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Talk:Lanolin

raw material?
From intro line: "Lanolin, a grease from wool-bearing animals, acts as a skin ointment, water-proofing wax, and raw material." The 'raw material' bit seems incomplete.. raw material for what? Eleusis 10:43, Apr 19, 2005 (UTC)
 * The whole Wikipedia entry for 'Lanolin' is old fashioned, ill-informed and obsolete. I really would like the world's major lanolin producer (Croda International) to spend a little time updating this section. Many more people worldwide read Wikipedia's description of lanolin than read Croda's own lanolin literature. What a marketing opportunity being missed! However, that seems unlikely to happen, so maybe one day I'll do it myself.(JaX...A retired Croda scientist/lanolin guru) —Preceding unsigned comment added by 90.196.65.187 (talk • contribs)

 * For the reader's information, 90.196.65.187's suggestion of having the Croda International company (or any employee of manufacturer of lanolin) edit this article, especially as a "marketing opportunity" would be considered a conflict of interest with all that implies for the fate of those changes. Thank you, Wordreader (talk) 16:12, 22 August 2014 (UTC)

other use
This might be too trivial, but some French Horn players use anhydrous lanolin (e.g. Lansinoh) as a slide grease. Trr
 * Answer -That's interesting. But then lanolin has been used as a metal treatment/lubricant for more than a century. It has just the right consistency to use on French Horns, trombones,etc. Maybe anybody wishing to swim the English Channel in order to take up horn blowing in France will need some 'Channel Swimmers' Grease' to minimise the effects of salt water on the skin, keep them warm and 'lubricate' them through the water. You guessed, it's lanolin! Just one more of its thousands of applications. JaX —Preceding unsigned comment added by 90.196.65.187 (talk • contribs)

Oil of Olay
The name given to the product 'Oil of Olay' is derived from the word "lanolin," a key ingredient, which was chosen by the inventor, Graham Wulff.[2]

The reference given has nothing to say about the origin of the name. Is there any published source? Flapdragon 15:58, 27 October 2007 (UTC)

Citation request/flag for a medical claim...
The current version of the article mentions the use of lanolin to cure colds:

"It works wonderfully well in the nose, in small amounts, to quickly end the beginnings of a head cold, and to curtail a cold that is well under way."

There's no citation for the source of this "information" (hello?!), and it proports to give medical advice.

Either this actually works and should be identified as citing some reputable source, or maybe wikipedia shouldn't be encouraging folks to go shoving things up their noses, particularly when they have colds well under way?

Just a thought.

170.223.6.147 (talk) 22:43, 29 February 2008 (UTC)

Composition?
I wonder where the info on the "more than 180 different acids and 80 alcohols identified" is from - surely not from the single(!) reference, which is for a court decision. The best (reliable) source of information I've found up to now are these rather old reviews: Wool wax hydrocarbons: A review, [ http://www.springerlink.com/content/a51037557n212g74/ Wool wax acids: A review] and Wool wax alcohols:A review. They're all from around 1979/1980 and aren't heavily cited - a bit better perhaps (but no review) is the German article Über die Analytik von Wollwachs in kosmetischen Erzeugnissen from 1986 which at least lists lead compounds the main esters are composed of and this Gas Chromatographic Evaluation of Wool Wax Alcohols Supported by Principal Component Analysis which identifies 8 out of GC-separated compounds/alcohols. If there are indeed around 200 identified substances, it would be nice to find a way to list them in a table as [b]the[/b] definite information or at least link to a publication/review/book that contains the list Iridos (talk) 22:34, 8 December 2009 (UTC)

Neutrality problems
There are some surprising neutrality issues with article, at least in the Modern Developments section. Of all things, you have to be biased about lanolin? I'll go ahead and point out some concerns:  "Some years ago, lanolin attracted a great deal of attention owing to a misunderstanding concerning its sensitising potential." "However, this figure was misinterpreted and taken out of context and became quoted as 1% of the general healthy (American) population. By one estimate, this simple misunderstanding of failing to differentiate between the general healthy population and patients with dermatological disorders exaggerates the sensitising potential of lanolin by 5,000–6,000 times." "By the time the European Cosmetics Directive was introduced in July 1976, so much adverse (but completely unfounded) publicity concerning lanolin had occurred..." "Despite only being in force for a short period of time, this ruling did a great deal of harm both to the lanolin industry and to the reputation of lanolin in general." "The irony is that the Cosmetics Directive ruling only applied to the presence of lanolin in cosmetic products..." "However, lanolin's safety and efficacy are probably best illustrated by taking a look at the market. High lanolin content baby care products (some as high as 100%) and treatment products for nursing mothers are commonplace." "More recently, using modern scientific methods, attention has focused on the positive aspects of lanolin and on increasing the understanding about how lanolin achieves its beneficial skin effects." I have nothing against lanolin, but the obvious subjectivity and NPOV issues shouldn't be ignored. You can state a fact in an objective manner. - Cyborg Ninja  22:30, 17 February 2013 (UTC)
 * I believe I fixed all remaining issues here. I removed the neutrality tag on the section.  It isn't perfect, but it's improved.  Re-add the tag, discuss further, and/or edit the article further if anyone feels issues still remain :) -Verdatum (talk) 16:11, 19 March 2013 (UTC)

no scientific research supports claim less lanolin = better meat
from the intro: "Most lanolin used by humans comes from domestic sheep breeds that are raised specifically for their wool; the meat of such breeds is considered vastly inferior in quality to that from breeds raised specifically for their meat, partially due to the presence of lanolin.[1][2]"

The portion of the sentence, "the meat of such breeds [the wool breeds] is considered vastly inferior in quality to that from breeds raised specifically for their meat, partially due to the presence of lanolin" is not true.

In all the lamb taste studies that have been conducted,lanolin has not been studied because there is no link between lanolin production and meat. And, hair sheep also produce lanolin, so then one should ask, "how much lanolin must be present to create inferior quality meat?"

There have been studies between different breeds of sheep, such as dual purpose (those bred for wool production and meat), wool breeds and hair sheep comparing taste. The MARC study has been one of the best, as it managed the sheep under identical processes from raising to table:

http://www.ars.usda.gov/sp2UserFiles/Place/54380530/Publications/LambMeatQualityReportNumber2.pdf

And this study from Australia ties taste to branched chain fatty acids, again, no mention of lanolin:

http://www.sheepcrc.org.au/files/pages/fact-sheets/practical-wisdom-notes--quality-sheepmeat-series/Taking_the__mutton_out_of_lamb.pdf

please note, most Australian sheep are the traditional wool breeds. Australia provides a lot of lamb to the world, and if the meat was "inferior", I doubt they could sell it.

Through a relative, the authors of the two citations were contacted with the request for further information. Neither source has replied to date with any studies to support their claim.

T5t6popcorn (talk) 15:29, 25 August 2013 (UTC)

Chemical feedstock.
Lanolin is the source of the Cholesterol chemical that is used with photo synthesis, by UVB irradiation, to make the precursors to Vitamin-D. Idyllic press (talk) 16:42, 17 October 2020 (UTC)

Eucerit
The word Eucerit redirects here but the article does not mention it. Is it the same as Lanolin? Hubba (talk) 01:35, 22 May 2021 (UTC)

title: Talk:Lanolin


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Adrian Scrope

Colonel Adrian Scrope (also spelt Scroope; 12 January 1601 — 17 October 1660) was a Parliamentarian soldier during the Wars of the Three Kingdoms, and one of those who signed the death warrant for Charles I in January 1649. Despite being promised immunity after the Restoration in 1660, he was condemned as a regicide and executed in October.

A wealthy landowner from Buckinghamshire, Scrope was a relative of the Parliamentarian leader John Hampden and fought in both the First and Second English Civil Wars. Appointed by Oliver Cromwell as head of security during the trial of Charles I, he was present on each day and signed the death warrant. However, he largely avoided taking part in the political struggles of the Protectorate or the Restoration of Charles II.

Initially released in June 1660 after paying a fine, he was re-arrested in August, tried for treason and found guilty, primarily due to a claim he refused to condemn the execution of Charles I, even after the Restoration. He was executed at Charing Cross, London, on 17 October 1660.

Personal details
Adrian Scrope was born at Wormsley Park, Buckinghamshire and baptised on 12 January 1601, only son of Sir Robert Scrope (1569-1630) and Margaret Cornwall (1573-1633). The family were a cadet branch of the Scropes of Bolton.

In 1624, he married Mary Waller, sister of the poet and Royalist conspirator Edmund Waller. They had at least eight children, and probably more: Edmund (1626-1658); Robert (1628-bef. 1661); Margaret (1) (b. ca. 1630-1631; d. bef. 6 Feb 1639/40); Anne (bp. 3 June 1633); Thomas (bp. 11 Sep 1634; d. bef. Will probate 1 Aug 1704), heir of Wormsley estate; Mary (bp. 28 June 1636); Margaret (2) (bp. 6 Feb 1639/40) and Elizabeth (b. 1655; bur. 4 Aug 1738). The fact that his youngest daughter Elizabeth is not mentioned in Pedigrees, coupled with the nearly 15 year gap between the births of Margaret (2) and Elizabeth, suggests that there may have been additional children. William Scrope (Throop)1638-1704- Sc

His youngest daughter Elizabeth married Jonathan Blagrave (1652-1698), who was a Prebendary of Worcester Cathedral and related to another regicide, Daniel Blagrave. On her death in 1738, she was buried in St Mary's Collegiate Church, Youghal where her memorial can still be seen. It names her father as "Colonel Adrian Scrope, of Warmesley in the County of Oxford"; as with many of those which refer to the regicides, it was deliberately defaced and broken in two at some point.

