
Contemporary Encounters with Ancient Practice
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Content
- Cover
- Front matter
- Contents
- List of Figures
- Figure 2.1 Triangle ABC
- Figure 2.2 Triangle ABC + D, drawn by author
- Figure 2.3 Triangle ABC + DEF, drawn by author
- Figure 2.4 Graph with rising line, drawn by author
- Figure 2.5 Graph with rising line and point at (3,9), drawn by author
- Figure 2.6 Graph with rising line, point at (3,9) and segment, drawn by author
- Figure 2.7 Graph with rising line, point at (3,9), segment, and equations, drawn by author
- Figure 2.8 Graph with curve, drawn by author
- Figure 2.9 Image of equations in book gutter, drawn by author
- Figure 9.1a-g Still frames from the video The Archaeology of Memory - 7 Days in 7 Minutes. Vlad Basarab, 2013, https://vimeo.com/60777622
- Figure 9.2a-f Frames from the time-lapse video The Destruction of the Great Book. Vlad Basarab, 2014 &https://vimeo.com/147607558&
- Figure 9.3a-c The Archaeology of Memory installation, unfired clay books
- three stages of the installation during the erosion process
- 579 × 335 × 81 cm / 228 × 132 × 32 inches, Vlad Basarab, 2013 &https://www.youtube.com/watch?v=iSRYD8v3Rck&
- Figure 9.4a,b Time Freeze, installation, part of the Archaeology of Memory exhibition, Pittsburgh Center for the Arts, salt- and soda-fired porcelain 1350°C, wooden table, unfired clay, 528 × 294 × 81 cm / 208 × 116 × 32 inches, Vlad Basarab, 2015
- Figure 9.5a-c Books of Memory, terracotta, stoneware, porcelain, installation, 190 × 800 × 530 cm / 74 × 315 × 209 inches, Vlad Basarab, 2021
- Figure 9.6 Book of Memory, porcelain, reduction fired, 1350°C, 2016, 13 × 7 × 4 inches / 33 × 18 × 10 cm, Vlad Basarab, 2016
- Figure 9.7 Book of Memory, porcelain, reduction fired, 1350°C, 2016, 13 × 12 × 3 inches / 33 × 30.5 × 8 cm, Vlad Basarab, 2016
- Figure 9.8 Book of Memory, stoneware, reduction fired, 1300°C, 2016, 16 × 15 × 5 inches / 41 × 38 × 13 cm, Vlad Basarab, 2017
- Figure 9.9 Burned book residue with beeswax, Vlad Basarab, 2013
- Figure 9.10 The Archaeology of Knowledge, wood-fired earthenware, 960°C, 354 × ?106 × 39 inches / 900 × 270 × 100 cm, National Museum of Art, Republic of Moldova, Vlad Basarab, 2016
- Figure 9.11a,b Library of Memory, terracotta and porcelain, 197 × 91 × 79 inches, 500 × 231 × 200 cm, Cluj Ceramics Biennale, 2017, installation view, Collection of the National Museum of Contemporary Art, Bucharest, Romania, Vlad Basarab, 2017
- Figure 9.12 Reflecting on Memories, porcelain and stoneware, 1280-1350°C, 750 × ?690 × 80 cm/ 295 × 272 × 31 inches, the Mode International Art invitational exhibition, Liling Valley Ceramics Museum, Vlad Basarab, 2016
- Figure 9.13 The Library, Brâncoveanu Palaces Cultural Center, Mogo?oaia, Romania, low-temperature woodfired earthenware 960°C, 536 × 550 × 67 cm / 211 × 217 × 26 inches, installation view, Vlad Basarab, 2016
- Figure 9.14 Garden of Memory, part of the '100 Years, 100 Sculptures' exhibition, Cantacuzino Castle, Bu?teni, Romania, low-temperature woodfired earthenware, 960°C, 1300 × 300 × 60 cm / 511 × 118 × 24 inches, Vlad Basarab, 2018
- Figure 9.15a,b Shards of Memory, terracotta, installation, 12 × 137 × 32 inches / 30 × ?350 × ?80 cm, Vlad Basarab, 2021
