Journal articles on the topic 'American Lithography'

Censorship notwithstanding, the final half-century of Spanish rule in the Philippines was a time of efflorescence in colonial print culture. Between the advent of typo-lithography in 1858 and the successive occurrence, in 1896 and 1898, of the Filipino revolution and the Spanish-American War, printing presses operating in Manila and beyond issued thousands of books and periodicals, the first public library, the Muséo-Bibliotéca de Filipinas, opened its doors in 1887, and the importation of books from Europe and America could scarcely keep pace with demand.

James Hall, like other authors and editors of 19th-century American state and federal surveys, learned first hand that publishing illustrations was time-consuming, frustrating and expensive. But illustrations were indispensible, providing the graphic communication of morphology that justified the author's taxonomic decisions. That essential information, however, passed through the hands of an illustrator and either an engraver or lithographer before it reached the scientific audience that would test and judge it. Artists and printers, therefore, needed close supervision; plates required careful proofing and sometimes cancellation. Hall, like his colleagues, vastly underestimated the time and expense that his project would entail. The plates illustrating the Palaeontology reflected changes occurring in American science and printing. Over the decades spanned by the publication, picture printing techniques changed from craft to industry, and converted from engraving to lithography; so did the New York survey. Meanwhile, the scientific profession developed illustration conventions to which publications with professional intent increasingly conformed. These conventions combined standards of "accuracy" with issues of style to reflect both scientific activity and its social context. The early illustrations drawn by Mrs. Hall were no less "accurate" although clearly less polished than the collaborations between R.P. Whitfield and F.J. Swinton, or the later work of J.H. Emerton and E. Emmons, Jr. The artists and printers of the Palaeontology plates emulated and contributed to the emerging national style of zoological and paleontological illustration, and thus helped consolidate the "look" of American science.

Approximately 5000 lithographic views of cities across America were produced and copies were widely disseminated in the century after 1825, In this paper, urban lithographs are examined as landscape texts in light of contemporary notions of space, vision, representation, and power. A major shift in the genre of urban representation from ‘pictorial’ to ‘bird's-eye’ views is presented as capturing the story of an emerging industrial-capitalist order; as embodying the place of the individual within that order; and as actively legitimating/promoting particular visions of change and progress. Interpreting urban views illustrates the problematic nature of representation and the need to examine particular landscapes/representations within their cultural contexts.

Interdependence between the United States (U.S.), European Union (EU) and Asia in the semiconductor industry, driven by specialization, can serve as a preventive measure against disruptions in the global semiconductor supply chain. Moreover, with rising geopolitical tensions, the cost-intensive nature of the semiconductor industry and a slowdown in demand, interdependence and partnership provide countries with opportunities and benefits. Specifically, by analyzing global trade patterns, developing the Interdependence Index within the semiconductor market, and applying the Grubel-Lloyd Index to the U.S., the EU, and Asian countries from 2011 to 2022, our findings reveal that interdependence enhances regional semiconductor supply chains, such as the establishment of semiconductor foundries in the U.S., Japan, and the EU; reduces dependence on a single supplier, such as the U.S. distancing from China; and increases market share in different semiconductor segments, as demonstrated by Taiwan in automobile chips. The evidence indicates that China heavily depends on foreign sources to meet its semiconductor demand, while Taiwan and South Korea specialize as foundry service providers with lower Interdependence Index values. The U.S. maintains a moderate level of dependence on semiconductor imports due to its strong presence in manufacturing and research, while the EU exhibits a relatively higher level of interdependence, emphasizing its reliance on semiconductor imports. The stage-specific analyses indicate that the U.S. and the EU rely on Asia for semiconductor devices, while China and Taiwan have a higher dependence on American intermediate inputs and European lithography machines.

Free-form lens is a special element with non-rotating body and aspheric structure. The surface can’t be expressed by stationary analytic formula, and generally it expressed by discrete list point. Free-form lens can distribute light intensity freely,and control light angle、optical path difference etc. Specific light spot is formed in illumination surface, meanwhile the light energy utilization ratio is improved greatly. There are two kinds of methods about Free-form fabrication, and the first kind of method is that free-form is grinded by a small grinding head ,which is controlled by computer; its disadvantage is low precision、high waster rate，especially for optical material; The second kind fabricating method is that multi-degree-of-freedom single-point diamond turning equipment; its disadvantage is that plenty of sub-micron crack formed when brittle material fabricated. In addition, micro-lens array element can’t be fabricated by the two kinds of methods. In allusion to the feature of free-form without stationary analytic formula ,which varying dose exposure lithography method for free-form micro-optical element is presented for free-form micro-lens and array. The method is from the theory that the relation between different exposure energy and different developing depth, adopting laser direct writing equipment free-form photoresist structure is formed in material surface, then the free-form photoresist structure is transfered on the substrate by ion etching method. Any surface figure can be fabricated by controlling every point laser energy for this method, and surface roughness can’t be effected because ion etching belongs to nanofabrication. In this paper, that low Distribution of light amplitude and relation of between exposure energy and exposure time was analysised on base of optical propagation theory and mathematical model of light distribution law was built and simulated by computer program.The results indicate that light energy distributes in accordance with specific law; the exposure depth increases with exposure time. The experiment of exposure and developing finished, used the BOL-500 laser direct writing system in Changchun University of Science and technology,american Futurrex62A photoresist, 412nn He-Ne laser device, 5‰NaOH developing solution. The experimental data coincide with simulation result via comparative analysis. Meanwhile，a set of free-form micro-lens array testing system was established and focal spot shape,energy distribution,focal distance,F parameter were tested about the micro-lens array.

On several occasions during the late 1860s, the novelist Harriet Beecher Stowe exhorted readers to adorn their homes with chromolithographs, color prints which reproduced original oil-paintings or, less often, depicted images created specifically for the print medium. In her 1869 domestic advice manual, The American Woman's Home, co-authored with her sister Catharine Beecher, Stowe described chromolithographs (or “chromos,” as they were commonly called) as essential components of a properly embellished home interior. In proposing a hypothetical budget devoted to parlor furnishings, the authors recommended that almost one-fourth of the total be allocated to lithographic reproductions of “really admirable pictures” by some of “America's best artists.” Stowe's advocacy of chromos also appeared in the promotional publications of L. Prang & Company, one of the country's largest publishers of these images. The short-lived quarterly Prang's Chromo: A Journal of Popular Art (published in five issues from January 1868 to April 1869) printed a letter in which Stowe thanked Louis Prang for sending her several free chromolithographs. After praising the “beautiful objects,” Stowe concluded her note with the kind of testimonial Prang no doubt had been seeking when he sent her the complimentary items: “Be assured I shall neglect no opportunity of proving my sympathy with your so charming and beautiful mission, and bringing it to everyone's notice, so far as I can.” And, though it is impossible to know what exact role Stowe's promotions played in the overall sale of chromos, it is clear that she aligned herself with a hot commodity: from 1840 to 1900, chromolithographs in America sold by the millions.

Abstract Inflammation and pathological vasculature are common features of the tumor microenvironment (TME). Sex hormones potently modulate vascular physiology and immune cell functions, and there are established correlations with the outcomes of triple negative (TNBC) despite the defining feature of receptor negativity. Circulating estrogens and androgens have been hypothesized as drivers of TNBC through the actions exerted by receptor-positive cells in the TME. Here, we present an organ chip model of the TNBC microenvironment for quantifying the impact of configurable TME variables such as the ECM composition and the relative densities and phenotypes of tumor cells, cancer associated fibroblasts, and myeloid cells on endothelial barrier function. After establishing baselines of vascular permeability in the presence and absence of TNBC cells, we tested the effect of estradiol, estrone, and dihydrotestosterone on barrier permeability. Multilayer polydimethylsiloxane (PDMS) organ chips were fabricated using standard soft lithography. The layers of the device were separated with semi-permeable membranes that allow exchange of soluble factors. Once assembled, the upper channel was loaded with female (XX) human umbilical vein endothelial cells. Collagen hydrogels were injected into the tissue layer and the devices were cultured on a rocker to induce endothelial barrier alignment via application of an average shear stress of 5 dynes/cm2. We optimized rocking conditions by assessing endothelial layer alignment, junctional organization, and permeability. TNBC cells and XX mammary carcinoma fibroblasts were added to the hydrogel to model the effects of TME-derived signals on endothelial barrier permeability. 40 kDa FITC- Dextran was chosen to assay permeability as it can show leakage due to active disruption of the barrier. Staining for F-actin and ZO-1 allowed for quantification of junctional organization. Sex hormone modulation of proinflammatory gene expression was assessed by RT-qPCR. The presence of TNBC cells significantly increased transport of 40kDa FITC-Dextran across the endothelial barrier, disrupted intercellular junction quality, and induced the expression of inflammatory adhesion molecules including ICAM-1. Our results demonstrate that sex hormones modulate TNBC-associated changes in endothelial cell bioenergetics, junctional organization, and macromolecular barrier permeability. Ongoing work will investigate the effects of age-matched XX monocyte derived macrophages on barrier function in the model. This organ chip platform provides an assay for measuring altered vascular inflammation and permeability in the TNBC microenvironment and may provide a venue for investigating vascular-normalizing effects of various candidate therapeutics. Citation Format: Delia Carlino, Ashley Martier, Yasmin Maurice, G. Wills Kpeli, Matthew Burow, Mark Mondrinos. Investigation of sex hormone effects in an organ chip model of endothelial barrier dysfunction in the triple negative breast cancer microenvironment [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2024; Part 1 (Regular Abstracts); 2024 Apr 5-10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2024;84(6_Suppl):Abstract nr 6791.

The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.