Career
Scrope graduated from Hart Hall, Oxford on 7 November 1617, and as was then common studied law at the Middle Temple until 1619. There are few details of his career prior to the outbreak of the First English Civil War in August 1642; he was related to the Parliamentarian leader John Hampden and like many of the Buckinghamshire gentry joined the army of Parliament, raising a troop of horse for the Earl of Essex and fighting at Edgehill.

In 1644, he joined Sir Robert Pye's cavalry regiment, fighting at Lostwithiel and the Second Battle of Newbury, before transferring to the New Model Army in 1645 as a major in Colonel Richard Graves' regiment. Although the regiment was part of the force sent to relieve Taunton and missed the Battle of Naseby, he took part in the South-Western campaign, where it fought at Langport and Bristol.

Just before the Royalist capital of Oxford surrendered in June 1646, Charles I escaped to join the Scottish Covenanter army outside Newark. In March 1647, the Scots handed him over to Parliament in return for £400,000 and Graves' regiment escorted him to Holdenby House in Northamptonshire. In the struggle for control between Parliamentary moderates and the Army Council, Graves supported Parliament; when Cornet George Joyce arrived at Holmby and took charge of the king on behalf of the Council, Scrope replaced Graves as colonel.

By early 1648, Scrope was based in Blandford keeping order in Dorset, home base of Denzil Holles, the Army's leading Parliamentary opponent, before an alliance of English and Scots Royalists and Presbyterians led to the Second English Civil War in June. Scrope was sent to help Thomas Fairfax suppress the revolt in Kent and Essex, before being detached from the Siege of Colchester to put down another rising in Cambridgeshire, led by Henry Rich, 1st Earl of Holland. On 10 July, he took Holland prisoner at the Battle of St Neots; although Parliament voted for banishment, the Army insisted on his execution in March 1649.

Just before the Second Civil War ended, Scrope was sent to Yarmouth after reports the Prince of Wales was attempting to land there. Although this did not take place, it is suggested Yarmouth was the location of a meeting held around this time where Oliver Cromwell proposed the trial and execution of Charles I. It is not clear whether Scrope attended but shortly afterwards he became a member of the Army Council; he supported Pride's Purge in December 1648, was appointed one of the judges at trial of Charles I, and voted for his execution on 30 January 1649.

In April 1649, continuing unrest within the army led to a series of mutinies. Then based at Salisbury, in May Scrope's regiment was selected to take part in the reconquest of Ireland; joined by Henry Ireton's unit, they refused to go. Only eighty men remained loyal to Scrope, the rest elected new officers, fortified their positions within the town, and published a pamphlet with their demands. The units from Salisbury attempted to link up with colleagues elsewhere, posing a serious threat to the regime; Cromwell and Fairfax put down the mutiny at Burford on 17 May, three ringleaders were shot and the regiments concerned dissolved, including Scrope's.

His inability to pacify the mutineers and general unpopularity with the troops ended Scrope's active military career. In October, he was appointed governor of Bristol Castle, a position he retained until June 1655 when it was demolished as part of a scheme for reducing the number of garrisons in England. In August, he was appointed to the newly formed Council of Scotland, a body established by Cromwell to administer the country following its incorporation into the Commonwealth. Edmund Ludlow, another regicide who became an opponent of Cromwell, claimed this was to offset George Monck, the ambitious military commander.

Execution

Scrope spent little time in Scotland and played no part in the struggle for power that ended with The Restoration of Charles II in May 1660. He complied with the proclamation issued by Charles II on 4 June 1660, requiring the regicides to surrender within fourteen days "upon pain of being excepted from pardon". After a lengthy debate, on 9 June the Commons ruled he be discharged after paying a fine, a considerably lighter sentence than that imposed on the other prisoners.

However, on 23 July the Lords passed a motion excluding him from the Indemnity and Oblivion Act along with all the regicides; Scrope was clearly viewed with some sympathy, as on 1 August the High Sheriff of Oxfordshire was summoned to explain why he had failed to arrest him. What sealed his fate was the allegation by Sir Richard Browne, a Parliamentarian moderate excluded in 1648 and now MP for the City of London, that in a recent conversation Scrope refused to denounce the execution. As a result, on 28 August the Commons agreed to put him on trial.

At the proceedings on 12 October, Scrope claimed he acted as instructed by Parliament but admitted to an 'error of judgement'. While the presiding judge, Sir Orlando Bridgeman, agreed he was "not such a person as some of the rest", Browne's evidence meant he was condemned to death. On 17 October, he was hanged, drawn and quartered at Charing Cross, along with Thomas Scot, Gregory Clement and John Jones Maesygarnedd; as a special favour, his body was returned to his family for burial, rather than being put on display.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

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John Marascalco

John S. Marascalco (March 27, 1931 – July 5, 2020 ) was an American songwriter most noted for the songs he wrote for Little Richard. He was born in Grenada, Mississippi and died in Los Angeles, California.

Career
Marascalco co-wrote several of the most seminal songs in 1950s rock and roll. Together with Robert Blackwell, he wrote the songs "Good Golly Miss Molly", "Ready Teddy", and "Rip It Up" made famous by Little Richard. Also for Little Richard, Marascalco co-wrote "Heeby Jeebies", "She's Got It", and "Groovy Little Suzy". He co-wrote the song "Goodnight My Love" with George Motola made famous by Jesse Belvin and Paul Anka. Marascalco also collaborated with Harry Nilsson and co-wrote "Be My Guest" with Tommy Boyce.

Marascalco co-wrote "Send Me Some Lovin'" with Leo Price, which was recorded by Little Richard. The Crickets for their 1957 debut album The "Chirping" Crickets, Sam Cooke, and John Lennon. He also penned "Wouldn't You Know", which was recorded by Billy Lee Riley.

"Rip It Up" has been recorded by Bill Haley and His Comets, Elvis Presley, The Everly Brothers, Chuck Berry, Gene Vincent, Wanda Jackson, Buddy Holly, Gerry and the Pacemakers, The Beatles, Scotty Moore, Cliff Richard, The Million Dollar Quartet, Ral Donner, Shaun Cassidy, Billy "Crash" Craddock, and Los Lobos.

He wrote the lyrics to the 1956 Lloyd Price song "Rock 'n' Roll Dance" which was released as a 45 single on Specialty Records.

In 1961, Gene Vincent recorded his song "If You Want My Lovin'". Harry Nilsson recorded Marascalco's "Groovy Little Suzy" in 1964 under the pseudonym "Bo-Pete", which was released as a 45 single on Try Records.

Harry Nilsson songs
Marascalco and Scott Turner collaborated on songs for Harry Nilsson, such as "I Just Ain't Right" and "Building Me Up," both of which appear on the albums Nilsson '62: The Debut Sessions and Early Tymes. Marascalco and Nilsson also wrote songs together, including "Baby Baby" and "Born in Grenada".

title: John Marascalco


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User:Vinter

Hey.

I am a Danish dude currently (Febuary 2005) about to start my PhD on gravitational microlensing. If I get around to it, I will write an article on microlensing.

title: User:Vinter


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Cape lion

The Cape lion was a population of lions in South Africa's Natal and Cape Provinces that was extirpated in the mid-19th century. The type specimen originated at the Cape of Good Hope and was described in 1842.

Traditionally, the Cape lion was considered a distinct subspecies of lion, Panthera leo melanochaita. However, phylogeographic analysis has shown that lion populations in Southern and East Africa are closely related. In 2017, the subspecies Panthera leo melanochaita was recircumscribed to include all lion populations in Southern and East Africa. Genetic analysis published in 2023 suggests that Cape lions were not particularly distinctive from other Southern African lion populations.

Taxonomy
Felis (Leo) melanochaita was a black-maned lion specimen from the Cape of Good Hope that was described by Ch. H. Smith in 1842. In the 19th century, naturalists and hunters recognised it as a distinct subspecies because of this dark mane colour. In the 20th century, some authors supported this view of the Cape lion being a distinct subspecies. Vratislav Mazák hypothesized that it evolved geographically isolated from other populations by the Great Escarpment.

This theory was questioned in the early 21st century. Genetic exchanges between lion populations in the Cape, Kalahari and Transvaal regions, and farther east are considered having been possible through a corridor between the escarpment and the Indian Ocean. Results of phylogeographic studies support this notion of lions in Namibia, Botswana and South Africa being genetically close. Based on the analysis of 357 lion samples from 10 countries, it is thought that lions migrated from Southern to East Africa during the Pleistocene and Holocene. Analysis of 194 lion samples from 22 countries suggest that populations in Southern and East Africa are distinct from populations in West and North Africa and Asia. In 2017, lion populations in Southern and East Africa were subsumed under P. l. melanochaita.

Zoological specimens
A few natural history museums keep Cape lion specimens in their collections:
 * the Transvaal Museum has a female Cape lion skull;
 * the Naturalis Biodiversity Center has a mounted specimen and two Cape lion skulls;
 * the Natural History Museum, London and the Paris Museum of Natural History each have a mounted Cape lion;
 * the Swedish Museum of Natural History has a Cape lion skull, and the Zoological Museum Amsterdam a mounted specimen.
 * Clifton Park Museum in Rotherham has a stuffed Cape lion.
 * the African Museum of Dr. Emil Holub in Holice, Czech Republic has a two-year-old stuffed specimen, bought as a small cub in 1876. It was identified as a Cape lion in 2009.

Characteristics
The type specimen of the Cape lion was described as very large with black-edged ears and a black mane extending beyond the shoulders and under the belly. Skulls of two lion specimen in the British Natural History Museum from the Orange River basin were described as a little shorter in the occipital regions than other lions in South Africa and with a tendency to develop the second lower premolar.