- Figure 9.16 Hovering, 2020, porcelain, wood-salt-fired, 1320°C, 25 × 60 × 35 cm / 10 × 24 × 14 inches, Vlad Basarab, 2020
- Figure 9.17a,b Levitating, stoneware, reduction fired, 1290°C, 12 × 90 × 75 cm / 12 × 36 × 30 inches, Vlad Basarab, 2020
- Figure 9.18 The Origin of Memory, stoneware, reduction fired, 1240°C, 39 × 23 × 34 inches / 99 × 59 × 86 cm, part of the solo exhibition Folding Memory, China Ceramics Museum, Jingdezhen, 2019-20, Vlad Basarab
- Figure 9.19 Folding Matter, 20 × 17 × 18 inches / 51 × 43 × 46 cm, stoneware, 1260°C, reduction fired, Vlad Basarab, 2019
- Figure 9.20 Landscape of Memory, stoneware and porcelain, reduction fired, 1240°C, 120 × 20 × 47 inches / 305 × 51 × 119 cm, part of the solo exhibition 'Folding Memory', China Ceramics Museum, Jingdezhen, 2019-20, Vlad Basarab
- Figure 10.1 Photograph of author with mother, personal collection
- Figure 10.2 William Conybeare's cartoon of William Buckland entering through the keyhole of the Kirkdale cave in 1821
- Figure 10.3 Photograph of mother as child, personal collection
- Figure 10.4 Author's creation, personal collection
- Figure 10.5 From IPCC, 'Global Warming of 1.5°C', October 2018, at &https://www.ipcc.ch/sr15& (accessed 29 July 2024)
- Figure 10.6 Gide's shields
- Figure 10.7 Author's creation, personal collection
- Figure 10.8 Author's creation, personal collection
- Figure 10.9 Sappho Bot
- Figure 11.1 Image by Bryan Ford, Phoenix Limits, 2021
- Figure 13.1 Museo Chiaramonti, Vatican Museums, in the style of an original pen sketch
- Figure 13.2 Amazon on horseback, Naples, second-century ce copy of a Greek original also of the second-century ce
- Figure 13.4a Eros with dolphin farnese (second-century ce), Naples
- Figure 13.4b In the style of a Pompeii mosaic
- Figure 13.5 Relief carving, Capitoline Museum, Rome, in the style of Picasso's Chouette Femme
- Figure 13.6 Photograph of a Roman shop window, Piazza della Rotonda, in the style of Picasso's Chouette Femme
- Figure 13.7 Bust of an Antonine Princess, ad 140-50, Naples, in the style of eighteenth-century French wallpaper
- Figure 13.8 Bust of Medusa, Vatican Museums, in the style of a coloured pencil drawing of the same image
- Figure 13.9a Serving girl, Villa of the Mysteries, Pompeii
- Figure 13.9b Photograph at Pompeii, mediated by an image search for Villa of the Mysteries
- Figure 13.10 Roman kitsch in the style of a contemporary watercolour
- Figure 13.11 Amazon in the style of an image search and original pen sketch
- Figure 13.12 Poseidon's temple at Sounion, in the style of a sea-creature design
- Figure 13.13 Veneziano's Madonna and Child (1445), Florence, in the style of sticker graffiti (2019)
- Figure 13.14 Bandinelli's Laocoo¨n (1525), Florence, in the style of street graffiti (2019)
- Figure 13.15a Museo Chiaramonti, Vatican, in DDG slim style
- Figure 13.15b Braccio Nuovo, Vatican, in slim style
- Figure 13.16 Basilica (Temple of Hera I), Paestum, in the style of a watercolour of a Phrygian temple (1845)
- Figure 13.17 Porta Sirena, Paestum, in the style of a contemporary street mural
- Figure 13.18 Temple of Jupiter (Hera II), in the style of an eighteenth-century map of Rome
- Figure 13.19 Paestum grounds, in the style of a sea creature, image search, and pen sketch
- Figure 13.20 Temple of Athena, Paestum, in a multilayered dream