In the 19th century, printing methods made significant advances that allowed mass production of illustrated texts; prior to that time, illustrated texts were expensive and rare. The number of illustrated texts thus rose exponentially, increasing the rate of information transfer among scientists, engineers and the general public. The early American state geological reports, funded by the state legislatures, were among the pioneering volumes that used the new graphic capabilities in the improved printing processes for the advancement of science. They contain thousands of illustrations—woodcuts, etchings, lithographs and hand-painted maps—that may be of interest to historians of science, technology, art and culture.

Abstract Introduction: Analytical methods of extracellular vesicles (EVs) is becoming an increasingly promising field of study due to them being an effective biomarker for cancers. EVs are present in various types of body fluids, which can be easily used for diagnostic purpose. Prior research has explored numerous techniques for isolating and analyzing these EVs based on their physical and biochemical properties, however, the complexity of biological samples makes conventional EV isolation difficult to exclusively extract EVs of a certain type of cell. Current downstream analysis methods lack the ability to differentiate exosomes of different origins in a sample. Recent studies suggested the presence of certain proteins in cancer exosomes that facilitates preferential uptake of the exosomes by organ-specific cancer cells, called organotropism. Using this unique property, we devised a microfluidic platform to examine the uptake of specific exosomes onto their respective progenitor cell lines, thus aiming to use the interaction for cancer diagnosis purposes. Methods: The CellExoChip was prepared following the standard PDMS-based soft lithography method. The device consists of an inlet and outlet, with dimensions of 22x22 mm with a cell capture area of about 50 mm2. The microfluidic device was functionalized by Streptavidin and the cancer cells were biotinylated with EZ-Link-NHS-Biotin to create an intense affinity between the cells and the device. We further injected dyed exosomes with different origins through the device and evaluated their specific uptake using fluorescence microscope. Results: The prepared CellExoChip successfully immobilized over 1,500 cells onto the surface and viability evaluation demonstrated that only 6.79% of the initial cells were sacrificed during the biotinylation and on-chip binding process. The average on-chip cell viability showed 75.47±7.68%. The uptake of lung cancer cell exosomes into three different cancer cell lines (lung, bladder and breast) was measured on chip. The relative uptake of lung cell exosomes by the respective lung cells was 100% compared to the bladder cells and breast cell which were 15.87% and 40.31%, respectively. We extended this specific uptake evaluation to other LungCell-LungExo combinations using H1650, A549, and in-house CTC cell line, CTCR5, and the results demonstrated the organotropism nature of the exosomes in lung cancer. Discussion and conclusion: We present a novel screening method to accurately characterize specific cancer-derived EVs using a microfluidic platform. This process bypasses the requirement of analyzing and profiling these embedded proteins prior to EV isolation. Our microfluidic device facilitates this interaction between cells and exosomes through the diagnosis process of liquid biopsy. Citation Format: Kruthi Srinivasa Raju, Zeqi Niu, Joseph Marvar, Shawn Fortna, Nna-Emeka Onukwugha, Yoon-Tae Kang, Sunitha Nagrath. On-chip evaluation of cancer cell-extracellular vesicle interactions using a novel microfluidic microsystem (CellExoChip) [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 2792.

Abstract Small extracellular vesicles, often termed as “exosomes” carry informative cargo containing proteins and lipids, reflective of their cellular origin. Thus, they are promising biomarkers for early diagnosis of cancer. However, conventional profiling methods like quantitative polymerase chain reaction (qPCR) require complex procedures, thereby limiting the analytical sensitivity of exosomes for liquid biopsies. Here, we demonstrate a sensitive microfluidic device (CDEXO) that isolates and profiles cancer-associated exosomes directly from blood plasma using assembled chiral gold nanoparticles (AuNPs). The unique changes in chiral signals are associated with specific biomolecules on the exosomes’ membranes. Thus, we can distinguish exosomes of lung cancer patients from those of healthy individuals and detect mutated EGFR proteins on the membrane. Hence, this low-cost microfluidic device is an attractive technique for rapid, sensitive, and versatile profiling of various extracellular vesicles. Methods: The top layer of CDEXO devices were fabricated by soft lithography using polydimethylsiloxane (PDMS). The bottom glass slide was functionalized with a layer-by-layer assembly of cationic poly(dimethyl diallyl ammonium chloride) and anionic polystyrene sulfonate. AuNPs were prepared by adding gold nanoplates to a growth solution. Next, AuNPs were conjugated with biotinylated Annexin-V, using Neutravidin-biotin chemistry. Exosomes were harvested from lung cancer cell lines (A549, H1650, H3255) and lung fibroblasts (MRC5) and spiked into the CDEXO chip. EDTA was used to release the captured exosomes and quantified using nanoparticle tracking analysis (NTA). CD spectra were measured by spectrometry. Imaging of AuNPs and exosomes were done using scanning electron microscope (SEM). Results: CDEXO captures cancer-associated exosomes with an efficiency of 81.1±1.5%. H3255 derived exosomes that exhibited EGFR point mutation showed the greatest change in spectral signals from the baseline, followed by A549 (wild type), H1650, (EGFR exon19 deletion) and MRC5 (healthy). The CD responses were measurable at exosome numbers as low as 100. Further validation with 19 lung cancer patients showed an average 40% change in chiral signals from isolated exosomes that were 5.6 times higher in patients than healthy donors. Conclusions: A microfluidic device with chiral AuNPs allows sensitive and accurate detection of lung cancer-associated exosomes by conjugation with Annexin V. The resulting strong CD peaks that arise from specific interactions between exosomal surface proteins and chiral AuNPs facilitate in-depth profiling of target exosomes, including EGFR mutation expression. Citation Format: Yoon-Tae Kang, Ji-Young Kim, Emine Sumeyra Turali-Emre, Hee-Jeong Jang, Minjeong Cha, Abha Kumari, Colin Palacios-Rolston, Chitra Subramanian, Emma Purcell, Sarah Owen, Chung-Man Lim, Rishindra Reddy, Shruthi Jolly, Nithya Ramnath, Nicholas A. Kotov, Sunitha Nagrath. Chiroptical detection and mutation analysis of cancer-associated extracellular vesicles in microfluidic devices with oriented chiral nanoparticles [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2023; Part 1 (Regular and Invited Abstracts); 2023 Apr 14-19; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2023;83(7_Suppl):Abstract nr 994.

Abstract Introduction: Systemic chemotherapy is an effective anticancer treatment for all stages of breast cancer, with intravenous (IV) infusion being the principal method of administration. In addition to targeting cancer, systemic chemotherapy can impact the viability and function of surrounding normal tissues and vasculature. Early-discovery research tools comparing novel and existing systemic treatment strategies are urgently needed to support predictive efficacy and toxicity efforts. Microfluidic systems have the potential to fill this need while simultaneously reducing animal use. The overall goal of the study is to use an advanced microfluidic tumor-on-chip system to simultaneously evaluate the therapeutic and toxic effects of IV chemotherapy on normal and cancerous tissues. Materials and Methods: Synthetic Tumor Networks, which are comprised of primary and secondary tissue sites separated by an interconnected vasculature, were developed using in vivo images and fabricated using soft lithography. Primary vascular endothelial cells were used to establish microvasculature. A normal breast cell line (MCF 10A), or a GFP-labeled metastatic human breast cancer cell line (MDA-MB-231/GFP), were cultured in the tissue sites in a three-dimensional (3D) environment using a human-derived hydrogel. The vascular networks were perfused with endothelial cell media under physiological fluid flow conditions to establish the model. An EZH2 methyltransferase inhibitor (EZH2 inhibitor III) was delivered by IV infusion to the model tissues. Real-time monitoring of cellular growth, tumor invasion and extravasation, and cellular viability were performed using fluorescence microscopy over a two-week period. Results and Discussion: Metastatic MDA-MB-231/GFP breast cancer cells proliferated rapidly in the primary tumor site. Tumor intravasation into the vascular channels was observed in models that received no anticancer treatment, as well as extravasation into the secondary tissue site and invasion of the healthy breast tissue. Differences in tumor viability and migratory behavior were observed between untreated models or models receiving IV infusions of the EZH2 inhibitor through the vascular networks. Vascular barrier integrity and normal breast tissue viability were monitored at early (24-72 hr) and late (7-14 days) timepoints after anticancer treatment to measure short- and long-term adverse drug impacts. These results provide a unique perspective on the in vivo realism of an in vitro system for monitoring both therapeutic and toxic effects of systemic chemotherapies. Conclusions: We have developed a 3D vascularized tumor-on-chip model for monitoring the impacts of systemic chemotherapeutic agents on tumor and healthy tissues. This model can be used to investigate therapeutic and toxic effects on multiple tissue types simultaneously using real-time imaging techniques. Citation Format: Deborah Ramsey, Jenna Rosano, Cristabel Gordon, Gwen Fewell. Vascularized tumor-on-chip model for evaluating chemotherapeutic-mediated damage to adjacent healthy tissue [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2024; Part 1 (Regular Abstracts); 2024 Apr 5-10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2024;84(6_Suppl):Abstract nr 6764.