American zoologist Edmund Heller described the Cape lion's skull as longer than those of equatorial lions, by at least 1.0 in on average, despite being comparatively narrow. He considered the Cape lion to have been 'distinctly' bigger than other lions in Africa. Lions approaching 272 kg were shot south of the Vaal River. 19th century authors claimed that the Cape lion was bigger than the Asiatic lion.

Results of a long-term study indicate that the colour of lion manes is influenced by climatic variables and varies between individuals. Manes are darker and longer in cool seasons, with a 2023 study finding that the colour of Cape lion manes exhibited the same dark-light colour variation found in other lions and that mane colour was not a distinctive characteristic of this population.

Distribution and habitat
In the early 19th century, lions still occurred in the Karoo plains and in the Northern Cape. In 1844, lions were sighted south of the Riet River. The last lions south of the Orange River were sighted between 1850 and 1858. In the northern Orange Free State, lions may have survived into the 1860s.

In 2003, six lions from Kgalagadi Transfrontier Park were relocated to Addo Elephant National Park in the Eastern Cape Province.

In captivity
In 2000, specimens asserted to be descendants of the Cape lion were found in captivity in Russia, and two of them were brought to South Africa. South African zoo director John Spence reportedly was long fascinated by stories of these grand lions scaling the walls of Jan van Riebeeck's Fort de Goede Hoop in the 17th century. He studied van Riebeeck's journals to discern the Cape lion's features, which included a long black mane, black in their ears, and reportedly a larger size. He believed that some Cape lions might have been taken to Europe and interbred with other lions. His 30-year search led to his discovery of black-maned lions with features of the Cape lion at the Novosibirsk Zoo in Siberia, in 2000. Besides having a black mane, the specimen that attracted Spence had a "wide face and sturdy legs". Novosibirsk Zoo's population, which had 40 cubs over a 30-year period, continues, and Spence, aided by the Schönbrunn Zoo in Vienna, was allowed to bring two cubs back to Tygerberg Zoo. Back in South Africa, Spence explained that he hoped to breed lions that at least looked like Cape lions, and to have DNA testing done to establish whether or not the cubs were descendants of the original Cape lion. However, Spence died in 2010 and the zoo closed in 2012, with the lions expected to go to Drakenstein Lion Park.

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Red-figure pottery

Red-figure pottery is a style of ancient Greek pottery in which the background of the pottery is painted black while the figures and details are left in the natural red or orange color of the clay.

It developed in Athens around 520 BCE and remained in use until the late 3rd century CE. It replaced the previously dominant style of black-figure pottery within a few decades. Its modern name is based on the figural depictions in red color on a black background, in contrast to the preceding black-figure style with black figures on a red background. The most important areas of production, apart from Attica, were in Southern Italy. The style was also adopted in other parts of Greece. Etruria became an important center of production outside the Greek World.

Attic red-figure vases were exported throughout Greece and beyond. For a long time, they dominated the market for fine ceramics. Few centers of pottery production could compete with Athens in terms of innovation, quality and production capacity. Of the red-figure vases produced in Athens alone, more than 40,000 specimens and fragments survive today. From the second-most important production center, Southern Italy, more than 20,000 vases and fragments are preserved. Starting with the studies by John D. Beazley and Arthur Dale Trendall, the study of this style of art has made enormous progress. Some vases can be ascribed to individual artists or schools. The images provide evidence for the exploration of Greek cultural history, everyday life, iconography, and mythology.

Technique
Red figure is, put simply, the reverse of the black figure technique. Both were achieved by using the three-phase firing technique. The paintings were applied to the shaped but unfired vessels after they had dried to a leathery, near-brittle texture. In Attica, the normal unfired clay was an orange color at this stage. The outlines of the intended figures were drawn either with a blunt scraper, leaving a slight groove, or with charcoal, which would disappear entirely during firing. Then the contours were redrawn with a brush, using a glossy clay slip. Occasionally, the painter decided to somewhat change the figurative scene. In such cases the grooves from the original sketch sometimes remain visible. Important contours were often drawn with a thicker slip, leading to a slightly protruding outline (relief line); less important lines and internal details were drawn with diluted glossy clay.

Detail in other colors, Including white or red, were applied at this point. The relief line was probably drawn with a bristle brush or a hair, dipped in thick paint. (The suggestion that a hollow needle could account for such features seems somewhat unlikely.) The application of relief outlines was necessary, as the rather liquid glossy clay would otherwise have turned out too dull. After the technique's initial phase of development, both alternatives were used, to differentiate gradations and details more clearly. The space between figures was filled with a glossy grey clay slip. Then, the vases underwent triple-phase firing, during which the glossy clay reached its characteristic black or black-brown color through reduction, the reddish color by a final re-oxidation. Since this final oxidizing phase was fired using lower temperatures, the glazed parts of the vase did not re-oxidize from black to red: their finer surface was melted (sintered) in the reducing phase, and now protected from oxygen.

The new technique had the primary advantage of permitting a far better execution of internal detail. In black-figure vase painting such details had to be scratched into the painted surfaces, which was always less accurate than the direct application of detail with a brush. Red-figure depictions were generally more lively and realistic than the black-figure silhouettes. They were also more clearly contrasted against the black backgrounds. It was now possible to depict humans not only in profile, but also in frontal, rear, or three-quarter perspectives. The red-figure technique also permitted the indication of a third dimension on the figures. However, it also had disadvantages. For example, the distinction of sex by using black slip for male skin and white paint for female skin was now impossible. The ongoing trend to depict heroes and deities naked and of youthful age also made it harder to distinguish the sexes through garments or hairstyles. In the initial phases, there were also miscalculations regarding the thickness of human figures.

In black-figure vase painting, the pre-drawn outlines were a part of the figure. In red-figure vases, the outline would, after firing, form part of the black background. This led to vases with very thin figures early on. A further problem was that the black background did not permit the depiction of space in any depth, so that spatial perspective was almost never attempted. Nonetheless, the advantages outnumbered the disadvantages. The depiction of muscles and other anatomical details clearly illustrates the development of the style.

Attica
Black-figure vase painting had been developed in Corinth in the 7th century BCE and quickly became the dominant style of pottery decoration throughout the Greek world and beyond. Although Corinth dominated the overall market, regional markets and centers of production did develop. Initially, Athens copied the Corinthian style, but it gradually came to rival and overcome the dominance of Corinth. Attic artists developed the style to an unprecedented quality, reaching the apex of their creative possibilities in the second third of the 6th century BCE. Exekias, active around 530 BCE, can be seen as the most important representative of the black-figure style.

In the 5th century BCE Attic fine pottery, now predominantly red-figure, maintained its dominance in the markets. Attic pottery was exported to Magna Graecia and even Etruria. The preference for Attic vases led to the development of local South Italian and Etruscan workshops or "schools", strongly influenced by Attic style, but producing exclusively for local markets.

Beginnings
The first red-figure vases were produced around 530 BCE. The invention of the technique normally is accredited to the Andokides Painter. He, and other early representatives of the style, e.g. Psiax, initially painted vases in both styles, with black-figure scenes on one side, and red-figure on the other. Such vases, e.g. the Belly Amphora by the Andokides Painter (Munich 2301), are called bilingual vases. Although they display major advances against the black-figure style, the figures still appear somewhat stilted and seldom overlap. Compositions and techniques of the older style remained in use. Thus incised lines are quite common, as is the additional application of red paint ("added red") to cover large areas.

Pioneering phase
The artists of the so-called "Pioneer Group" made the step towards a full exploitation of the possibilities of the red-figure technique. They were active between circa 520 and 500 BCE. Important representatives include Euphronios, Euthymides and Phintias. This group, recognised and defined by twentieth-century scholarship, experimented with the different possibilities offered by the new style. Thus figures appeared in new perspectives, such as frontal or rear views, and there were experiments with perspective foreshortening and more dynamic compositions. As a technical innovation Euphronios introduced the "relief line". At the same time new vase shapes were invented, a development favored by the fact that many of the pioneer group painters were also active as potters.

New shapes include the psykter and the pelike. Large krater and amphorae became popular at this time. Although there is no indication that the painters understood themselves as a group in the way that modern scholarship does, there were some connections and mutual influences, perhaps in an atmosphere of friendly competition and encouragement. Thus a vase by Euthymides is inscribed "as Euphronios never [would have been able]". More generally, the pioneer group tended to use inscriptions. The labelling of mythological figures or the addition of Kalos inscriptions are the rule rather than the exception.

Apart from the vase painters, some bowl painters also used the new style. These include Oltos and Epiktetos. Many of their works were bilingual, often using red-figure only on the interior of the bowl.

Late Archaic
The generation of artists after the pioneers, active during the Late Archaic period (circa 500 to 470 BCE) brought the style to a new flourish. During this time, black-figure vases failed to reach the same quality and were pushed out of the market eventually. Some of the most famous Attic vase painters belong to this generation. They include the Berlin Painter, the Kleophrades Painter, and among the bowl painters Onesimos, Douris, Makron and the Brygos Painter. The improvement of quality went along with a doubling of output during this period. Athens became the dominant producer of fine pottery in the Mediterranean world, overshadowing nearly all other production centers.

One of the key features of this most successful Attic vase painting style is the mastery of perspective foreshortening, allowing a much more naturalistic depiction of figures and actions. Another characteristic is the drastic reduction of figures per vessel, of anatomic details, and of ornamental decorations. In contrast, the repertoire of depicted scenes was increased. For example, the myths surrounding Theseus became very popular at this time. New or modified vase shapes were frequently employed, including the Nolan amphora (see Typology of Greek Vase Shapes), lekythoi, as well as bowls of the askos and dinos types. The specialisation into separate vase and bowl painters increased.

