on Rio San Barnaba. Artists present talks on their work to other artists."

"We have a boat, and my husband has become really good at rowing, Venetian-style. He goes out rowing almost every evening through the year, even around midnight. He rows through the canals late at night because there is almost no one else out at that hour. It is very dark on the inner canals, but it is an amazing thing to see Venice this way. Sometimes I go along as a passenger. I often take a notebook and draw while we go through the canals. The drawings have to be really fast since we are constantly moving. He is willing to stop and tie up every once in a while so I can make a drawing from a fixed spot."

"I draw almost every day in drawing books made by a Venetian bookbinder, Renato Polliero, using an old pump fountain pen that I can fill with my own waterproof India ink. I love the flexibility of the point of a good old writing pen. For most of my life, I made drawings for completely private purposes and rarely showed or published them. They served only to generate ideas for my engravings. Since I started my drawing blog in 2006, I now draw also in order to share my images anonymously with the world on the Internet."

"In Venice, I work on my engravings on a big old oak kitchen table I bought for this purpose. The table has a very large drawer, a pullout board for rolling out pasta, and still has its pull out, meter-long rolling pin. For plate prep and proofing, I use the facilities at the Scuola di Grafica."

"My laptop computer is on a desk between my engraving table and the terrace door. There is a seven-hour time difference between Venice and Des Moines. Around 4 PM, as my colleagues are arriving at the Des Moines Art Center where it is 9 AM, I log in remotely to the museum's server. From Venice, I can literally work on the computer and printer on my desk in my office in Des Moines. Email is the same whether sent from the office next door or 6000 miles away. Work keeps going in Des Moines until around 5 PM, or midnight in Venice."

"In Des Moines, we live on a quiet street in a beautiful old wooded neighborhood. Our house is surrounded by a large yard with three century-old oak trees, bushes, and perennials. I have my own study with all my print history books. My printmaking studio is in the basement of our house. I have a 36 x 60" American French Tool etching press. From 1970, when we moved to Des Moines after graduate school, until 1997 I worked primarily as an artist and a teacher of printmaking, design, and art history. In 1974, I began to curate exhibitions on the history of prints for the DMAC, then was invited to do projects for other museums. In 1997, after I had been doing guest curatorial projects for 20 years, the DMAC finally created my part-time position as curator of prints (now prints and drawings). My responsibilities at the museum include organizing three or four exhibitions a year on prints and drawings, writing gallery guides and labels, gallery talks, doing research on works in the permanent collection, recommending acquisitions, advising on conservation, working as part of the curatorial team, cultivating collectors and donors, etc. We don't have a public print room, so there is no public access to the collection. I am staff liaison for the Des Moines Art Center Print Club, a very active group of print collectors, artists, and people interested in prints. They organize monthly programs, commission prints, and purchase works for the collection."

"My arrangement with the museum is that my schedule is mine to figure out. There are times when I have to be present in Des Moines, such as a month or so before the installation of a new exhibition. When I am in Des Moines I work very intensely, plan, and do much in advance to enable myself to be away for my regular two-month absences."

"I draw more frequently when I travel (and especially, when I am in Venice), than when I am in Des Moines. Besides an infinite number of drawings made in Italy, I have major bodies of work from time I have spent in Japan, France, Russia, Turkey (Istanbul), India and England. I have some drawings from my travels around the US too. I also make drawings while killing time in trains, planes, and airports."

"Since I am usually doing research on some aspect of the history of prints, I try to make appointments to visit the print rooms of museums in cities that I happen to visit. When we lived in London on a sabbatical in 1986-87, I enrolled in a year-long class to study lettering engraving at Sir John Cass College, City of London Polytechnic, a college that trained young engravers to pass the Guild exams and become certified engravers. I did this because I knew how to engrave pictorially, but had no sense of how to engrave words or inscriptions so I could print them. As an art historian, I had become curious about the extraordinary calligraphic inscription on an engraving of a Vanitas personification by the Dutch Mannerist engraver, Jan Saenredam. A curator friend at the British Museum suggested that I look at the British Library's collection of engraved calligraphy writing manuals from the 16th and 17th century. After years of research on what became an utterly absorbing topic for me, I ended up writing a long article about this subject (“Calligraphic Inscriptions in Dutch Mannerist Prints,” in Goltzius Studies: Nederlands Kunsthistorisch Jaarboek, 1993). In addition to my art historical discoveries on this topic, I was able to incorporate the technical experience I had gained by studying lettering engraving."

"Here is a recent example of how curatorial travel influences my work as an artist: On January 21, the day after Barack Obama's inauguration, I flew to Washington DC on a courier trip. Walking up the hill past the US Capitol, I saw that it was still completely set up for the inauguration, but the two million people had all gone home. It was amazing to stand in that place on the day after the inauguration. After I did my research at the Library of Congress, I walked back down the hill, stood in front of the Capitol, and drew the scene. (To see the drawing, please click here.) The next day at 7 AM, I boarded an art shipper's truck at the National Gallery of Art and accompanied several paintings on a 19-hour ride back across the US to Des Moines."