Abstract A solid tumor presents heterogeneous 3D structures at tissue, cell, and molecule levels. To develop advanced cancer diagnostics and therapies, it is important to understand in-depth cellular and molecular architecture of a tumor at multiple scales. Here we introduce novel optical microscopy methodologies for in-depth 3D spatial analysis of tumor tissues: 1) LED photobleaching-mediated 3D multiplex immunofluorescence (IF) microscopy, 2) Correlated 3D multi-resolution optical microscopy, and 3) 3D tissue region-based cell type-selective multi-omics. We built a high-power LED light irradiator with a broad emission spectrum (490-700 nm) that bleaches a broad wavelength of fluorescence signals simultaneously throughout an optically cleared, 400 µm-thick tumor tissue. Cyclic workflow involving IF staining, optical tissue clearing, 3D confocal microscopy, and LED photobleaching enables visualization of multiple cell types in the same whole 400 µm-thick tumor tissue after computational 3D image registration. The constructed multiplex image offers comprehensive 3D cellular landscape of a tumor. We also developed a method for tracking regions of interest (ROIs) in the middle of a large tumor tissue using a UV-activated visible dye in light sheet microscopy. Light sheet microscopy allows imaging an optically cleared large-sized tumor tissue at a low spatial, tissue resolution. To mark the ROI positions on a tumor, the dye is infused into agarose gel surrounding the tumor tissue and be activated and present purple-colored lines where are exposed to UV light sheets in light sheet microscopy. The tumor tissue was physically sectioned at the marked ROI positions using a vibratome after reversing tissue clearing process. Sequential IF staining and high-resolution confocal microscopy permit for visualizing detailed cellular compositions of the ROIs in the tumor. The tissue and cellular-resolution 3D images from light sheet and confocal microscopy are correlatively integrated to display ‘Google Earth’-like multi-scale view of a tumor tissue. To further analyze the ROIs of a tumor at molecular level, we have developed optical microscope-mediated fluorescence lithography methods that allow fluorescently labeling of a selected cell type in ROIs of an optically cleared 3D tumor tissue. After wash free from clearing solution and dissociation of the tumor into cells, fluorescence-marked, intact cells from the ROIs are collected through flow cell sorting. Proteins and mRNAs are extracted from the collected cells and sent to LC-MS/MS analysis and RNA sequencing. The spatial multi-omics method provides in-depth molecular information of selected cells in the ROIs of a tumor. We believe all these 3D microscopy methods will provide powerful spatial analysis tools for better understanding cellular and molecular architecture of solid tumors. Citation Format: Steve Seung-Young Lee, Yi-Chien Wu, Jingtian Zheng, Elie Abi Khalil, Samuel Wang, Alexander Lippert, Joshua Plank. 3D correlated multi-scale cellular and molecular architecture of solid tumors [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2024; Part 1 (Regular Abstracts); 2024 Apr 5-10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2024;84(6_Suppl):Abstract nr 3771.

AbstractHeritage stones are stones that have special significance in human culture. The papers in this volume discuss a wide variety of such stones, including stones from Europe, Asia, North and South America, Africa and Australia. Igneous (basalt, porphyry and a variety of granites), sedimentary (sandstone, limestone) and metamorphic (marble, quartzite, gneiss, slate, soapstone) stones are featured. These stones have been used over long periods of time for a wide range of uses, including monuments, buildings of architectural note, columns, roofing, tiling and lithography. A number of papers in this book provide information that is essential for eventual approval of stones as a Global Heritage Stone Resource or a group of stones as a Global Heritage Stone Province.

ABSTRACT By the middle of the nineteenth century, the development of bird’s-eye views, or panoramic lithographic maps, became a popular vehicle for Americans to promote their towns and cities. Today, they are important for understanding late nineteenth-century geography, the spatial layout of towns, and architecture. Examination of one of these maps, “Miner’s Mills and Mill Creek,” in the anthracite region, shows the care and precision of the mapmaker, T. M. Fowler. A deeper reading of the map enables us to reveal a more complicated story of the community’s past. Researching the history of one anthracite town shows how the anthracite industry led to environmental, social, and psychological trauma, which continues today. While coal mining is now almost nonexistent, a social history of anthracite communities represented via panoramic lithographic maps can provide a long-term history of past traumas.

The Irish botanist William Henry Harvey (1811–1866), who came of Quaker stock, published more than 130 books, papers and pamphlets during his lifetime. He also drew and lithographed at least one thousand illustrations, mainly of marine algae from North America, the British Isles and Australia, but also flowering plants of southern Africa and California, and mosses from the Indian subcontinent and southern Africa. This annotated bibliography also includes his non-botanical works.

Despite renewed interest in the illustrated posters of World War I brought about by the commemoration of the war’s centennial, few extant works in either the academic or public history sectors offer comprehensive explorations of individual posters. This article provides a microhistory of The Greatest Mother in the World (1918), an impactful lithographic poster designed by New Jersey muralist Alonzo Earl Foringer and inspired by a slogan from a Princeton graduate turned advertising executive named Courtland Smith. Printed and distributed in the millions, Foringer’s poster reached a level of mass appeal unsurpassed by any other piece of American visual propaganda produced in the war years. A detailed look at the background and impact of this important poster explores a lesser-known and understudied aspect of World War I history, while also affording an interdisciplinary research model that can be utilized for future studies of additional posters and their place in American visual culture.

The purpose of this paper is to present further investigation on the evidence of early photographic process described in the Hikayat Abdullah in which was narrated in the early Malay literary text published in the lithographic stone edition in 1849. The author of the said literature had observed a direct early photographic practise of the Daguerreotype. Few had mentioned of this said events through annotations, translations of the Hikayat, academic papers, and in newsprints. However, the details of this literature were instead summarised and details of exact identity of the daguerreotypist remained unnamed. In recent evidence from Maria Balestier’s letter, the wife of one of the first American Consulate of Singapore, it had indicated of a physician whom practise the image-making craft. This had raised a coincidental suggestion of the same unnamed doctor whom might be described in the Hikayat

In the Shadows of Dresden: Modernism and the War Landscape focuses on British-American test complexes and lithographs devised to understand German and Japanese military targets of World War II. Project sites stretched from England and Scotland to Maryland, Massachusetts, New Jersey, Utah, and Florida. Vignettes of Axis-built environments featured only those forms and details that were deemed essential, complemented by the abstracted target maps. Together these models and maps inaugurated a new way of looking at cities and built environments as war landscapes. In this article Karen J. Weitze studies the roles of the participating architects, engineers, artists, and art historians—Marc Peter Jr., John Burchard, Henry Elder, Gerald K. Geerlings, Eric Mendelsohn, Antonin Raymond, Walter Gropius, Konrad Wachsmann, Arthur Korn, Felix James Samuely, E. S. Richter, Paul Zucker, Hans Knoll, Albert Kahn, Ludwig Hilberseimer, George Hartmueller, I. M. Pei, Erwin Panofsky, Paul Frankl, and Kurt Weitzmann—within the setting of the modern movement, and evaluates the historic obscurity of the wartime landscapes against the collective human moment that was Dresden.

Ceramic additive manufacturing (AM) has been demonstrated as a capable method to fabricate piezocomposite acoustic transducers that exhibit augmented sensitivity, increased bandwidth, and controlled directivity by virtue of geometry. These improvements are intrinsic to the novel piezoelectric ceramic structure, which may be printed in forms that cannot be fabricated through conventional manufacturing methods. The AM process allows for functionally-graded apertures, 3-3 piezocomposite structures, and auxetic lattices which have been simulated, printed, and measured with compelling results. This presentation expands upon previous work completed through a collaboration between Lithoz America, LLC (Lithoz), MSI Transducers Corp. (MSI), and the MITRE Corporation (MITRE) to produce novel piezoelectric structures and validate acoustic and hydrostatic pressure performance of 1-3 piezocomposite structures under operationally relevant conditions. The presentation will encompass a discussion of Finite Element Analysis (FEA) of piezoelectric metamaterials conducted at MITRE, the lithography-based ceramic manufacturing (LCM) process of said structures at Lithoz, and empirical measurements of piezoelectric and acoustical specifications of the printed structures conducted at MSI. Finally, test data recorded at Woods Hole Oceanographic Institute (WHOI) will be shown, demonstrating the resilience of AM 1-3 piezocomposite under 10 000 PSI of hydrostatic pressure derived by means of in-situ electrical impedance measurements.

Abstract In 1860, the French geologist and palaeontologist Auguste Bravard (1803–1861) circulated a small number of copies of a hand-written and lithographed catalogue of the fossils he had collected in various parts of Argentina over a period of about eight years. Although the existence of this catalogue has been mentioned by various authors, it has never been really published in full. A facsimile reproduction is provided here. The contents of the catalogue and reactions to them are discussed, with special attention to comments in the correspondence between Charles Lyell and Charles Darwin. These comments were largely about Bravard’s identification among his fossils from Argentina of the genera Palaeotherium and Anoplotherium, well known components of the Late Eocene mammal fauna from the Montmartre gypsum, in the Paris Basin. This identification was later shown to be erroneous by Gervais, Burmeister and Ameghino. Bravard’s catalogue also includes what appears to be the first mention of fossil giant ground birds (Phorusrhacidae) in South America.

The aesthetic movement known as costumbrismo burst during the 19th in Spain and Latin America, and it did so into various modes of artistic expression such as literature, painting, and lithography. In all cases, it aimed at reflecting on the way of life in a given society e.g. its folklore, its institutions, its mannerisms, its social types, etc. The present article delves into Cuban costumbrismo to expose the way in which local writers akin to this aesthetic movement exhibit the local population in correspondence with an ongoing and much desired process of modernization. Specifically, it examines four cuadros de costumbres (sketches of manners of costumbrista nature) that focus on two historically antagonistic social types in Cuba: the médico (the doctor) and the vieja curandera (the old female healer). It demonstrates that the representations of these figures do not only synthesize—at best—the way in which Cuban costumbrista authors managed a process of social and historical change brought about by the tension between local traditions and the emergence of modern scientific discourses as civilizing measures. In doing so, it also reveals the intentions of these authors to legitimize the place of literature in a modernizing world where scientific discourses were also gradually becoming the only authorized language for studying and analysing both the individual and the social body.