- Figure 13.21 Temple of Athena in the style of a model solar-powered house (1974)
- Figure 13.22 Temple of Jupiter (Hera II), in the style of a contemporary computer-animated landscape
- Figure 13.23a Earth and world, Paestum
- Figure 13.23b A multilayered dream
- Figure 13.24 Angel in a futuristic style
- Figure 13.25a Automaton collage
- Figure 13.25b In the style of a nineteenth-century American quilt
- Figure 13.26 Roman kitsch in the style of Roman street graffiti (2019)
- Figure 13.27 Head of Medusa in the style of a contemporary wall mural
- Figure 14.1 A diffraction pattern: here, two waves (at A and B) collide and either amplify or cancel one another through to C-F
- Figure 15.1a-d (above, opposite and over) Keshia Wall dancing at RadFest, 5 March 2022, with permissions from Emily McKee
- Figure 16.1 School of Swans (SOS), Dirk Bell, 2020, pencil on paper, 294.5 × 147.5 cm. Courtesy of the artist and BQ
- Figure 16.2 Detail from School of Swans (SOS), Dirk Bell, 2020, pencil on paper, 294.5 × 147.5 cm. Courtesy of the artist and BQ
- Figure 16.3 Detail from School of Swans (SOS), Dirk Bell, 2020, pencil on paper, 294.5 × 147.5 cm. Courtesy of the artist and BQ
- Figure 16.4 Detail from School of Swans (SOS), Dirk Bell, 2020, pencil on paper, 294.5 × 147.5 cm. Courtesy of the artist and BQ
- Figure 16.5 Detail from School of Swans (SOS), Dirk Bell, 2020, pencil on paper, 294.5 × 147.5 cm. Courtesy of the artist and BQ
- Figure 16.6 Detail from School of Swans (SOS), Dirk Bell, 2020, pencil on paper, 294.5 × 147.5 cm. Courtesy of the artist and BQ
- Acknowledgements
- Note on the Text
- Notes on Contributors
- Introduction: The Use and Abuse of Antiquity for Life
- Abraham Jacob Greenstine, Ryan J. Johnson and Dave Mesing
- PART I. ENCOUNTERING ANCIENT PRACTICE
- 1. Situations
- Chapter 1. The Cosmology of Prudence
- Pierre Aubenque
- Translated by Cameron F. Coates and Khafiz Kerimov
- Chapter 2. The Pleasures of the Problem: Path, Decision and Annulment in Parmenides and Badiou
- Becky Vartabedian
- Chapter 3. The Strangeness of Reflexivity
- Frédérique Ildefonse
- Chapter 4. The Stoic Toolbox for Ethical Mathematics: Stoic Ethics and Moral Calculation Rules
- Christelle Veillard
- 2. Conjunctions
- Chapter 5. Plato's Lysis: The Dilemma of Friendship and Love
- Pierre Macherey
- Translated by David Maruzzella
- Chapter 6. Aristotle on the Praxis of Life
- Sara Brill
- Chapter 7. Theory and Politics in Plato's Republic
- Adriana Cavarero
- Translated by Paula Landerreche Cardillo
- Chapter 8. Aristophanic Comedy and Its Democratic Permutations: Fidelity in Spirit? Or in Content and Form?
- Michael Weinman
- PART II. PRACTICES OF ENCOUNTERING ANTIQUITY
- 3. Fragments
- Chapter 9. Forms of Memory
- Vlad Basarab
- Chapter 10. Anthropocene Fragments: A Sapphic Thought Collage
- Lynne Huffer
- Chapter 11. Exiles and Deserts
- Casey Ford
- Chapter 12. Black Dionysus
- Andrés Fabián Henao Castro
- 4. Accumulations
- Chapter 13. Photographing with the Muses
- Robert S. Leib and Lauren Guilmette
- Chapter 14. How to Read the Nature of Things
- Thomas Nail
- Chapter 15. Eternal Recurrence and a History of Racism
- Ryan J. Johnson
- In collaboration with Keshia Wall
- Chapter 16. On Lucretius
- Isabel Lewis and Brooke Holmes
- Index
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