Early and High Classical
The key characteristic of Early Classical figures is that they are often stockier and less dynamic than their predecessors. As a result, the depictions gained seriousness, even pathos. The folds of garments were depicted less linearly, appearing more plastic. The manner of presenting scenes also changed substantially. Firstly, the paintings ceased to focus on the moment of a particular event, but rather, with dramatic tension, showed the situation immediately before the action, implying and contextualising the event proper. Also, some of the other new achievements of Athenian democracy began to show an influence on vase painting. Thus influences of tragedy and of wall painting can be detected. Since Greek wall painting is almost entirely lost today, its reflection on vases constitutes one of the few, albeit modest, sources of information on that genre of art.

Other influences on High Classical vase painting include the newly erected Parthenon and its sculptural decoration. This is especially visible in the depiction of garments; the material now falls more naturally, and more folds are depicted, leading to an increased "depth" of the depiction. The overall compositions were simplified even more. Artists placed special emphasis on symmetry, harmony, and balance. The human figures had returned to their earlier slenderness; they often radiate a self-absorbed, divine serenity.

Important painters of this period, roughly 480 to 425 BCE, include the Providence Painter, Hermonax, and the Achilles Painter, all following the tradition of the Berlin Painter. The Phiale Painter, probably a pupil of the Achilles Painter, is also important. New workshop traditions also developed. Notable examples include the so-called "mannerists", most famously among them the Pan Painter. Another tradition was begun by the Niobid Painter and continued by Polygnotos, the Kleophon Painter, and the Dinos Painter. The role of bowls decreased, although they were still produced in large numbers, e.g. by the workshop of the Penthesilea Painter.

Late Classical
During the Late Classical period, in the final quarter of the 5th century BCE, two opposed trends were created. On the one hand, a style of vase painting strongly influenced by the "Rich Style" of sculpture developed, on the other, some workshops continued the developments of the High Classical period, with an increased emphasis on the depiction of emotion, and a range of erotic scenes. The most important representative of the Rich Style is the Meidias Painter. Characteristic features include transparent garments and multiple folds of cloth. There is also an increase in the depiction of jewelry and other objects. The use of additional colors, mostly white and gold, depicting accessories in a low relief, is very striking. Over time, there is a marked "softening": The male body, heretofore defined by the depiction of muscles, gradually lost that key feature. The paintings depicted mythological scenes less frequently than before. Images of the private and domestic world became more and more important. Scenes from the life of women are especially frequent. Mythological scenes are dominated by images of Dionysos and Aphrodite. It is not clear what caused this change of topic among some of the artists. Suggestions include a context with the horrors of the Peloponnesian War, but also the loss of Athens' dominant role in the Mediterranean pottery trade (itself partially a result of the war). The increasing role of new markets, e.g. Iberia, implied new needs and wishes on part of the customers. These theories are contradicted by the fact that some artists maintained the earlier style. Some, e.g. the Eretria Painter, attempted to combine both traditions. The best works of the Late Classical period are often found on smaller vessels, such as belly lekythoi, pyxides and oinochai. Lekanis, Bell krater(see Typology of Greek Vase Shapes) and hydria were also popular.

The production of mainstream red-figure pottery ceased around 360 BCE. The Rich and Simple styles both existed until that time. Late representatives include the Meleager Painter (Rich Style) and the Jena Painter (Simple Style).

Kerch Style
The final decades of Attic red—figure vase painting are dominated by the Kerch Style. This style, current between 370 and 330 BCE, combined the preceding Rich and Modest Styles, with a preponderance of the Rich. Crowded compositions with large statuesque figures are typical. The added colors now include blue, green and others. Volume and shading are indicated by the use of diluted runny glossy clay. Occasionally, whole figures are added as appliques, i.e. as thin figural reliefs attached to the body of the vase. The variety of vessel shapes in use was reduced sharply. Common painted shapes include pelike, chalice krater, belly lekythos, skyphos, hydria and oinochoe. Scenes from female life are very common. Mythological themes are still dominated by Dionysos; Ariadne and Heracles are the most commonly depicted heroes. The best-known painter of this style is the Marsyas Painter.

The last Athenian vases with figural depictions were created around 320 BCE at the latest. The style continued somewhat longer, but with non-figural decorations. The last recognised examples are by painters known as the YZ Group.

Artists and works
The Kerameikos was the potters' quarter of Athens. It contained a variety of small workshops, and probably a few larger ones. In 1852 CE, during building activity in Ermou Street, the workshop of the Jena Painter was discovered. The artefacts from it are now on display in the University collection of the Friedrich Schiller University of Jena. According to modern research, the workshops were owned by the potters. The names of about 40 Attic vase painters are known, from vase inscriptions, usually accompanied by the words ἐγραψεν (égrapsen, has painted). In contrast, the signature of the potter, ἐποίησεν (epoíesen, has made) has survived on more than twice as many, namely about 100, pots (both numbers refer to the totality of Attic figural vase painting). Although signatures had been known since c. 580 BCE (first known signature by the potter Sophilos), their use increased to an apex around the Pioneering Phase. A changing, apparently increasingly negative, attitude to artisans led to a reduction of signatures, starting during the Classical period at the latest. Overall, signatures are quite rare. The fact that they are mostly found on especially good pieces indicates that they expressed the pride of potter and/or painter.

The status of painters in relation to that of potters remains somewhat unclear. The fact that, e.g., Euphronius was able to work as both painter and potter suggests that at least some of the painters were not slaves. On the other hand, some of the known names indicate that there were at least some former slaves and some perioikoi among the painters. Additionally, some of the names are not unique: for example, several painters signed as Polygnotos. This may represent attempts to profit from the name of that great painter. The same may be the case where painters bear otherwise famous names, like Aristophanes (vase painter). The careers of some vase painters are quite well known. Apart from painters with relatively short periods of activity (one or two decades), some can be traced for much longer. Examples include Douris, Makron, Hermonax and the Achilles Painter. The fact that several painters later became potters, and the relatively frequent cases where it is unclear whether some potters were also painters or vice versa, suggest a career structure, perhaps starting with an apprenticeship involving mainly painting, and leading up to being a potter.

This division of labor appears to have developed along with the introduction of red-figure painting, since many potter-painters are known from the black-figure period (including Exekias, Nearchos and perhaps the Amasis Painter). The increased demand for exports would have led to new structures of production, encouraging specialisation and division of labor, leading to a sometimes ambiguous distinction between painter and potter. As mentioned above, the painting of vessels was probably mainly the responsibility of younger assistants or apprentices. Some further conclusions regarding the organisational aspects of pottery production can be suggested. It appears that generally, several painters worked for one pottery workshop, as indicated by the fact that frequently, several roughly contemporary pots by the same potter are painted by various painters. For examples, pots made by Euphronios have been found to be painted by Onesimos, Douris, the Antiphon Painter, the Triptolemos Painter and the Pistoxenos Painter. Conversely, an individual painter could also change from one workshop to another. For example, the bowl painter Oltos worked for at least six different potters.

Although from a modern perspective the vase painters are often considered artists, and their vases thus as works of art, this view is not consistent with that held in antiquity. Vase painters, like potters, were considered craftsmen, their produce considered trade goods. The craftsmen must have had a reasonably high level of education, as a variety of inscriptions occur. On the one hand, the aforementioned Kalos inscriptions are common; on the other hand, inscriptions often label the depicted figures. That not every vase painter could write is shown by some examples of meaningless rows of random letters. The vases indicate a steady improvement of literacy from the 6th century BCE onwards. Whether potters, and perhaps vase painters, belonged to the Attic elite has not been satisfactorily clarified so far. Do the frequent depictions of the symposium, a definite upper-class activity, reflect the painters' personal experience, their aspirations to attend such events, or simply the demands of the market? A large proportion of the painted vases produced, such as psykter, krater, kalpis, stamnos, as well as kylikes and kantharoi, were made and bought to be used at symposia.

Elaborately painted vases were good, but not the best, table wares available to a Greek. Metal vessels, especially from precious metals, were held in higher regard. Nonetheless, painted vases were not cheap products; the larger specimens, especially, were expensive. Around 500 BCE, a large painted vase cost about one drachma, equivalent to the daily wage of a stonemason. It has been suggested that the painted vases represent an attempt to imitate metal vessels. It is normally assumed that the lower social classes tended to use simple undecorated coarse wares, massive quantities of which are found in excavations. Tablewares made of perishable materials, like wood, may have been even more widespread. Nonetheless, multiple finds of red-figure vases, usually not of the highest quality, found in settlements, prove that such vessels were used in daily life. A large proportion of production was taken up by cult and grave vessels. In any case, it can be assumed that the production of high-quality pottery was a profitable business. For example, an expensive votive gift by the painter Euphronios was found on the Athenian Acropolis. There can be little doubt that the export of such pottery made an important contribution to the affluence of Athens. It is hardly surprising that many workshops appear to have aimed their production at export markets, for example by producing vessel shapes that were more popular in the target region than in Athens. The 4th century BCE demise of Attic vase painting tellingly coincides with the very period when the Etruscans, probably the main western export market, came under increasing pressure from South Italian Greeks and the Romans. A further reason for the end of the production of figurally decorated vases is a change in tastes at the start of the Hellenistic period. The main reason, however, should be seen in the increasingly unsuccessful progress of the Peloponnesian War, culminating in the devastating defeat of Athens in 404 BCE. After this, Sparta controlled the western trade, albeit without having the economic strength to fully exploit it. The Attic potters had to find new markets; they did so in the Black Sea area. But Athens and its industries never fully recovered from the defeat. Some potters and painters had already relocated to Italy during the war, seeking better economic conditions. A key indicator for the export-oriented nature of Attic vase production is the nearly total absence of theatre scenes. Buyers from other cultural backgrounds, such as Etruscans or later customers in the Iberian Peninsula, would have found such depiction incomprehensible or uninteresting. In Southern Italian vase painting, which was mostly not aimed at export, such scenes are quite common.