Introduction. The article analyzes visual propaganda during the American Civil War, its goals, methods, and means for both belligerents. The problem is relevant in connection with modern information wars and is insufficiently studied in American and Russian historiography. Methods and materials. The research is based on historicism, objectivity, consistency, dialectical approach, philosophical and sociological theories that study the nature of social consciousness and the factors that influence it, namely the theory of C. Jung on the collective unconscious and archetypal images, the theory of social constructionism by P. Berger and N. Luckmann, the achievements of imagology and discursive analysis. The sources for the study were visual materials: posters, drawings, paintings, cartoons, photographs of the Civil War in the United States, placed in open access on the World Wide Web, published in illustrated periodicals: Harper’s Weekly, Frank Leslie’s Illustrated, Vanity Fair, The Southern Illustrated News, presented in book publications. Analysis. During the American Civil War, the country was split between northerners, supporters of the Union, and southerners who fought for the independence of the Confederate States. In the conditions of a military conflict, visual propaganda turned out to be most popular and effective. Its goal was to convince the warring parties of the rightness of their own cause, to mobilize society on achieving victory. In the North, the image of the enemy – “Johnny the rebel” – was constructed in order to incite hatred towards the southerners. In the South, the image of the “damned Yankee” was created. Both northern and southern visual propaganda relied on time-tested images (the image of the motherland, the warrior-defender, home and family), as well as on the collective unconscious and archetypes of consciousness associated with religious views and historical roots, used a variety of tools, techniques and methods. The most powerful means of influence were the traditions of the War of Independence, the legacy of the Founding Fathers. The use of national symbols was characteristic: Union and Confederate flags, images of presidents and military leaders. The most common means of visual propaganda were posters and leaflets, postal envelopes, banknotes decorated with patriotic symbols. Drawings and cartoons were an important means of mobilizing the population. They were placed in illustrated newspapers and magazines, and were also printed separately in the form of engravings and lithographs. Visual propaganda played on emotions, it was built on the opposition of “friend/ foe”, depicting its supporters as heroes worthy of admiration, and its enemies as insidious, cruel and cowardly. Results. Despite certain similarities in the conduct of propaganda by both warring parties, it turned out to be more comprehensive and effective in the North, which influenced the achievement of victory over the South. Key words: U.S. history, the Civil War of 1861–1865, visual propaganda, the “friend/foe” dichotomy, imagology.

The arthropod macrofauna from the Middle Member of the lithographic limestones of the Tlayúa Formation, in quarries at Tepexi, México, is comprised of marine and nonmarine components. Marine taxa include a new species of flabelliferid isopod, a new genus and species of an anomuran, and a new genus and species of a brachyuran crab. Remains of an arachnid and an odonate nymph represent nonmarine constituents. Previous paleoenvironmental interpretations of a restricted lagoon, with periodic episodes of marine and freshwater influences are consistent with the nature of the arthropod fauna. Isopod remains, represented only by corpses, that resemble modern ectoparasites of fishes suggest that they are directly associated with the abundant fish remains found in the quarries, either as ectoparasites that released their hosts before they died or possibly as scavengers that fed on fish remains. The next most abundant arthropods are the crabs, most of which are corpses, suggesting that this group lived in or very near to the depositional site of the Tlayúa Formation. Based upon the new fossil material, the stratigraphic range for the Aeglidae has been extended to span Albian to Holocene time. Extant representatives of this family inhabit fresh water environments of South America.

Casey Wood's retirement allowed him time to expand his horizons, both in terms of his travel and the scope of his intellectual enquiries. His ornithological interests in Fiji in the South Pacific and Ceylon (now Sri Lanka) in South Asia led him to fund the production of two large-scale collections of paintings illustrating the birds of these two islands. Both original collections were reserved for the Blacker-Wood library, but in Ceylon, these paintings also formed the basis of The Coloured Plates of the Birds of Ceylon, published between 1927 and 1935. In Ceylon and Kashmir, Wood collected manuscripts and lithographs, mainly relating to the history of medicine. His collection of palm-leaf manuscripts (olas) from Ceylon was particularly extensive, with over 220 remaining in the Osler and Rare Books and Special Collections branches of the McGill libraries. Wood also collected physical objects, beginning with bird skins, nests, and eggs in Fiji and branching out to include objects associated with healing in Ceylon. The object from Ceylon, numbering around 200, were originally collected for the Medical Museum and are now housed in the Redpath Museum at McGill. They represent a unique resource for the material culture of medicine. Wood's travels brought him into contact with a wide range of people, from the American plant prospector David Fairchild to Rabindranath Tagore, a central figure in the Bengali renaissance. Wood's reflections on his journeys provide some interesting insights into practices of natural history and collecting in late colonial societies on the brink of the second world war.

For most of the literary historians, the time period between the 1880s and 1920s have generally been accepted as the climax years of the notion of literary travelling not only in Europe but also in England. This type of journeying fashion is seen in the literary works of many English writers such as Charles Dickens, Thomas Hardy, Arthur Conan Doyle and many others. Literary travel can be considered as roaming of places of literary interest for pleasure where the traveller could experience and re-memory of birthplaces, homes, haunts and even graves of the prominent literary figures. Visiting places related with the particular writers or books coincides with bicycle condensed years of the last quarter of the nineteenth century (fin de siècle) in England. In addition to the above writers, Elizabeth Robins Pennell and Joseph Pennell are two different kind of travellers and their published account namely Our Sentimental Journey through France and Italy is worth scrutinizing. Both as American citizens, the Elizabeth Robins and Joseph Pennells decided to move to England in 1884, where they carried on their artistic and literary engagements for nearly thirty years, and the couple regularly had the chance to travel to Europe and brought their cultural baggage there on their tricycles. Joseph Pennell was born in Philadelphia, and he was an acclaimed lithographer of his time. After graduating from Pennsylvania Academy of Fine Arts, Joseph worked on the illustrations of travel articles and books for American publishers for a while. Through the mutual connection and overlapping of these two fin de siècle trends (literary travel and cycle travel) and the above-mentioned text of the Pennells’, this paper argues that the sentimental preconception of cycling complicates the experience of travelling for the above-mentioned couple as they tried to imitate Laurence Sterne, well-known writer of novels and travel accounts. For this respect, some supportive quotations will be given from the Pennells’ text in which they both lack to illustrate their sentimental mood in times and in other times, successfully show their joy enthusiasm in their pedalling with their tricycles. Thus, the foremost aim of this paper is to elaborate on Pennells’ text claiming their intertextual allusions on their former model Laurence Sterne.

Introduction. The fact that Navoi in his works promotes creative ideas that affect all mankind, the fact that the poet's ideas are more important and relevant than ever in today's era of globalization, has led to major research around the world. Know this, all humankind: The greatest curse is enmity; The greatest blessing, amity. We all know the verses by heart. That is, in order for the poet to have peace and tranquility among the people, they must renounce the path of enmity, enmity is not a deed, instead they must be friends with one another. True friendship is a real business. These verses, written before the 6th century, are a vivid proof that Alisher Navoi's poetry and philosophy have stood the test of time and apply equally to the peoples of the world. Research methods. Alisher Navoi's creative heritage has been in the hearts of many readers in different languages for centuries. As a result of many years of research and work of literary critics, poets and writers, the great poet's work is widely promoted around the world, a number of achievements have been achieved. However, we cannot ignore the mistakes and shortcomings in this regard. Results and discussions. The main problem here is that most of the specialists who know Navoi's language and creativity do not know European languages, those who know foreign languages do not know the old Uzbek language or do not feel our classical literature. Therefore, in the study of Navoi's work by foreign scholars, the importance of the poet's work for foreign literature, a serious approach to the issue of foreign translators and researchers of A. Navoi's work, we would like to draw attention to some comments on the subject. Conclusion. A. Navoi's work has a special significance in Uzbek literature, as well as in world literature. The poet’s work has been studied by various scholars for centuries. However, scientific views on A. Navoi were not always correct. In this regard, in this research work, the different opinions of world scholars about the poet, their positive and negative views on the work of the poet are cited and analyzed. The role of Russian, Ukrainian, French, English, German and American scholars in the study of Navoi's works around the world, the factors that stimulated their interest in Oriental literature, in particular, Alisher Navoi's works, works by foreign authors and works inspired by A. Navoi's work along with samples, some information about the manuscripts and lithographs of the great thinker kept in the fund of foreign libraries is the main content of the article.

Purpose The purpose of this paper is Identifying the degree of compatibility of the current situation of the Persian bibliographic records (PBRs) with FRBR, as well as identifying the possible approaches and strategies for appropriate application of the model to Persian. The required data were gathered via two checklists were devised for the purpose of this research and each of which was dedicated to “Shahname” and “Nahjolbalaghe”. Also, to determine the characteristics of a suitable functional requirements for bibliographic records (FRBR) model for Iran, 18 implementation projects round the world were surveyed and analysed. Results of the study show that some FRBR requirements were readily available in Persian bibliographic records (PBRs), but in some cases, there are some deficiencies due to some likely reasons, such as lack of commitment to the Anglo-American Cataloguing Rules 2, specifications of the library software structure and neglecting bibliographic and family relations in catalogues. Design/methodology/approach The main goal of this research was to identify the degree of compatibility of the current situation of the PBRs with FRBR, as well as identifying the possible approaches and strategies for appropriate application of the model to Persian records. Research publication was 3,502 records in the National Bibliography of Iran for “Shahname” and “Nahjolbalaghe” of which 365 records were selected using systematic sampling method. Resources types included in the study were books, audio-visual resources, geographical resources, theses, lithographic books, manuscripts and journals. Findings Results of the study also showed that the appropriate method for implementing FRBR in Iran is the comparative model. According to this model, the current records are saved while they are compared to FRBR model, as a result of which, anomalies are identified and resolved. In another part of this research, 16 important challenges that could exist in implementing the model in Iran were identified and introduced. Also, eight characteristics of a suitable implementation model in Iran are introduced. Originality/value FRBR, is a conceptual entity-relationship model, released by IFLA and aimed to determine a minimum level of catalogue functions based on user’s needs. This model consists of four main parts: entities, attributes, relations and user tasks. This research has studied the feasibility of implementing application of the model to Iranian library records. Any research before the present paper (based on PhD thesis) has not been conducted yet in Iran.