"The delight I take in crossing barriers and mixing things up may date from my experiences as a child. I grew up in The Bronx where I attended elementary and junior high school with many kids whose parents were WWII refugees. Many of my friends did not speak English at home. During the summers of 1959 and 1960, when I was 12 and 13, my father, a NYC school principal and science educator, taught National Science Foundation summer institutes for black science teachers at Virginia State College in Petersburg, VA. This was still the era of segregation, and we spent those two summers as the only white family living on the black college campus. As a teenager attending the High School of Music and Art, I absorbed the cultural richness, variety, and excitement of the city."

"The Afro-Cuban group from the Santa Marta neighborhood (at the far, far end of Dorsoduro) is great fun. The idea of this nutty group of Rasta-haired Venetian guys singing topical songs in Venetian really appeals to me. I understand Venetian dialect and I follow the local issues that Venetians are concerned about. Santa Marta is probably the Bronx of Venice. Not the most elegant part of Venice but a great place to grow up."

"The Oxford Project was a great thing to become involved in. It was created by two University of Iowa professors, Peter Feldstein and Steven G. Bloom. Peter started photographing everyone in Oxford, Iowa in 1984 in part as Conceptual Art and for sociological reasons, but also it was Peter's attempt to be accepted by the residents of this tiny Iowa town that he had moved to. He started rephotographing the same people 21 years later, in 2005, and Steve Bloom interviewed the portrait subjects. Feldstein and Bloom proposed The Oxford Project as an exhibition to the Des Moines Art Center. I was basically assigned the job of evaluating whether it was worth doing at our museum. I was intrigued and organized a selection of the works for an exhibition in 2007. The public response was incredible. The exhibition was also shown in Padova, Italy, where it was very well received. Italian viewers understood that these amazing stories were not just American, they were universal."

"For over 600 years, artists have been drawing Venice. It is the most-drawn and painted city in the world. How can anyone find something new and fresh to say? All I could do was to draw the reality of my own existence there. I drew what I wanted to understand, or where I wanted to explore or spend time. By just remaining in a place and drawing, you see so much more. You experience the life of the place, you become part of it. Because of my constantly drawing in Venice and keeping notebooks, I feel that I understand what Canaletto was doing and experiencing with his drawings."

"Last March, I stood on the loggia of San Marco, by the reproduction horses, and made a drawing I'd been thinking about doing for a while--the entire sweep of Piazza San Marco from above. It was cold, but I stood still for two hours and became completely immersed in the making of the drawing. It is a wonderful thing to experience ... a total absorption ... and a strange sense of power that I can do this."

"Very much so. Being a curator and an artist is bad in one way. In deciding to work as a curator, I sacrificed my public persona as an artist. There are many conflict of interest issues that can arise. Although my museum has many of my prints in its permanent collection (these were acquired before I became a curatorial staff member), I certainly can't ever include my own work in an exhibition. Also, I feel extremely reluctant to try to promote my work to curatorial colleagues in other museums. That is really up to the gallery that represents my work. (I do have prints in numerous museum collections, but probably could have had a lot more). A museum would like to organize a retrospective of my work, but here again, I barely have time to prepare for it. Being a curator means no longer having all day to work in the studio. Sometimes, I come home and work from after dinner until midnight in the studio."

"On the other hand, being a print curator gives me amazing access to museum collections and original art objects. I learn so much. I do not feel unconnected from history, but rather part of a continuum. I don't try to emulate artists who have gone before or who are working now, but I certainly do measure myself against them."

"Sometimes work I have done as an artist gives me an idea for an exhibition, even though I can't incorporate that fact into what I write about it. For example, right now I am preparing the exhibition, Art in Ruins, for the Des Moines Art Center. But it is really my own experience of drawing in the wreckage of a relative's house destroyed by fire and making engravings of this, and witnessing a small plane crash and later engraving it, that made me interested in this subject."

"The Des Moines Art Center is an extraordinary institution with a terrific collection, a great work environment, and wonderful colleagues. I have an enviable work arrangement. I feel I still have something to contribute in the way of teaching about prints. So I will undoubtedly continue to commute from Venice to Des Moines for the foreseeable future"

"My very first job was teaching the JAWS screen reader when I was in college to another college student at the University of Central Oklahoma. That was all the way back in 2004!"

"I have worked at Vispero since June of 2018."

"I have always been excited about new technology, and it naturally led me to explore assistive technology I could use as a blind individual. Over time, I discovered that I also love teaching. I discovered this through teaching braille, which was my second job. Those combined passions brought me to where I am now. I also love working with people and thrive as a part of a team."

"I wanted to do something with animals when I was a kid, which does not really compare to what I do now. Still, animals remain a big part of my life, and I adore them. When I was younger, I pictured animals as my career and technology as my hobby. Now, it is the opposite: assistive technology is my job, and caring for my animals is a hobby."