Southern Italy
At least from a modern point of view, the Southern Italian red-figure vase paintings represent the only region of production that reaches Attic standards of artistic quality. After the Attic vases, the South Italian ones (including those from Sicily), are the most thoroughly researched. In contrastic to their Attic counterparts, they were mostly produced for local markets. Only few pieces have been found outside Southern Italy and Sicily. The first workshops were founded in the mid-5th century BC by Attic potters. Soon, local craftsmen were trained and the thematic and formal dependence on Attic vases overcome. Towards the end of the century, the distinctive "ornate style" and "plain style" developed in Apulia. Especially the ornate style was adopted by other mainland schools, but without reaching the same quality.

By now, 21,000 South Italian vases and fragments are known. Of those, 11,000 are ascribed to Apulian workshops, 4,000 to Campanian, 2,000 to Paestan, 1,500 to Lucanian and 1,000 to Sicilian ones.

Apulia
The Apulian vase painting tradition is considered as the leading South Italian style. The main centre of production was at Taras. Apulian red-figure vases were produced from circa 430 to 300 BC. The plain and ornate styles are distinguished. The main difference between them is that the plain style favoured bell craters, column kraters and smaller vessels, and that a single "plain" vessel rarely depicted more than four figures. The main subjects were mythological scenes, female heads, warriors in scenes of combat of farewell, and dionysiac thiasos imagery. The reverse often showed youths wearing cloaks. The key feature of these simply decorated wares is the general absence of additional colours. Important plain style representatives are the Sisyphus Painter and the Tarporley Painter. After the mid-4th century BC, the style grows more and more similar to the ornate style. An important artist of that period is the Varrese Painter. The artists using the ornate style tended to favour large vessels, like volute kraters, amphorae, loutrophoroi and hydriai. The larger surface area was used to depict up to 20 figures, often in several registers on the body of the vase. Additional colours, especially shades of red, yellow-gold and white are used copiously. Since the 2nd half of the 4th century, the necks and sides of the vases are decorated with rich vegetal or ornamental decorations. At the same time, perspective views, especially of buildings such as "Palace of Hades" (naiskoi), develop. Since 360 BC, such structures are often depicted in scenes connected with burial rites (naiskos vases). Important representatives of this style are the Ilioupersis Painter, the Darius Painter and the Baltimore Painter. Mythological scenes were especially popular: The assembly of the Gods, the amazonomachy, the Trojan War, Heracles and Bellerophon. Additionally, such vases frequently depict scenes from myths that are only rarely illustrated on vases. Some specimens represent the single source for the iconography of a particular myth. Another subject that is unknown from Attic vase painting are the theatre scenes. Especially farce scenes, e.g. from the so-called phlyax vases are quite common. Scenes of athletic activity or everyday life only occur in the early phase, they disappear entirely after 370 BC.

Apulian vase painting had a formative influence on the traditions of the other South Italian production centres. It is assumed that individual Apulian artists settled in other Italian cities and contributed their skills there. Apart from red-figure, Apulia also produced black-varnished vases with painted decor (Gnathia vases) and polychrome vases (Canosa vases).

Campania
Campania also produced red-figure vases in the 5th and 4th centuries BC. The light brown clay of Campania was covered with a slip that developed a pink or red tint after firing. The Campanian painters preferred smaller vessel types, but also hydriai and bell kraters. The most popular shape is the bow-handled amphora. Many typical Apulian vessel shapes, like volute kraters, column kraters, loutrophoroi, rhyta and nestoris amphorae are absent, pelikes are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native warriors. The backs often show cloaked youths. Mythological scenes and depictions related to burial rites play a subsidiary role. Naiskos scenes, ornamental elements and polychromy are adopted after 340 BC under Lucanian influence.

Before the immigration of Sicilian potters in the second quarter of the 4th century BC, when several workshops were established in Campania, only the Owl-Pillar Workshop of the second half of the 5th century is known. Campanian vase painting is subdivided in three main groups:

The first group is represented by the Kassandra Painter from Capua, still under Sicilian influence. He was followed by the workshop of the Parrish Painter and that of the Laghetto Painter and the Caivano Painter. Their work is characterised by a preference for satyr figures with thyrsos, depictions of heads (normally below the handles of hydriai), decorative borders of garments, and the frequent use of additional white, red and yellow. The Laghetto and Caivano Painters appear to have moved to Paestum later.

The AV Group also had its workshop in Capua. Of particular importance is the Whiteface-Frignano Painter, one of the first in this group. His typical characteristic is the use of additional white paint to depict the faces of women. This group favoured domestic scenes, women and warriors. Multiple figures are rare, usually there is only one figure each on the front and back of the vase, sometimes only the head. Garments are usually drawn casually.

After 350 BC, the CA Painter and his successors worked in Cumae. The CA painter is considered as the outstanding artist of his group, or even of Campanian vase painting as a whole. From 330 onwards, a strong Apulian influence is visible. The most common motifs are naiskos and grave scenes, dionysiac scenes and symposia. Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around 300 BC.

Lucania
The Lucanian vase painting tradition began around 430 BC, with the works of the Pisticci Painter. He was probably active in Pisticci, where some of his works were discovered. He was strongly influenced by Attic tradition. His successors, the Amycus Painter and the Cyclops Painter had a workshop in Metapontum. They were the first to paint the new nestoris (see Typology of Greek Vase Shapes) vase type. Mythical or theatrical scenes are common. For example, the Cheophoroi painter, named after the Cheophoroi by Aeschylos showed scenes from the tragedy in question on several of his vases. The influence of Apulian vase painting becomes tangible roughly at the same time. Especially polychromy and vegetal decor became standard. Important representatives of this style include the Dolon Painter and the Brooklyn-Budapest Painter. Towards the mid-4th century BC, a massive drop in quality and thematic variety becomes notable. The last notable Lucanian vase painter was the Primato Painter, strongly influenced by the Apulian Lycourgos Painter. After him, a short rapid demise is followed by the cessation of Lucanian vase painting at the start of the last quarter of the 4th century BC.

Paestum
The Paestan vase painting style developed as the last of the South Italian styles. It was founded by Sicilian immigrants around 360 BC. the first workshop was controlled by Asteas and Python. They are the only South Italian vase painters known from inscriptions. They mainly painted bell kraters, neck amphorae, hydriai, lebes gamikos, lekanes, lekythoi and jugs, more rarely pelikes, chalice kraters and volute kraters. Characteristics include decorations such as lateral palmettes, a pattern of tendrils with calyx and umbel known as "asteas flower", crenelation-like patterns on garments and curly hair hanging over the back of figures. Figures that bend forwards, resting on plants or rocks, are equally common. Special colours are used often, especially white, gold, black, purple and shades of red. The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals. Asteas and Python had a major influence on the vase painting of Paestum. This is clearly visible in the work of the Aphrodite Painter, who probably immigrated from Apulia. Around 330 BC, a second workshop developed, originally following the work of the first. The quality of its painting and variety of its motifs deteriorated quickly. At the same time, an influence by the Campanian Caivano Painter becomes notable, garments falling in a linear fashion and contourless female figures followed. Around 300 BC, Paestan vase painting came to a halt.

Sicily
The production of Sicilian vase painting began before the end of the 5th century BC, in the poleis of Himera and Syracusae. In terms of style, themes, ornamentation and vase shapes, the workshops were strongly influenced by the Attic tradition, especially by the Late Classical Meidias Painter. In the second quarter of the 4th century, Sicilian vase painters emigrated to Campania and Paestum, where they introduced red-figure vase painting. Only Syracusae retained a limited production.

The typical Sicilian style only developed around 340 BC. Three groups of workshops can be distinguished. The first, known as the Lentini-Manfria Group, was active in Syracusae and Gela, a second, making Centuripe Ware around Mt. Aetna, and a third on Lipari. The most typical feature of Sicilian vase painting is the use of additional colours, especially white. In the early phase, large vessels like chalice kraters and hydriai were painted, but smaller vessels like flasks, lekanes, lekythoi and skyphoid pyxides are more typical. The most common motifs are scenes from female life, erotes, female heads and phlyax scenes. Mythological scenes are rare. Like in all other areas, vase painting disappears from Sicily around 300 BC.

Etruria and other regions
In contrast to black-figure vase painting, red-figure vase painting developed few regional traditions, workshops or "schools" outside Attica and Southern Italy. The few exceptions include some workshops in Boeotia (Painter of the Great Athens Kantharos), Chalkidike, Elis, Eretria, Corinth and Laconia.

Only Etruria, one of the main export markets for Attic vases, developed its own schools and workshops, eventually exporting its own products. The adoption of red-figure painting, imitating Athenian vases, occurred only after 490 BC, half a century after the style had been developed. Because of the technique used, the earliest examples are known as pseudo-red-figure vase paintings. The true red-figure technique was introduced much later, near the end of the 5th century BC. Several painters, workshops and production centres are known for both styles. Their products were not only used locally, but also exported to Malta, Carthage, Rome and Liguria.

Pseudo-red-figure vase painting
The early Etruscan examples merely imitated the red-figure technique. Similar to a rare and early Attic technique (see Six's technique), the whole vessel was covered with black glossy clay and figures were applied afterwards using mineral colours that would oxidise red or white. Thus, in contrast to contemporary Attic vase painting, the red colour was not achieved by leaving areas unpainted but by adding paint to the black prime layer. Like in black-figure vases, internal detail was not painted on, but incised into the figures. Important representatives of this style include the Praxias Painter and other masters from his workshop in Vulci. In spite of their evident good knowledge of Greek myth and iconography, there is no evidence to indicate that these painters had immigrated from Attica. An exception to this may be the Praxia Painter, as Greek inscription on four of his vases may indicate that he originated from Greece.