Abstract. This article is dedicated to organ-on-chip, the possibility of its application in preclinical research (PR) and perspectives of this application. Organ-on-Chip is a system that combines 3D cell culture and microfluidic systems technologies. It's a model of a human organ on which real processes of the body can be simulated. Already at the stage of PR chip-based research methods should give a realistic picture of application of the drug under development. As of today, the following types of organs-on-a-chip are known: lung-on-a-chip, liver-on-a-chip, heart-on-a-chip, and human-on-a-chip. The technology differs, but there are certain common features - a microarchitecture of human organs is created on a plastic plate (polydimethylsiloxane, polystyrene, polycarbonate, etc.) by lithography or layer-by-layer printing and sensors are implanted. The tubules or wells are then populated with live cells of human tissues (liver, intestines, lungs, heart, etc.), which remain viable for about one month. When multi-component chips are created, cells from different organs create a matrix and begin to interact as in a living organism, which allows the simulation of organs much more accurately than 2D-cultures of cells. It is too early to talk about full-fledged replacement of animals with chips in PR, but from ethical and practical points of view this technology will help bring drug development to a new level. To date, the following companies offer their developments on the market: the German company TissUse (HUMIMIC), the American company Emulate (Zoë-CM2™) and the British biotechnology company Kirkstall Ltd (Quasi Vivo®).

In this art exhibition paper, I work to demonstrate a more accurate examination of Vodoun culture and values than is often portrayed in mainstream American media. I use Reneé Stout’s lithographic print Recurring Damballah Dream as a lens through which to analyze emblems of Vodoun culture, specifically within practices in Haiti and Louisiana, demonstrating the complexity and significance of Vodoun as a healing culture. Using Disney’s The Princess and The Frog as a misconstrued American representation of Vodoun, I attempt to characterize the ways in which Vodoun is belittled and demonized within colonial frameworks, projecting racial discrimination onto its practitioners.

Artist Statement The American Family is a complex institution, and its idealization has held influence on my self-worth for my whole life. Being raised in the Christian faith imbued me with internal conflicts which came to light when my parents divorced. I had to reconcile traditional family structure and the truths I was raised to believe, with what I had actually experienced from adults in positions of power: mainly my father. Being a child of divorce is unsettling and the exposure I had to the judicial system silenced my voice and hindered my ability to advocate for myself. The forms of human hands are used frequently to convey mood and body language between the subjects of my prints. Our hands can soothe or comfort, but also damage and manipulate. I have experienced both at the hands of family members and continue to struggle mending relationships from past trauma. Floral components reference the traditional, delicate nature of femininity in which I was brought up to embody. Flowers that hold familial significance are rendered to convey metaphor and the evolving stories within my larger body of work. This imagery also act as a tool for me to construct, examine, and then reshape gender expectations and recognize their impact on myself as a woman. Constructing layered prints with controlled, delicate marks makes me feel secure. Deep thought can be applied to the conception and birth of a print, while a more mechanical thought takes precedence in the process of physical creation. This orderly system is my way of cataloguing my feelings in order to make something multifaceted yet engaging: something that will resonate with someone other than myself. Whether I am making a lithograph or monotype, printmaking allows me complete control over the representation of my experiences—something I was denied in the past. I am constantly subverting former influences as a way to move forward from the past and redefine myself into a new-found identity. Images "Grasping My Roots", 20"x24", Silkscreen on Lithograph with collage, 2022 "Hyacinth", 8"x12", Silkscreen on Lithograph, 2022 "Hues of the Mind", 18"x26", Silkscreen on Relief, 2022

Despite the dramatic effect of the railway age on the natural surroundings, it was not seen necessarily as destructive to nature. Railways were both the epitome of progress as well as integral features in pastoral landscapes. This seemingly paradoxical perception of railways is partially explained by historicising the “naturalisation” of the German train system. This article describes the rapid transformation of the German train from a symbol of dynamic industrialisation to an integral part of the landscape. Visual images, such as lithographs and postcards, were the catalysts in this process. Railway companies, local elites and travel guide publishers promoted the process of “naturalisation” for economic reasons, but the iconography was a result of visual discourse in nineteenth-century German culture. This paper shows that unlike American, British and French depictions of railways, German artists portrayed a railway system, which rather than conquering nature, was blending peacefully into an existing natural landscape.

The Cahokia Mound Group in Illinois, USA, is acknowledged as the largest Native American city north of Mexico. It flourished during the Mississippian Period. Cahokia, however, was only one of three complexes in the immediate area. Located across the Mississippi River from Cahokia, the St. Louis Mound Group was part of the larger complex.The St. Louis Mound Group featured at least 25 earthen mounds including the so-called Big Mound that contained dozens of human burials.In the 1800s the St. Louis Mound Group was leveled to allow for urban expansion. Few records are in existence documenting the location or other details concerning the group. As a result, an important part of prehistory seems lost.  In this paper the likely location for the St. Louis Mound Group is identified using survey plats from the 1850s, early lithographs and other data. Findings are assessed for astronomical alignments and landscape relationships, with possible cosmological implications noted.

Examining Currier and Ives’s immensely popular and racist lithographic print series, the “Darktown” comics, from 1877 to 1900, this article argues that the prints represented homogeneous black urban space as commonplace, natural, and correct despite the fact that extensive residential racial segregation was not the reality in any U.S. cities during the period. In doing so, the images both reflected growing white desires for segregation and constituted one site where Americans encountered, and potentially acquired, ideas about segregation. By demonstrating that images of racial segregation circulated via the Darktown comics prior to advent of ghettoization, this article addresses a significant gap in the historical scholarship on U.S. racial residential segregation in the late nineteenth and early twentieth centuries, as this scholarship has overlooked popular culture as a site where ideas about segregation appeared and played out.

Between the last decades of the 18th century and the middle of the 19th century, something of paramount importance happened in the history of anthropology. This was the advent of a physical anthropology that was about the classification of ‘human races’ through comparative measurement. A central tool of the new trade was diagrams. Being inherently about relations in and between objects, diagrams became the means of defining human groups and their relations to each other – the last point being disputed between the monogenists and the polygenists. James Cowles Prichard, a proponent of the comparative historical approach, was able to do without images in his pioneering Researches Into the Physical History of Man of 1813, but the third edition, which appeared in five volumes between 1836 and 1847, was richly illustrated with ‘ethnic types’ and skulls, including diagrams. What was happening is a process I engage with in detail for Samuel George Morton, who collected and distributed human skulls as lithographs in Crania americana (1839) and Crania aegyptiaca (1844). Along with the paper skulls travelled detailed instructions of how to look at them through a set of lines and to set their individual parts in relation to each other as well as to those of other types. Drawing on Johann Friedrich Blumenbach and Peter Camper, the Crania thus played a pivotal role in establishing what I call a diagrammatics of race – a diagrammatics that became overtly political with Types of Mankind (1854), which was written in Morton's honour by Josiah Nott and George Gliddon.

Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over resources, and the intensity with which colonists pursued their “claims” for food, land, and water, quickly transformed amicable relationships into hostile rivalries. Jennifer Gall has written that, as “European settlement expanded in the late 1820s, violent exchanges between settlers and Aboriginal people were frequent, brutal and unchecked” (58). Indeed, the near-annihilation of the original custodians of the land was, if viewed through the lens of time, a process that could be described as one that was especially efficient. As John Morris notes: in 1803, when the first settlers arrived in Van Diemen’s Land, the Aborigines had already inhabited the island for some 25,000 years and the population has been estimated at 4,000. Seventy-three years later, Truganinni, [often cited as] the last Tasmanian of full Aboriginal descent, was dead. (84) Against a backdrop of extreme violence, often referred to as the Black War (Clements 1), there were some, admittedly dubious, efforts to contain the bloodshed. One such effort, in the late 1820s, was the production, and subsequent distribution, of a set of Proclamation Boards. Approximately 100 Proclamation Boards (the Board) were introduced by the Lieutenant Governor of the day, George Arthur (after whom Port Arthur on the Tasman Peninsula is named). The purpose of these Boards was to communicate, via a four-strip pictogram, to the Indigenous peoples of the island colony that all people—black and white—were considered equal under the law. “British Justice would protect” everyone (Morris 84). This is reflected in the narrative of the Boards. The first image presents Indigenous peoples and colonists living peacefully together. The second, and central, image shows “a conciliatory handshake between the British governor and an Aboriginal ‘chief’, highly reminiscent of images found in North America on treaty medals and anti-slavery tokens” (Darian-Smith and Edmonds 4). The third and fourth images depict the repercussions for committing murder, with an Indigenous man hanged for spearing a colonist and a European man also hanged for shooting an Aborigine. Both men executed under “gubernatorial supervision” (Turnbull 53). Image 1: Governor Davey's [sic - actually Governor Arthur's] Proclamation to the Aborigines, 1816 [sic - actually c. 1828-30]. Image Credit: Mitchell Library, State Library of NSW (Call Number: SAFE / R 247). The Board is an interesting re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of images on the bark of trees. Such trees, often referred to as scarred trees, are rare in modern-day Tasmania as “the expansion of settlements, and the impact of bush fires and other environmental factors” resulted in many of these trees being destroyed (Aboriginal Heritage Tasmania online). Similarly, only a few of the Boards, inspired by these trees, survive today. The Proclamation Board was, in the 1860s, re-imagined as the output of a different Governor: Lieutenant Governor Davey (after whom Port Davey, on the south-west coast of Tasmania is named). This re-imagining of the Board’s creator was so effective that the Board, today, is popularly known as Governor Davey’s Proclamation to the Aborigines. This paper outlines several other re-imaginings of this Board. In addition, this paper offers another, new, re-imagining of the Board, positing that this is an early “pamphlet” on crime, justice and punishment which actually presents as a pre-cursor to the modern Australian true crime tale. In doing so this work connects the Proclamation Board to the larger genre of crime fiction. One Proclamation Board: Two Governors Labelled Van Diemen’s Land and settled as a colony of New South Wales in 1803, this island state would secede from the administration of mainland Australia in 1825. Another change would follow in 1856 when Van Diemen’s Land was, in another process of re-imagining, officially re-named Tasmania. This change in nomenclature was an initiative to, symbolically at least, separate the contemporary state from a criminal and violent past (Newman online). Tasmania’s violent history was, perhaps, inevitable. The island was claimed by Philip Gidley King, the Governor of New South Wales, in the name of His Majesty, not for the purpose of building a community, but to “prevent the French from gaining a footing on the east side of that island” and also to procure “timber and other natural products, as well as to raise grain and to promote the seal industry” (Clark 36). Another rationale for this land claim was to “divide the convicts” (Clark 36) which re-fashioned the island into a gaol. It was this penal element of the British colonisation of Australia that saw the worst of the British Empire forced upon the Aboriginal peoples. As historian Clive Turnbull explains: the brutish state of England was reproduced in the English colonies, and that in many ways its brutishness was increased, for now there came to Australia not the humanitarians or the indifferent, but the men who had vested interests in the systems of restraint; among those who suffered restraint were not only a vast number who were merely unfortunate and poverty-stricken—the victims of a ‘depression’—but brutalised persons, child-slaughterers and even potential cannibals. (Turnbull 25) As noted above the Black War of Tasmania saw unprecedented aggression against the rightful occupants of the land. Yet, the Aboriginal peoples were “promised the white man’s justice, the people [were] exhorted to live in amity with them, the wrongs which they suffer [were] deplored” (Turnbull 23). The administrators purported an egalitarian society, one of integration and peace but Van Diemen’s Land was colonised as a prison and as a place of profit. So, “like many apologists whose material benefit is bound up with the systems which they defend” (Turnbull 23), assertions of care for the health and welfare of the Aboriginal peoples were made but were not supported by sufficient policies, or sufficient will, and the Black War continued. Colonel Thomas Davey (1758-1823) was the second person to serve as Lieutenant Governor of Van Diemen’s Land; a term of office that began in 1813 and concluded in 1817. The fourth Lieutenant Governor of the island was Colonel Sir George Arthur (1784-1854); his term of office, significantly longer than Davey’s, being from 1824 to 1836. The two men were very different but are connected through this intriguing artefact, the Proclamation Board. One of the efforts made to assert the principle of equality under the law in Van Diemen’s Land was an outcome of work undertaken by Surveyor General George Frankland (1800-1838). Frankland wrote to Arthur in early 1829 and suggested the Proclamation Board (Morris 84), sometimes referred to as a Picture Board or the Tasmanian Hieroglyphics, as a tool to support Arthur’s various Proclamations. The Proclamation, signed on 15 April 1828 and promulgated in the The Hobart Town Courier on 19 April 1828 (Arthur 1), was one of several notices attempting to reduce the increasing levels of violence between Indigenous peoples and colonists. The date on Frankland’s correspondence clearly situates the Proclamation Board within Arthur’s tenure as Lieutenant Governor. The Board was, however, in the 1860s, re-imagined as the output of Davey. The Clerk of the Tasmanian House of Assembly, Hugh M. Hull, asserted that the Board was the work of Davey and not Arthur. Hull’s rationale for this, despite archival evidence connecting the Board to Frankland and, by extension, to Arthur, is predominantly anecdotal. In a letter to the editor of The Hobart Mercury, published 26 November 1874, Hull wrote: this curiosity was shown by me to the late Mrs Bateman, neé Pitt, a lady who arrived here in 1804, and with whom I went to school in 1822. She at once recognised it as one of a number prepared in 1816, under Governor Davey’s orders; and said she had seen one hanging on a gum tree at Cottage Green—now Battery Point. (3) Hull went on to assert that “if any old gentleman will look at the picture and remember the style of military and civil dress of 1810-15, he will find that Mrs Bateman was right” (3). Interestingly, Hull relies upon the recollections of a deceased school friend and the dress codes depicted by the artist to date the Proclamation Board as a product of 1816, in lieu of documentary evidence dating the Board as a product of 1828-1830. Curiously, the citation of dress can serve to undermine Hull’s argument. An early 1840s watercolour by Thomas Bock, of Mathinna, an Aboriginal child of Flinders Island adopted by Lieutenant Governor John Franklin (Felton online), features the young girl wearing a brightly coloured, high-waisted dress. This dress is very similar to the dresses worn by the children on the Proclamation Board (the difference being that Mathinna wears a red dress with a contrasting waistband, the children on the Board wear plain yellow dresses) (Bock). Acknowledging the simplicity of children's clothing during the colonial era, it could still be argued that it would have been unlikely the Governor of the day would have placed a child, enjoying at that time a life of privilege, in a situation where she sat for a portrait wearing an old-fashioned garment. So effective was Hull’s re-imagining of the Board’s creator that the Board was, for many years, popularly known as Governor Davey’s Proclamation to the Aborigines with even the date modified, to 1816, to fit Davey’s term of office. Further, it is worth noting that catalogue records acknowledge the error of attribution and list both Davey and Arthur as men connected to the creation of the Proclamation Board. A Surviving Board: Mitchell Library, State Library of New South Wales One of the surviving Proclamation Boards is held by the Mitchell Library. The Boards, oil on Huon pine, were painted by “convict artists incarcerated in the island penal colony” (Carroll 73). The work was mass produced (by the standards of mass production of the day) by pouncing, “a technique [of the Italian Renaissance] of pricking the contours of a drawing with a pin. Charcoal was then dusted on to the drawing” (Carroll 75-76). The images, once outlined, were painted in oil. Of approximately 100 Boards made, several survive today. There are seven known Boards within public collections (Gall 58): five in Australia (Mitchell Library, State Library of NSW, Sydney; Museum Victoria, Melbourne; National Library of Australia, Canberra; Tasmanian Museum and Art Gallery, Hobart; and Queen Victoria Museum and Art Gallery, Launceston); and two overseas (The Peabody Museum of Archaeology and Ethnology, Harvard University and the Museum of Archaeology and Ethnology, University of Cambridge). The catalogue record, for the Board held by the Mitchell Library, offers the following details:Paintings: 1 oil painting on Huon pine board, rectangular in shape with rounded corners and hole at top centre for suspension ; 35.7 x 22.6 x 1 cm. 4 scenes are depicted:Aborigines and white settlers in European dress mingling harmoniouslyAboriginal men and women, and an Aboriginal child approach Governor Arthur to shake hands while peaceful soldiers look onA hostile Aboriginal man spears a male white settler and is hanged by the military as Governor Arthur looks onA hostile white settler shoots an Aboriginal man and is hanged by the military as Governor Arthur looks on. (SAFE / R 247) The Mitchell Library Board was purchased from J.W. Beattie in May 1919 for £30 (Morris 86), which is approximately $2,200 today. Importantly, the title of the record notes both the popular attribution of the Board and the man who actually instigated the Board’s production: “Governor Davey’s [sic – actually Governor Arthur] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30].” The date of the Board is still a cause of some speculation. The earlier date, 1828, marks the declaration of martial law (Turnbull 94) and 1830 marks the Black Line (Edmonds 215); the attempt to form a human line of white men to force many Tasmanian Aboriginals, four of the nine nations, onto the Tasman Peninsula (Ryan 3). Frankland’s suggestion for the Board was put forward on 4 February 1829, with Arthur’s official Conciliator to the Aborigines, G.A. Robinson, recording his first sighting of a Board on 24 December 1829 (Morris 84-85). Thus, the conception of the Board may have been in 1828 but the Proclamation project was not fully realised until 1830. Indeed, a news item on the Proclamation Board did appear in the popular press, but not until 5 March 1830: We are informed that the Government have given directions for the painting of a large number of pictures to be placed in the bush for the contemplation of the Aboriginal