"I take a lot of joy in seeing people learn skills they can apply in their lives, and I am fortunate to experience that regularly in my current role. When I look back on my time at Vispero, and even in my previous roles, what really stands out is the ability to empower others through learning. Helping people gain skills that make their lives easier or more independent is incredibly rewarding."

"Recently, I felt particularly energized by the recent conclusion of our second annual Next Big Thing contest and Sharkvember celebrations, a project I am actively involved in and really enjoy. Also, the release of FS Companion has been incredibly exciting. The team all worked hard on development, spreading the word, and ensuring our users know about it. Seeing that effort begin to pay off has been thrilling for everyone."

"I have had several opportunities to mentor people at Vispero, including interns and new team members. Mentoring is a humbling experience—it is usually less about teaching and more about learning together, and I truly value those connections. I tend to gain fresh perspectives and insights from the folks’ I mentor."

"Do not hesitate to reach out. We function like a well-oiled machine, which can feel intimidating at first, but everyone here is incredibly kind. The team is fueled by passion—we are all here because we want to be, which creates an amazing environment for growth and learning. Even though we mostly work remotely, we are always available to help, so don’t be afraid to connect and ask questions."

"I love reading and cooking, especially experimenting with different recipes and methods. My high school-aged kids keep me busy as they prepare for the next stage in life, but I also enjoy taking care of my pets and my backyard chicken flock. Even though I do not get to water ski or hike as often as I’d like, both are favorite ways to enjoy the outdoors when the weather cooperates. I feel blessed to have a job I love, and when I want to relax, I often unwind with a good Netflix series or documentary."

"I am not sure if it’s a hidden talent, but I play a mean game of Pinochle, and my family is fiercely competitive about it. I am a high energy person, so I keep busy. I also have two dogs, two cats and, of course, a flock of eleven chickens that I enjoy caring for."

"“People only care how much you know when they know how much you care.” A mentor teacher shared this with me, and it turned out to be both wise and true."

"Professionally, I am exploring how AI and data can help us make better decisions. It is amazing how quickly this technology evolves and how it can empower us all. On the personal side, I am always reading something new, and I am excited to try my hand at using a pellet smoker. I am looking forward to experimenting with different flavors—maybe even smoked cheese, as my smoker has a cold smoker box."

"I do not always remember every single word, but the energy and essence of Theodore Roosevelt’s quote has stayed with me since my teens:"

"“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.”"

"It reminds me that showing up and trying is what really matters, mistakes will always be a part of life."

"I am not very interested in seeing the future, but I love diving into history, especially when it’s told from lesser-known perspectives. You can learn so much from the little details that mainstream stories often miss. I would travel back in time just to be a fly on the wall, not to change anything, but to understand the nuances that shaped our world. Also, let us be honest, to see some of the more dramatic moments that are not fully known, the part of history that happened behind closed doors."

"Of course it goes without saying that when a whale was sighted, the whalemen were in for a hard job, a harder job than the uninitiated could ever appreciate. The chase, the capture, the , the were dangerous and inordinately wearisome. But the chase and the capture, too, had their better sides. The love of a princely sport thrilled the whalemen when the cry of "blows" came from aloft."

"The ' shipped 15,000 brown biscuit and 5,000 white, that is, , i.e. crackers; also or half-cooked bacon, as it came from the , which was much liked with the biscuit and when fried was considered a delicacy. Haberdyne () was also a staple article of diet; also . Potatoes were practically unknown at that time and the store of cabbages, turnips, onions, parsnips, etc., soon ran short and gave way to boiled mush, , s, etc. Their beer was carried in iron-bound casks."

"In 1918 he retired as an officer of the , and in the following year was elected of the . Here he officiated for the remainder of his life, serving as curator, director of its museum, and editor of its nationally known magazine, "Old-Time New England." In 1894 he founded the Topsfield Historical Society, serving as secretary and treasurer of the Society, and editor of its publications. When the came into the posssssion of the Society, he was in charge of the restoration. Because of his knowledge of early New England architecture he was often consulted, and had charge of the restoration of a number of eighteenth century houses for individuals and historical societies throughout New England. He also designed the . In 1922 he organized the Marine Research Society at Salem and edited its long and valuable series of publications."

"...To bring us back to Small Axe, one of the things that we have had to worry about over the course of our existence is the extent to which or the senses in which we are a Caribbean journal with a sense of concern for the regional Caribbean, and not a diaspora journal, as we might have imagined ourselves to be."

"I do think of my work, certainly in Refashioning Futures and Conscripts of Modernity, as work that has grown out of the larger conceptual vision that for me inspired the initiation of the Small Axe project — that is, a sense that the dream of anti-colonialism through which my generation came of age in the Caribbean, and through which the Caribbean was imagined as a space of social transformation and revolutionary change, has now been exhausted. And the end of that dream (and the practices of criticism that accompanied it) has created a demand for us to rethink the project of criticism and social change. This sense of the present infuses both my stewardship of Small Axe and the directions of my own research and writing."

"One of the things that Small Axe has been trying to do over the years is to be self-conscious about criticism as a question."