In Etruria, the pseudo-red-figure style was not just a phenomenon of the earliest phases, as it had been in Attica. Especially during the 4th century, some workshops specialised in this technique, although true red-figure painting was widespread among Etruscan workshops at the same time. Notable workshops include the Sokra Group and the Phantom Group. The Sokra Group, somewhat older, preferred bowls with interior decoration of Greek mythical themes, but also some Etruscan motifs. The phantom Group mainly painted cloaked figures combined with vegetal or palmette ornamentation. The workshops of both groups are suspected to have been in Caere, Falerii and Tarquinia. The Phantom Group produced until the early 3rd century BC. Like elsewhere, the changing tastes of the customers eventually led to the end of this style.

Red-figure vase painting
True red figure vase painting, i.e. vases where the red areas have been left unpainted, was introduced to Etruria near the end of the 5th century BC. The first workshops developed in Vulci and Falerii and produced also for the surrounding areas. It is likely that Attic masters were behind these early workshops, but a South Italian influence is evident, too. These workshops dominated the Etruscan market into the 4th century BC. Large and medium-sized vessels like kraters and jugs were decorated mostly with mythological scenes. In the course of the 4th century, the Falerian production began to eclipse that of Vulci. New centres of production developed in Chiusi and Orvieto. Especially the Tondo Group of Chiusi, producing mainly drinking vessels with interior depictions of dionysiac scenes, became important. During the second half of the century, Volterra became a main centre. Here, especially rod-handled kraters were produced and, especially in the early phases, painted elaborately.

During the 2nd half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan painters. They were replaced by female heads and scenes of up to two figures. Instead of figural depictions, ornaments and floral motifs covered the vessel bodies. Large figural compositions, like that on a krater by the Den Haag Funnel Group Painter were only produced exceptionally. The originally large-scale production at Falerii lost its dominant role to the production centre at Caere, which had probably been founded by Falerian painters and cannot be said to represent a distinct tradition. The standard repertoire of the Caere workshops included simply painted oinochoai, lekythoi and drinking bowls of the Torcop Group, and plates of the Genucuilia Group. The switch to the production of black glaze vases near the end of the 4th century, probably as a reaction to changing tastes of the time, spelt the end of Etruscan red-figure vase painting.

Research and reception
About 65,000 red-figure vases and vase fragments are known to have survived. The study of ancient pottery and of Greek vase painting began already in the Middle Ages. Restoro d'Arezzo dedicated a chapter (Capitolo delle vasa antiche) of his description of the world to ancient vases (Della composizione del mondo, libro VIII, capitolo IV). He considered especially the clay vessels as perfect in terms of shape, colour, and artistic style. Nevertheless, initially the attention focused on vases in general, and perhaps especially on stone vases. The first collections of ancient vases, including some painted vessels, developed during the Renaissance. We even know of some imports from Greece to Italy at that time. Still, until the end of the Baroque period, vase painting was overshadowed by other genres, especially by sculpture. A rare pre-Classicist exception is a book of watercolours depicting figural vases, which was produced for Nicolas-Claude Fabri de Peiresc. Like some of his contemporary collectors, Peiresc owned a number of clay vases.

Since the period of Classicism, ceramic vessels were collected more frequently. For example, Sir William Hamilton and Giuseppe Valletta had vase collections. Vases found in Italy were relatively affordable, so that even private individuals could assemble important collections. Vases were a popular souvenir for young Northwestern Europeans to bring home from the Grand Tour. In the diaries of his voyage to Italy, Goethe refers to the temptation of buying ancient vases. Those who could not afford originals had the option of acquiring copies or prints. There were even manufactories specialised in imitating ancient pottery. The best known is Wedgwood ware, although it employed techniques entirely unrelated to those used in antiquity, using ancient motifs merely as a thematic inspiration.

Since the 1760s, archaeological research also began to focus on vase paintings. The vases were appreciated as source material for all aspects of ancient life, especially for iconographical and mythological studies. Vase painting was now treated as a substitute for the almost entirely lost oeuvre of Greek monumental painting. Around this time, the widespread view that all painted vases were Etruscan works became untenable. Nonetheless, the artistic fashion of that time to imitate ancient vases came to be called all'etrusque. England and France tried to outdo each other in terms of both research and imitation of vases. The German aesthetic writers Johann Heinrich Müntz and Johann Joachim Winckelmann studied vase paintings. Winckelmann especially praised the Umrißlinienstil ("outline style", i.e. red-figure painting). Vase ornaments were compiled and disseminated in England through Pattern books. Vase paintings even had an influence on the development of modern painting. The linear style influenced artists such as Edward Burne-Jones, Gustave Moreau or Gustav Klimt. Around 1840, Ferdinand Georg Waldmüller painted a Still Life with Silver Vessels and Red-Figure Bell Krater. Henri Matisse produced a similar painting (Intérieur au vase étrusque). Their aesthetic influence extends into the present. For example, the well-known curved shape of the Coca-Cola bottle is inspired by Greek vases.

The scientific study of Attic vase paintings was advanced especially by John D. Beazley. Beazley began to study the vases from about 1910 onwards, inspired by the methodology that the art historian Giovanni Morelli had developed for the study of paintings. He assumed that each painter produced individual works that can always be unmistakably ascribed. To do so, particular details, such as faces, fingers, arms, legs, knees, garment folds and so on, were compared. Beazley examined 65,000 vases and fragments (of which 20,000 were black-figure). In the course of six decades of study, he was able to ascribe 17,000 of them to individual artists. Where their names remained unknown, he developed a system of conventional names. Beazley also united and combined individual painters into groups, workshops, schools and styles. No other archaeologist has ever had as formative an influence on a whole subdiscipline as had Beazley on the study of Greek vase painting. A large proportion of his analysis is still considered valid today. Beazley first published his conclusions on red-figure vase painting in 1925 and 1942. His initial studies only considered material from before the 4th century BC. For a new edition of his work published in 1963, he also incorporated that later period, making use of the work of other scholars, such as Karl Schefold, who had especially studied the Kerch Style vases. Famous scholars who continued the study of Attic red-figure after Beazley include John Boardman, Erika Simon and Dietrich von Bothmer.

For the study of South Italian case painting, Arthur Dale Trendall's work has a similar significance to that of Beazley for Attica. Most post-Beazley scholars can be said to follow Beazley's tradition and use his methodology. The study of Greek vases is ongoing, not least because of the constant addition of new material from archaeological excavations, illicit excavations and unknown private collections.

title: Red-figure pottery


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Sir Robert Pigot, 2nd Baronet

Sir Robert Pigot, 2nd Baronet (20 September 1720 – 1 August 1796) was a British Army officer during the American Revolutionary War.

Life
Robert Pigot was born in London, England in 1720. His two brothers were George Pigot, 1st Baron Pigot, Governor of Madras, India and Admiral Hugh Pigot, Commander-in-Chief of the West Indies fleet. He and his brothers shared Huguenot ancestry through their grandfather Peter Godde, who had come to England in the late seventeenth century.

In 1758 Pigot was major in the 10th Regiment of Foot. In 1764 he was lieutenant colonel. From 1769 to 1775 he was the commander of the 38th Regiment of Foot.

He also served as a member of parliament for Wallingford from 1768 to 1772. He was appointed Warden of the Mint from August, 1771 until his death.

On 17 June 1775 he commanded the left flank of the British assault in the Battle of Bunker Hill. On 9 July he was colonel in the 55th Regiment of Foot. He was promoted to the permanent grade of colonel for his bravery in the battle of Bunker Hill. He was made a major general in 1777. Pigot was placed in command in Rhode Island and made a lieutenant general in 1782. In the Battle of Rhode Island he fought with 3,000 men against 5,000 men under General John Sullivan. He inherited the baronetcy of his older brother Lord George Pigot (it had been created with special remainder) and the Patshull Hall estate in 1777. He also inherited a one-third share of the Pigot Diamond, which remained in the family until sold in a lottery in 1801. On 8 February he resigned and died 1 August 1796 in Stafford, England.

title: Sir Robert Pigot, 2nd Baronet


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Category:Schools in Suffolk

Schools located in the county of Suffolk.

title: Category:Schools in Suffolk


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User talk:Keillan

Nothing to see here. GO AWAY!

Comment on West Wing AfD
Thanks for commenting on Talk:Timeline skew theories for The West Wing! I appreciate your support. Another Wikipedian has put the article up for deletion, and I would appreciate if you could make the same comments on its articles for deletion page. Best regards! -Scm83x 00:06, 8 November 2005 (UTC)

title: User talk:Keillan


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Category talk:Novel sequences

Untitled
How is this different from Category:Series of books? -Aranel (" Sarah ") 22:03, 1 Feb 2005 (UTC)

Cultural Collision with Popular Term
I just added these lines (or emphasis) to the page header:
 * For groups of novels where the order does not matter, see Category:Series of books.
 * Note this distinction is backwards from the terminology in common use in Speculative Fiction and all its common subgenres. In fantasy, sci-fi, and alt-History, series generally connotes that order matters (very much thankyou!) unlike for example, in a set of detective mystery novels, which by the given distinction is a series Mickey Spillane's Mike Hammer, Virginia Wolfe, and numerous others.
 * Note this distinction is backwards from the terminology in common use in Speculative Fiction and all its common subgenres. In fantasy, sci-fi, and alt-History, series generally connotes that order matters (very much thankyou!) unlike for example, in a set of detective mystery novels, which by the given distinction is a series Mickey Spillane's Mike Hammer, Virginia Wolfe, and numerous others.