Inhabitants. […] However […] the causes of their hostility must be more deeply probed, or their taste as connoisseurs in paintings more clearly established, ere we can look for any beneficial result from this measure. (Colonial Times 2) The remark made in relation to becoming a connoisseur of painting, though intended to be derogatory, makes some sense. There was an assumption that the Indigenous peoples could easily translate a European-styled execution by hanging, as a visual metaphor for all forms of punishment. It has long been understood that Indigenous “social organisation and religious and ceremonial life were often as complex as those of the white invaders” (McCulloch 261). However, the Proclamation Board was, in every sense, Eurocentric and made no attempt to acknowledge the complexities of Aboriginal culture. It was, quite simply, never going to be an effective tool of communication, nor achieve its socio-legal aims. The Board Re-imagined: Popular Media The re-imagining of the Proclamation Board as a construct of Governor Davey, instead of Governor Arthur, is just one of many re-imaginings of this curious object. There are, of course, the various imaginings of the purpose of the Board. On the surface these images are a tool for reconciliation but as “the story of these paintings unfolds […] it becomes clear that the proclamations were in effect envoys sent back to Britain to exhibit the ingenious attempts being applied to civilise Australia” (Carroll 76). In this way the Board was re-imagined by the Administration that funded the exercise, even before the project was completed, from a mechanism to assist in the bringing about of peace into an object that would impress colonial superiors. Khadija von Zinnenburg Carroll has recently written about the Boards in the context of their “transnational circulation” and how “objects become subjects and speak of their past through the ventriloquism of contemporary art history” (75). Carroll argues the Board is an item that couples “military strategy with a fine arts propaganda campaign” (Carroll 78). Critically the Boards never achieved their advertised purpose for, as Carroll explains, there were “elaborate rituals Aboriginal Australians had for the dead” and, therefore, “the display of a dead, hanging body is unthinkable. […] being exposed to the sight of a hanged man must have been experienced as an unimaginable act of disrespect” (92). The Proclamation Board would, in sharp contrast to feelings of unimaginable disrespect, inspire feelings of pride across the colonial population. An example of this pride being revealed in the selection of the Board as an object worthy of reproduction, as a lithograph, for an Intercolonial Exhibition, held in Melbourne in 1866 (Morris 84). The lithograph, which identifies the Board as Governor Davey’s Proclamation to the Aborigines and dated 1816, was listed as item 572, of 738 items submitted by Tasmania, for the event (The Commissioners 69-85). This type of reproduction, or re-imagining, of the Board would not be an isolated event. Penelope Edmonds has described the Board as producing a “visual vernacular” through a range of derivatives including lantern slides, lithographs, and postcards. These types of tourist ephemera are in addition to efforts to produce unique re-workings of the Board as seen in Violet Mace’s Proclamation glazed earthernware, which includes a jug (1928) and a pottery cup (1934) (Edmonds online). The Board Re-imagined: A True Crime Tale The Proclamation Board offers numerous narratives. There is the story that the Board was designed and deployed to communicate. There is the story behind the Board. There is also the story of the credit for the initiative which was transferred from Governor Arthur to Governor Davey and subsequently returned to Arthur. There are, too, the provenance stories of individual Boards. There is another story the Proclamation Board offers. The story of true crime in colonial Australia. The Board, as noted, presents through a four-strip pictogram an idea that all are equal under the rule of law (Arthur 1). Advocating for a society of equals was a duplicitous practice, for while Aborigines were hanged for allegedly murdering settlers, “there is no record of whites being charged, let alone punished, for murdering Aborigines” (Morris 84). It would not be until 1838 that white men would be punished for the murder of Aboriginal people (on the mainland) in the wake of the Myall Creek Massacre, in northern New South Wales. There were other examples of attempts to bring about a greater equity under the rule of law but, as Amanda Nettelbeck explains, there was wide-spread resistance to the investigation and charging of colonists for crimes against the Indigenous population with cases regularly not going to trial, or, if making a courtroom, resulting in an acquittal (355-59). That such cases rested on “legally inadmissible Aboriginal testimony” (Reece in Nettelbeck 358) propped up a justice system that was, inherently, unjust in the nineteenth century. It is important to note that commentators at the time did allude to the crime narrative of the Board: when in the most civilized country in the world it has been found ineffective as example to hang murderers in chains, it is not to be expected a savage race will be influenced by the milder exhibition of effigy and caricature. (Colonial Times 2) It is argued here that the Board was much more than an offering of effigy and caricature. The Proclamation Board presents, in striking detail, the formula for the modern true crime tale: a peace disturbed by the act of murder; and the ensuing search for, and delivery of, justice. Reinforcing this point, are the ideas of justice seen within crime fiction, a genre that focuses on the restoration of order out of chaos (James 174), are made visible here as aspirational. The true crime tale does not, consistently, offer the reassurances found within crime fiction. In the real world, particularly one as violent as colonial Australia, we are forced to acknowledge that, below the surface of the official rhetoric on justice and crime, the guilty often go free and the innocent are sometimes hanged. Another point of note is that, if the latter date offered here, of 1830, is taken as the official date of the production of these Boards, then the significance of the Proclamation Board as a true crime tale is even more pronounced through a connection to crime fiction (both genres sharing a common literary heritage). The year 1830 marks the release of Australia’s first novel, Quintus Servinton written by convicted forger Henry Savery, a crime novel (produced in three volumes) published by Henry Melville of Hobart Town. Thus, this paper suggests, 1830 can be posited as a year that witnessed the production of two significant cultural artefacts, the Proclamation Board and the nation’s first full-length literary work, as also being the year that established the, now indomitable, traditions of true crime and crime fiction in Australia. Conclusion During the late 1820s in Van Diemen’s Land (now Tasmania) a set of approximately 100 Proclamation Boards were produced by the Lieutenant Governor of the day, George Arthur. The official purpose of these items was to communicate, to the Indigenous peoples of the island colony, that all—black and white—were equal under the law. Murderers, be they Aboriginal or colonist, would be punished. The Board is a re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of drawings on the bark of trees. The Board was, in the 1860s, in time for an Intercolonial Exhibition, re-imagined as the output of Lieutenant Governor Davey. This re-imagining of the Board was so effective that surviving artefacts, today, are popularly known as Governor Davey’s Proclamation to the Aborigines with the date modified, to 1816, to fit the new narrative. The Proclamation Board was also reimagined, by its creators and consumers, in a variety of ways: as peace offering; military propaganda; exhibition object; tourism ephemera; and contemporary art. This paper has also, briefly, offered another re-imagining of the Board, positing that this early “pamphlet” on justice and punishment actually presents a pre-cursor to the modern Australian true crime tale. The Proclamation Board tells many stories but, at the core of this curious object, is a crime story: the story of mass murder. Acknowledgements The author acknowledges the Palawa peoples: the traditional custodians of the lands known today as Tasmania. The author acknowledges, too, the Gadigal people of the Eora nation upon whose lands this paper was researched and written. The author extends thanks to Richard Neville, Margot Riley, Kirsten Thorpe, and Justine Wilson of the State Library of New South Wales for sharing their knowledge and offering their support. The author is also grateful to the reviewers for their careful reading of the manuscript and for making valuable suggestions. ReferencesAboriginal Heritage Tasmania. “Scarred Trees.” Aboriginal Cultural Heritage, 2012. 12 Sep. 2015 ‹http://www.aboriginalheritage.tas.gov.au/aboriginal-cultural-heritage/archaeological-site-types/scarred-trees›.Arthur, George. “Proclamation.” The Hobart Town Courier 19 Apr. 1828: 1.———. Governor Davey’s [sic – actually Governor Arthur’s] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30]. Graphic Materials. Sydney: Mitchell Library, State Library of NSW, c. 1828-30.Bock, Thomas. Mathinna. Watercolour and Gouache on Paper. 23 x 19 cm (oval), c. 1840.Carroll, Khadija von Zinnenburg. Art in the Time of Colony: Empires and the Making of the Modern World, 1650-2000. Farnham, UK: Ashgate Publishing, 2014.Clark, Manning. History of Australia. Abridged by Michael Cathcart. Melbourne: Melbourne University Press, 1997 [1993]. Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia, Qld.: U of Queensland P, 2014.Colonial Times. “Hobart Town.” Colonial Times 5 Mar. 1830: 2.The Commissioners. Intercolonial Exhibition Official Catalogue. 2nd ed. Melbourne: Blundell & Ford, 1866.Darian-Smith, Kate, and Penelope Edmonds. “Conciliation on Colonial Frontiers.” Conciliation on Colonial Frontiers: Conflict, Performance and Commemoration in Australia and the Pacific Rim. Eds. Kate Darian-Smith and Penelope Edmonds. New York: Routledge, 2015. 1–14. Edmonds, Penelope. “‘Failing in Every Endeavour to Conciliate’: Governor Arthur’s Proclamation Boards to the Aborigines, Australian Conciliation Narratives and Their Transnational Connections.” Journal of Australian Studies 35.2 (2011): 201–18.———. “The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations.” reCollections 5.2 (2010). 20 May 2015 ‹http://recollections.nma.gov.au/issues/vol_5_no_2/papers/the_proclamation_cup_›.Felton, Heather. “Mathinna.” Companion to Tasmanian History. Hobart: Centre for Tasmanian Historical Studies, University of Tasmania, 2006. 29 Sep. 2015 ‹http://www.utas.edu.au/library/companion_to_tasmanian_history/M/Mathinna.htm›.Gall, Jennifer. Library of Dreams: Treasures from the National Library of Australia. Canberra: National Library of Australia, 2011.Hull, Hugh M. “Tasmanian Hieroglyphics.” The Hobart Mercury 26 Nov. 1874: 3.James, P.D. Talking about Detective Fiction. New York: Alfred A. Knopf, 2009.Mace, Violet. Violet Mace’s Proclamation Jug. Glazed Earthernware. Launceston: Queen Victoria Museum and Art Gallery, 1928.———. Violet Mace’s Proclamation Cup. Glazed Earthernware. Canberra: National Museum of Australia, 1934.McCulloch, Samuel Clyde. “Sir George Gipps and Eastern Australia’s Policy toward the Aborigine, 1838-46.” The Journal of Modern History 33.3 (1961): 261–69.Morris, John. “Notes on a Message to the Tasmanian Aborigines in 1829, popularly called ‘Governor Davey’s Proclamation to the Aborigines, 1816’.” Australiana 10.3 (1988): 84–7.Nettelbeck, Amanda. “‘Equals of the White Man’: Prosecution of Settlers for Violence against Aboriginal Subjects of the Crown, Colonial Western Australia.” Law and History Review 31.2 (2013): 355–90.Newman, Terry. “Tasmania, the Name.” Companion to Tasmanian History, 2006. 16 Sep. 2015 ‹http://www.utas.edu.au/library/companion_to_tasmanian_history/T/Tasmania%20name.htm›.Reece, Robert H.W., in Amanda Nettelbeck. “‘Equals of the White Man’: Prosecution of Settlers for Violence against Aboriginal Subjects of the Crown, Colonial Western Australia.” Law and History Review 31.2 (2013): 355–90.Ryan, Lyndall. “The Black Line in Van Diemen’s Land: Success or Failure?” Journal of Australian Studies 37.1 (2013): 3–18.Savery, Henry. Quintus Servinton: A Tale Founded upon Events of Real Occurrence. Hobart Town: Henry Melville, 1830.Turnbull, Clive. Black War: The Extermination of the Tasmanian Aborigines. Melbourne: Sun Books, 1974 [1948].