 * As justification, consider the various honorverse articles, a very profitable and popular science fiction series per Baens Books, the 1632 series article, where plot development is multithread, yet sequentially significant as its an alternate history. Similarly most books by John Ringo fit into sequential series of 3 to 5 books. (All Baen Books)

 * As a consequence, I'd like to propose the category Sequential series be the name of this category. Even old time action adventure series like James Bond and Ian McDonalds' Matt Helm spy novels were expected to be read in order. So where did this awkward sounding title come from? No usage I've seen in 51 years of prolific eclectic reading. Nancy Drew, Hardy Boys, Tom Swift,...,  I can type a lot of fiction series where chronology matters to both reader and writer.

 * Which brings up another distiction disagreement. The definition on this page refered to by the author, which I modified to 'by the author/editor' because of a new phenomenum— pioneered in the 1632 series books. Author Eric Flint, having written 1632 (novel) as a single novel, when nearly overwhelmed by the huge success of that work, gambled and threw the development of the milieu open to ideas on the net on the publishers net forum Baens Bar, then invited other published authors to play in his new playground under the rules generated by that first generation of on line respondents. Subsequently the 1633 (novel) and Ring of Fire (anthology) were co-developed and concurrently written by no less than (at least) seventeen previously published or 'name' authors, not counting editor/author Flint in that 2nd opus. The great and growing commercial success of this method is sure to be copied time and again going forward from 2002. The Series is currently up to ten books in five years, and there are co-writing contracts for at least five more just by 1633 co-authors Weber and Flint. Two others between DeMarce and Flint, and another two between David Freer and Flint. The demand for these works is not quite parrallel to Harry Potter, but its trending that way, and Flint has finally frozen the 1632 Tech Manual which means even more publishing in less development time.
 * Fra nkB 05:19, 25 March 2006 (UTC)

I should hasten to add here, that there are combinations, and forcing an editor to pick between two mutually exclusive category groups (as may be now) is strongly counterindicated. The honorverse booka and Potter books can certainly be read as stand-alone 'first taste of books'. So can Flint's succesful series... but the new reader is then missing a lot. Thus to my mind, there exists a third category: Sequential series— One where the author intends the book to be read in a chronological order consistant with the mileu, but not necessarily in order of publication. Fra nkB 05:30, 25 March 2006 (UTC)

Rename to avoid confusion
I think that currently Category:Novel sequences and Category:Series of books are confusing, even with the description in them. I'd recommend either: 1) renaming of: Category:Novel sequences to Category:Series of books (sequential) and Category:Series of books to Category:Series of books (non-sequential), or 2) defining Category:Novel sequences as a category for books in sequence and a subcategory of Category:Series of books, and possibly creating a category for books not in a sequence but sharing some common theme. Also, it is not clear whether novel sequence HAS to be read in order, SHOULD be read in order of CAN be read in order. And the categories of Novel sequence and Book series need to be unified. Finally, Category:Series of books should be renamed Category:Book series to have the same name as her article (or the article should be moved).--Piotr Konieczny aka Prokonsul Piotrus Talk 17:09, 1 May 2006 (UTC) --Piotr Konieczny aka Prokonsul Piotrus Talk 17:09, 1 May 2006 (UTC)
 * Novel sequences and book series are two different things; In Search of Lost Time is a novel sequence, but it is a single novel, not a series of books. In addition, "novel sequence" is a literary term (e.g., see here) and thus is the appropriate title for that article. As such, I oppose both changes suggested above. | Mr. Darcy talk 22:59, 1 May 2006 (UTC)
 * I think that making a distinction between a set of novels intended to be read in a particular order and a set of novels NOT intended to be read in a particular order (but having the same setting, characters, etc), is at worst a completely unnecessary distinction, and at best a premature distinction. There should first be a category to distinguish connected novels from other book series types (such as Choose-Your-Own-Adventure, or For Dummies, or anthology series). That's what I first assumed this category was for. Also, confusingly, the article novel sequence defines this term exactly the opposite as the category does; as novels NOT intended to be read in a particular order. MakeRocketGoNow 23:13, 3 May 2006 (UTC)

Thankyou_Mr._Darcy
Thankyou Mr Darcy!!! This is much as I suspected five weeks ago when posting above. Novel Sequences are a technical term; if I understand the below and MrDarcy above, it essentially means one novel over many volumes—as some have considered Lord of the Rings—reading The Two Towers w/o reading either of the others would be fairly unsatisfying, I would suspect. Quoting (Encycl. Brittanica from link by MrDarcy):
 * Marcel Proust's À la recherche du temps perdu (1913–27; Remembrance of Things Past) had no time for fresh beginnings. Evoking the vanishing world of fashionable Parisian society of the Third Republic, the novel sequence explored the ways in which memory, imagination, and, most of all, artistic form could be put to work together to counter the corrosive effects of time.

So there IS an easy solution—pull anything out of the category which cannot be defined as a 'Novel Sequence' per (WP:V and require member-articles to carry explicit cites as footnotes) such by an external reference calling it such—we are talking about a small exclusive club here. In essence, the follow-on novels aren't crafted to be stand-alone according to Brittanica— thus they can be viewed as a single serialized very long novel. (Perhaps like the Never Ending Story... ) The other renaming ought to be forgotten about per MrDarcy. Best regards to all, Fra nkB 05:13, 4 May 2006 (UTC)
 * 1) This satisfys the colloquial usage of series, and the technical needs of literary arcana. This would remove Harry Potter, honorverse, and 1632 series for sure, imho.
 * 2) And remove the unnecessary distinction that I agree with MakeRocketGoNow about— the new criteria for Category: Novel sequences thus becomes whether there is a third-party who has reviewed/studied/commented about the work that has called it a 'Novel sequence', which can be footnoted.
 * 3) That may cause a few such to be categorized as series, but being a technical niche, they instead of the one's collected by Category:Novel sequences will have the likelihood of being seen and explored by many more possible browsing readers.
 * 4) It also solves another problem: What to do with series that should be read chronologically but also contain short fiction collections that aren't novels. Series does not cause collision with those anthologies, so they fit into the niche quite nicely.
 * 5) Lastly, I concur with Piotr: rename the bookseries cat s.t Category:Series of books s be renamed Category:Book series to match  . This should be done initially with a redirect for later deletion, then have that cleaned up by AWB or a BOT.
 * I'm with FrankB on just about all of those points. "Novel sequence" is a technical term, not a Wikipedia distinction, and it should be preserved. We may miscategorize a series as a sequence or vice versa, but over time those mistakes will be ironed out. | Mr. Darcy talk 14:30, 4 May 2006 (UTC)

Start over
I've gone over the Wikipedia entry for novel sequence and the discussion above. Unfortunately, defining what is and what isn't a "novel sequence" seems highly problematic. The category also has great potential for confusion. Hell, I'm still confused. Unless someone can explain what is and what isn't a "novel sequence" to my satisfaction, I suggest this category be scrapped, and some more general category be created that encompasses all interrelated novels/series of novels. Or create an even MORE general category for interrelated fiction so that a book of short stories is not excluded from its brother novel(s). Perhaps Category:Fiction series or Category:Fiction book series or Category:Sequential series or Category:Sequential book series. MakeRocketGoNow 00:35, 5 May 2006 (UTC)

 * To me, "series" is a subset of "sequence", but I'm not ready to die in a ditch over that argument. However, I'm very concerned that anyone could consider "book" to be a synonym of "novel".  A book could be history or any other type or non-fiction.  It could be poetry, children's picture books, or pretty much anything that goes between two covers. Deb 12:00, 5 May 2006 (UTC)

 * If you read the discussion above, you'll see the suggestion that the category only include those works defined by reliable sources as novel sequences. It's more than a suggestion, actually - it's a rule. Since third party sources do make this distinction (cf. the reference to Proust's works as a novel sequence above), then Wikipedia can and should make this distinction as well. I'm not clear why this one user is pushing so hard to delete the category. | Mr. Darcy talk 13:22, 5 May 2006 (UTC)

 * Deleting the category is not necessary. I'm also fine with restricting this category to externally defined "novel sequences." But to alleviate confusion, I'd like to see a new category created that is a subcategory of Category:Series of books that would encompass all connected novels/fiction. Suggestions? MakeRocketGoNow 16:14, 5 May 2006 (UTC)

I am SO confused...but here's my take on it
Just for my own edification, I went back over various phrases and definitions from WP about these articles & cats. Here they are for one-stop shopping.

 * Book series (article) says: "A book series is a sequence of books with common characteristics, typically written by the same author, or marketed as a group by their publisher. Fictional series typically share a common setting, story arc, set of characters or timeline."
 * The category's explanatory text currently reads: "Series of books that are not intended to be read sequentially (in order). See Category:Novel sequences for series that should be read sequentially." (emphasis mine)
 * My own observation of the titles I've read is that the works listed in the "book series" category may be read out of sequence, but their characters and settings would be better understood if they were read in sequence - contrary to the cat description.

 * Novel sequence (article) says: "A novel sequence is a set or series of novels which share common themes, characters, or settings, but where each novel has its own title and free-standing storyline, and can thus be read independently or out of sequence." (emphasis mine)
 * = The category's explanatory text currently describes it as "Groups of novels by the same author/editor intended to be read sequentially. For groups of novels where the order does not matter, see Category:Series of books." (emphasis mine)
 * This sounds like a paraphrase of the explanatory text, and it contradicts the article!!

 * None of this addresses works like LOTR, which must be read in sequence in order to make any sense, i.e. works whose story arc crosses over into another work.

It sounds to me as if "novel sequences" are a form of "book series", but the distinction between them is not clear to me.Perhaps the simplest solution would be to make a sub-cat of  and try to make the definitions a bit more clear. If this has been covered or suggested before, my apologies; I can hear my hair turning greyer as we speak over this. ♥ Her Pegship ♥ 23:41, 12 June 2006 (UTC)

Cut the Gordian knot

 * I created Category:Series of books to encompass ALL book series, from Nancy Drew to Lord of the Rings to ...For Dummies.  The category description defining it as "Series of books that are not intended to be read sequentially" was added later by User:Piotrus. I do not agree with it. I see NO use in setting up two separate categories, one for connected novels you should read in sequence, and one for connected novels where it doesn't matter what order you read them in. Put them all in, say, Category:Novel series and be done with it. MakeRocketGoNow 01:17, 14 June 2006 (UTC)
 * Works for me. It seems that a list format would make more sense for the sequential fiction stuff anyway. Shall I cfr the Novel sequences cat? ♥ Her Pegship ♥ 04:09, 14 June 2006 (UTC)
 * Please do! MakeRocketGoNow 16:48, 14 June 2006 (UTC)

 * Have we misunderstood the category here (regardless of current description), this would be for articles on the sequences. So the articles are likely to contain the list of what makes up the series / sequence. Also the sequence should not make too much of the intention, just that they can be treated as a sequence. Also I don't think there is much on common parlance to distinguish sequence / series. No individual novel articles should appear here in this catagory. No I don't think the catgeory should be merged. I might support a rename to "Novel series" or "Series of Novels" if others thought this necessary. If we merge it we will have the series of books that make up "The History of the English Speaking Peoples" by Winston Churchill in this the "Dune" sequence, series by Frank Herbert in one enormous ::  Kevinalewis  :  (Talk Page) / (Desk)  07:58, 19 June 2006 (UTC)
 * Unfortunately, the category is full of individual novel articles. If it should be full of lists, or articles about novel series, then would someone please revise the description for it? (Kevin?) I'll be happy to help move the articles once it's clear what the category's for. Also, how about renaming it Category:Series of novels to parallel Category:Series of books? Thanks. ♥ Her Pegship ♥ 14:12, 19 June 2006 (UTC)

FYI: I've revised the proposal as Category:Novel sequences to Category:Novel series at Cfr. Cheers, ♥ Her Pegship ♥ 16:29, 19 June 2006 (UTC)

 * Once that change takes place - assuming it does - I propose the description of the category Category:Novel series should become something like

''Articles about "groups" of novels - NOT articles about the novels themselves. Includes series described by the same author/or authorial partnership that can read sequentially. Authorial intention may be enough to define a series but this should be augmented by reader experience. Note includes both series that should be read in order as is often the case in speculative fiction and all its sub-genres, and also those that can be thought of in order but can also be sensibly read alone.''

I think the Series article itself should indicate whether the order is significant when reading them set. :: Kevinalewis  :  (Talk Page) / (Desk)  17:09, 19 June 2006 (UTC)

 * I'm much too tired to cognate on this further (I've some comments all but done on the Category rename (Cfd) page) but ask that you all do consider 1, and 2 as well as Mr Darcy's 'Proust' example above. A (quoted) search for "Novel sequence" in Britanica turned up anther half-dozen novelists, and when Columbia did the same, I found those links supporting Mr Darcy's points above.

 * This new 'go-round' all kicked off while I was taking a wikibreak (Still am, actually) for RL needs and asked Peg to resolve the 'definitions dichotomy' on the 12th between novel and category. So thanks to you all. Based on the three examples in two encyclopedias, ISTM, the only thing really necessary is to tighten up the category purpose statement, move most articles out, and leave the category name unchanged, as it appears correct, however rarely used. We're doing a lot of that in reworking Maps on the commons and here into the same system. Note however, the sequence apparently need not have the same central characters, but just a continuous milieu of some sort (like the Roots miniseries), since at least one of those new examples is apparently multi-generational.

 * Someone divy up the pages to check and re-cat, and I'll spring the time to move my share of articles to the proper cats. I'll support Peg's take, per the the note in the Cfd. Best wishes! // Fra nkB 06:17, 22 June 2006 (UTC)

 * Please see my comment at Cfd; I'm too tired to retype. zzzzz ♥ Her Pegship ♥ 15:15, 22 June 2006 (UTC)

Articles sorted
I hope I have got the sorting correct but please someone sanity check the work. This category should now only have the articles relating to groups of novels, that is "loosely" associated novels refered to as a "Novel sequence" see debates above. Others have been moved to Category:Novel series or even elsewhere. :: Kevinalewis  :  (Talk Page) / (Desk)  10:29, 30 June 2006 (UTC)
 * Thanks, Kevin, for a terrific job. I had lost hope.  ♥ Her Pegship ♥ 16:23, 30 June 2006 (UTC)

Novel sequence article
Just a thought but the Kevinalewis  :  (Talk Page) / (Desk)  11:47, 30 June 2006 (UTC)

title: Category talk:Novel sequences


text:
Shane Cooper (artist)

Shane Cooper is a visual effects software developer, and an installation artist specializing in Internet and interactive art.

As a visual effects developer, he has contributed work to such films as Avatar, the Lord of the Rings trilogy, Rise of the Planet of the Apes, Dawn of the Planet of the Apes, The Adventures of Tintin, and King Kong. In 2015, he was awarded an Academy Scientific and Technical Award by The Academy of Motion Picture Arts and Sciences.

As an artist, there are common themes emphasized in his works. Most of them feature interactivity with the viewer and computer learning. In many of his works, the actions of the viewer are somehow recorded and later used in the art itself. His work 'Remote Control' was made part of the permanent exhibition at The ZKM - Center for Art and Media Karlsruhe.

He has also worked with musicians, such as Devo in Santa Monica, California in 1996 and Graham Nash in Los Angeles, in 1995.

Installation art
In Cooper’s 1999 art installation Remote Control, a television displays an anchorman that looks and sounds real, yet is completely computer-generated. The newscast being shown is generated in real-time, using live feeds from various Internet news sources. A remote control with two buttons, labeled “Truth 1” and “Truth 2”, allows the viewer to choose between two channels: one where the news being reported is true, and one where the facts have been reversed. This work is now in the permanent exhibition at The ZKM - Center for Art and Media Karlsruhe.

In Reflection (2002) (also known as “Parasight”), the viewer stands in front of a wall that has an image of another person, standing in a similar way as them, projected onto it. When the viewer moves in any way, the image projected on the screen changes to match the new way that the viewer is standing. The result is that the viewer sees their “reflection” on the screen, except that the reflection is in fact the image of a previous visitor. In addition, every viewer is also filmed and added to the database of images that can be projected. In this way, every new viewer adds to the exhibit, and increases the accuracy of the next viewer's reflection.

In Echo (2009), Cooper designed what was to be an heirloom that steadily acquires sounds in its environment, and plays them back years in the future - at the same yearly time and date they were recorded. Sounds that it absorbs may possibly be echoed back many times in the future, at the same exact time of day and day of year that they were originally recorded.

Feed (2006) and Life Support (2009) both examine ways in which art literally survives according human presence.

Early internet art
Shane has also created several early Internet art works which still appear at his personal website.

Live (1998) is a simulated chatroom, which is actually full of bots. The bots learn new conversations from the humans that come into the room, which is another example of Cooper's recurring theme of the viewer leaving an impression on the artwork itself. It also features a “live webcam” that is actually a series of images that repeat over and over, with only the timestamp changing.

Caption (1998) is a black web page showing only an image and a string of text. Usually, the pair appears to have a meaning of some sort, making it seem like the text was written specifically to go with the image. However, the image and text are chosen completely at random. (This can be verified by simply reloading the page until the same image appears twice, in which case it will most likely be matched with a different text string.) The project serves to illustrate how the human mind will find a link between any two randomly matched items.

Notable exhibitions

 * Various items at F.I.L.E. Electronic Language International Festival in São Paulo 1999
 * Various items atVisionNetwork in Tokyo 1999
 * Remote Control, in net_condition, ZKM, Karlsruhe, Germany 1999-2001
 * Remote Control, at GFT Creative Lab, Berlin 2001
 * Remote Control in Graz, Austria 2001
 * Reflection at Intermedium2, ZKM, Karlsruhe, Germany 2002
 * Reflection at Volkswagen AG in Berlin 2002
 * Remote Control in Vectors: Digital Art in our Time, New York Digital Salon, New York 2003
 * Remote Control in Experimenta's House of Tomorrow, Melbourne 2003
 * Reflection in Ciber:Art Bilbao 2004 in Bilbao Spain
 * Remote Control in Reality Show, Aarau, Switzerland, 2005
 * Live in Radiodays, De Appel Center for Contemporary Art, Amsterdam 2005
 * Remote Control in Kunstfest Weimar, "Masterpieces of Art from the ZKM Karlsruhe Collection", The Bauhaus, Weimar, Germany, 2005
 * Reflection at Ottawa School of Art, Ottawa, Canada, 2005
 * Feed at Massey University, Wellington, New Zealand, 2006
 * Feed at MOCA Taipei, Taiwan, 2007
 * Relapse at Gallery 155B Ottawa, Canada, 2007
 * Remote Control in YOU_ser. Das Jahrhundert des Konsumenten (The Century of the Consumer) Germany 2008
 * Echo in Infinite Libraries, Crewest Gallery, Los Angeles 2009
 * Life Support in Bouillants #1, Le Diapason (Université de Rennes 1 – Campus de Beaulieu) / Les Bouillants (Vern sur Seiche) / Le Volume (espace culturel de Vern sur Seiche) / La Station VasteMonde à Saint-Brieuc (espace de création dédié à l’art contemporain), France 2009

title: Shane Cooper (artist)


text:
Category:Schools in Surrey

Schools located in the county of Surrey.

title: Category:Schools in Surrey