On the back cover of The Art Forger’s Handbook, Eric Hebborn proclaims No drawing can lie of itself, it is only the opinion of the expert which can deceive. (Hebborn) Well certainly, but like many forgers Hebborn was dedicated to ensuring the experts have ample material with which to work. The debate about authenticity rolls into the debate about originality rolls into the debate about excellence, slipping between the verifiable and the subjective, shadowed by the expert assessing, categorising, and delivering verdicts. Yet the proclamation ‘This is authentic’ is not straightforward. It is impossible to prove that the statement ‘This is a painting by Sir Arthur Streeton’ is true. It is always possible (though not probable) that the work in question is an excellent copy, manufactured with materials identical to those employed by Streeton, with brushstrokes reflecting Streeton’s manipulation of paint, applied in the kind of sequence Streeton used and with a provenance crafted to simulate perfectly an acceptable provenance for a work by Streeton. Much easier to prove that a work is not by a particular artist; one very obvious anomaly will suffice (Sloggett 298). But an anomaly requires a context, the body of material against which to assess the new find. John Drew’s manipulation of the art market was successful not because of the quality of the pictures he paid John Myatt to produce (after all they were painted with household emulsion paint often extended with K-Y Jelly). His success lay in his ability to alter the identities of these works by penetrating the archives of the Tate and the Victoria and Albert Museum and manufacturing an archival history that virtually copied the history of works by his target artists, Nicholson, Giocometti, Chagall, Epstein, Dubeffet, and de Stals. While the paintings mimicked works by these artists, without a provenance (an identity and identity trail) they were nothing more than approximate copies, many which were initially rejected by the dealers and auction houses (Landesman 38). Identity requires history and context: for something to be deemed ‘real’, both need to be verifiable. The plight of stateless refugees lies in their inability to verify their history (who am I?) and their context (I exist here because…). Drew’s ability to deliver a history is only one way in which works can slip identities (or in the case of Drew’s works – can be pushed). Drew’s intention and his ability to profit by the deception denoted fraud. But authentication is more often sought to support not fraud but optimism. ‘Can you please look at this painting which hung in my grandfather’s lounge room for over 50 years? It was given to him by the artist. I remember it as a small boy, and my father also remembers it when he was a child. But I can’t sell it because someone said it didn’t look right. Can you tell if it is by the artist?’ Such a problem needs to be approached on two fronts. Firstly, how strong is the evidence that this work is by the artist and secondly, what is the hypothesis of best fit for this work? The classic authentication process examines a picture and, against a framework of knowns (usually based on securely provenanced works) looks for points of identification between the proffered work and provenanced works. From these points of identification a theory of best fit is developed. For example, a painting with the inscription ‘Arthur Streeton/1896’ is analysed for its pigment content in order to test the proposition that this is a work by Arthur Streeton from 1896. Pigment analysis indicates that titanium white (a pigment not available commercially until 1920) is found in the clouds. So the proposition must be modified: either this is a work by Streeton that has been heavily reworked after 1920, or this is not a work by Streeton, or this is a work by Streeton but the date is wrong. The authentication process will define and redefine each proposition until there is one that best fits the evidence at hand. Fluorescing the date to establish whether it is a recent addition would be part of this process. Examining other whites in the painting to check if the clouds had been added later would be another. Checking the veracity of the provenance would also be critical. We may decide that this is not an 1896 work by Streeton based on the evidence of the pigment. But what if an art historian discovers a small pigment manufacturer in Box Hill whose records show they produced titanium dioxide as a pigment in 1890? The new evidence may affect the conclusion. But more likely we would want to verify such evidence before we altered our conclusion. Between the extremes of Drew’s manufactured identities and the optimism of a third generation is the strengthened work, combining identity shift and hope. Dali pulled a reverse strengthening when he signed 20,000 blank sheets of paper for lithographs that had not yet been executed (Hebborn 79), but more usually it is the inscription not the image that is missing. Of course a signature is good, but signature works may not have, and do not need signatures. A signature may be a picture of a certain place (Heidelberg) at a certain time of day (moonrise); optimism will soon join the dots, producing a David Davies Moonrise. Often an inscription helps; a nondescript clean-shaven Victorian gentleman can become a bearded founding father, an anonymous nag the first winner of the Melbourne Cup. And if the buyer is not convinced, then a signature may win the day. Unlike Drew’s fabricated histories these changes in identity are confined to transformations of the object itself and then, by association, to its context. Art fraud is an endearing topic, partly because it challenges the subjective nature of expertise. When van Meegeren manufactured his most successful ‘Vermeer’ The Supper at Emmaus (1937) he explored the theories of experts, and then set about producing a work that copied not an existing Vermeer, but the critic’s theory of what an as-yet-undiscovered Vermeer would look like. Hannema, van Schendel and finally Bredius subscribed to the theory that Vermeer’s trip to Italy resulted in Caravaggio’s influence on the artist (Dutton 25). Van Meegeren obligingly produced such a work. So does it matter? Is an identical work as good a work? Is a sublime copyist of great artists a great artist? (Not that van Meegeren was either.) Authentication is a process of assessing claims about identity. It involves reputation, ownership, relationships and truth. When an artist executes a copy it is homage to the skill of the master. When Miss Malvina Manton produced a scene of dead poultry in 1874, she was copying the most popular painting in the fledgling collection of the National Gallery of Victoria, Schendel’s The Poultry Vendor (Inglis 63), and joined a league of copyists including Henry Gritten and Nicholas Chevalier who sought permission to copy the Gallery’s paintings. When John O’Loughlin copied works by Clifford Possum Tjapaltjarri and passed them off as original the impact on the artist was less benign (Gotting). Sid Nolan refused to identify problematic paintings attributed to his oeuvre claiming that to acknowledge such paintings would cast doubt on his entire oeuvre. Bob Dickerson assiduously tracks down and ‘outs’ problematic paintings from his oeuvre, claiming that not to do so would leave the thin edge of the wedge firmly embedded for future opportunists. Both are concerned with their identity. Creation is a fraught business, simply because the act of creation is the act of giving an identity. Whether we create a child, a musical score, a painting or a t-shirt brand, the newly created entity is located within a lineage and context that means more than the single individual creation. This is why identity theft is such a major crime. If someone steals an identity they also steal the collateral developed around that identity, the ability to deal in credit, to drive a car, to travel overseas, to purchase a house. Identity is a valuable commodity; for an artist it is their tool of trade. There is no doubt that the public celebrates the fake. Perhaps it is a celebration of the power of the object over the critic or the theoretician. But it is an extraordinarily costly celebration. Despite the earlier assertion that it is possible to make the perfect copy, very few even approximate the vibrancy and intelligence of an original. Most, if accepted, would seriously dilute the strength of the artist’s oeuvre. Forging Aboriginal art is even more disgraceful. In a society where cultural transmission has traditionally been based on complex relationships of dance, song, painting and objects to customary rights, laws and obligations, art fraud impacts on the very fabric of society. There will always be works that slip identities, and many are not pulled back. False works do damage; they dull our perceptions, dilute our ability to understand an artist’s contribution to society, and are usually no more than blunt instruments used for financial gain. References Australian Institute of Criminology. “Art Crime: Protecting Art, Protecting Artists and Protecting Consumers.” 2-3 Decembeer 1999. 1 May 2005 http://www.aic.gov.au/conferences/artcrime/>. Catterall, L. The Great Dali Art Fraud and Other Deceptions. Fort Lee, New Jersey: Barricade, 1992. Dutton, Denis, ed. The Forger’s Art Forgery and the Philosophy of Art. California: U of California P, 1983 Gotting, Peter. “Shame of Aboriginal Art Fakes.” 16 July 2000. 31 May 2005 http://www.museum-security.org/00/112.html#3>. Hebborn, Eric. The Art Forger’s Handbook. London: Cassell, 1997. Inglis, Alison. “What Did the Picture’s Surface Convey? Copies and Copying in the National Gallery of Victoria during the Colonial Period.” The Articulate Surface: Dialogues on Paintings between Conservators, Curators and Art Historians. Ed. Sue-Anne Wallace, with Jacqueline Macnaughtan and Jodi Parvey. Canberra: The Humanities Research Centre, the Australian National University and the National Gallery of Australia, 1996. 55-69. Landesman, Peter. “A 20th-Century Master Scam.” The New York Times Magazine (18 July 1999): 31-63. Sloggett, Robyn. “The Truth of the Matter: Issues and Procedures in the Authentication of Artwork.” Arts, Antiquity and Law 5.3 (September 2000): 295-303. Tallman, Susan. “Report from London Faking It.” Art in America (November 1990): 75-81. Citation reference for this article MLA Style Sloggett, Robyn. "Slipping and Sliding: Blind Optimism, Greed and the Effect of Fakes on Our Cultural Understanding." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/09-sloggett.php>. APA Style Sloggett, R. (Jul. 2005) "Slipping and Sliding: Blind Optimism, Greed and the Effect of Fakes on Our Cultural Understanding," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/09-sloggett.php>.