100 research outputs found
The Shadow Warriors: in the no man’s land between Industrial Control Systems and enterprise IT systems
No full textBronze Byzantine AE Half Follis of Maurice Tiberius
No full textBronze AE half follis of Byzantine Emperor Maurice Tiberius (582-602 CE). Obv: crowned and draped bust of Maurice Tiberius facing, holding globus cruciger. Rev: large K above, cross, across field, date. Minted in Constantinople
Half Follis of Justin II and Sophia
No full textThe obverse of this half-follis depicts the imperial couple, Justin II and Sophia (r.565-578), enthroned. Justin II is on the seated on the left and Sophia is seated on the right. Both are nimbate (haloed). Justin II holds a globus cruciger in his right hand, while Sophia holds a cruciform scepter. The reverse of the follis is struck with the mark of value (K) with a cross above it and the date in two columns flanking the sides. The mint mark is below and difficult to read, although it appears to say KYZ (Cyzicus). However, the half folles minted at Cyzicus generally include a cross between the heads of the imperial couple on the obverse. There is nothing between the heads in this sample, making this a variant not documented by Dumbarton Oaks. The regnal year is also written in two lines, although the DOC only records it in one.
Sonia Suben 2025https://digital.kenyon.edu/arthistorystudycollection/2556/thumbnail.jp
Half Follis of Maurice
No full textSimilar to the Statue of Liberty this half follis of Maurice (Bellinger 1966, p. 313) has a pretty patina due to the aging of the bronze. On the obverse is the emperor himself (Bellinger 1966, p. 313). In his left hand he is holding a shield meant for battle and in his right hand he is holding a cross, signifying the religious values that the empire had. Maurice is wearing traditional battle garments and a helmet (Bellinger 1966, p. 313). Maurice’s head splits an inscription at the top of the coin that says “Our Lord Maurice Tiberius, eternal augustus” (Bellinger 1966, p. 313).
On the reverse there is a large K located directly at the center of the coin. The K marking designated the worth of the coin as being 20 nummi, or a half follis (Grierson 1999, p. 17). Since there were so many coins like this, it is fair to assume that this coin was readily available to everyday people. To the left and right the K are markings that indicate the coin was minted in the seventh year of Maurice’s reign. The B below the K represents the workshop in Constantinople where this coin was minted (Bellinger 1966, p. 313).
This coin is significant because of its specific illustration of Emperor Maurice as a warrior. This depiction serves a propagandistic purpose to show citizens and outsiders that the empire and emperor were warriors. This gives better context of who Maurice was and an idea of what the empire values during Maurice’s reign. In comparison to the copper coins issued by Maurice’s predecessor, Tiberius II, and by his successor, Phocas, those issued by Maurice feature many more variations of the emperor as a warrior, minted in cities throughout the empire. Micheal Yonan highlights the importance of materiality in art-historical study (Yonan 2019). In this case the material of this coin can help us further analyze the deeper meaning. Copper was extremely common at this time resulting in almost everyone having access to this type of coin. The image of him as a warrior was meant for everyone to see. As a result, this message becomes propagandistic as he hopes his constituents will view him as a warrior. Knowing the role this material played is important in understanding why he would depict himself as a fighter. As a result Maurice is unique for his time as he tries to highlight his obligation to bring victory for the empire.
Bibliography
Bellinger, Alfred R. 1966. Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, vol. 1, Anastasius I to Maurice, 491–602. Washington, DC: Dumbarton Oaks Research Library and Collection.
Grierson, Philip. 1999. Byzantine Coinage. Washington, DC: Dumbarton Oaks Research Library and Collection.
Morrisson, Cécile. 2001. “Byzantine Money: Its Production and Circulation.” In The Economic History of Byzantium: From the Seventh Through the Fifteenth Century, ed. Angeliki E. Laiou, 909–966. Washington, DC: Dumbarton Oaks Research Library and Collection.
Morrisson, Cécile, and Jean-Claude Cheynet. 2001. “Prices and Wages in the Byzantine World.” In The Economic History of Byzantium: From the Seventh Through the Fifteenth Century, ed. Angeliki E. Laiou, 815–878. Washington, DC: Dumbarton Oaks Research Library and Collection.
Yonan, Michael. 2019. “Materiality as Periphery.” Visual Resources 35, nos. 3-4: 200–216.
Ian Weihe (’24) for ARHS 110 (Fall 2022)https://digital.kenyon.edu/arthistorystudycollection/2586/thumbnail.jp
Temperature-Based MPPT Feasibility for Satellite Solar Cells: An Experimental Analysis
No full textMaximum Power Point Tracking (MPPT) is commonly used to optimize the power output of solar arrays for LEO satellites. Traditional MPPT techniques such as Perturb & Observe often struggle when the satellite is rotating and the temperature and incident irradiance are rapidly changing. This scenario frequently occurs with miniaturized satellites, such as the recent Delfi-PQ satellite launched by TU Delft. One possible solution utilizes temperature measurements to perform MPPT, which is a more responsive architecture and better suited to rapidly changing environmental conditions. This project characterized the performance of a triple-junction solar cell at various temperatures and irradiance levels. The performance of a linear temperature-based MPPT formula was then estimated by comparing the experimentally collected solar cell data to formula predictions. This was an important first step in the possible implementation of temperature-based MPPT on future Delfi satellites.The author can be reached at [email protected] Engineerin
Half-Follis of Justin II & Sophia
No full textThis Byzantine coin of Justin II and Sophia is a copper half-follis. On the reverse the K indicates its value, 20 nummi, and the inscriptions reveal Thessaloniki’s mint mark and the year of Justin’s reign, dating the coin to 574/575 CE. The image on the obverse, while largely degraded and highly schematic, features the two co-rulers sitting enthroned, haloed, and wearing imperial and consular garb. Justin II is on the left holding the globus cruciger in his right hand. Sophia is on the right holding the cruciform scepter. Besides the insignia that they hold, there is little that distinguishes one figure from the other. A portion of an inscription that surrounded both figures would have read in full: Our lord, Justin, [Eternal Augustus] — a standard inscription on Byzantine coins.
Coins were some of the most conservative visual media in the Byzantine Empire. Emperors typically preserved the iconography of their predecessors with minor variations, changing only the portrait and inscription to reflect the new ruler. This coin represents a major shift in this tradition as it is the first instance in this medium where an emperor and empress are depicted together as co-rulers.
The fact that this image appears on copper coins, and was minted in many locations around the Mediterranean, meant that the message of shared rulership between Justin and Sophia would have been seen by all classes of people in all corners of the empire.
This innovative design draws upon the Late Roman tradition of depicting two male rulers together, as seen on the gold solidus, issued in 430 CE, celebrating the consulship of the Emperor Theodosius II and his son-in-law Valentinian III. On this coin, the two rulers are shown side-by-side, facing frontally, sitting on the throne, dressed in consular costumes, and are nimbate. While the depiction of Justin and Sophia on their half-follis is similar to that of Theodosius and Valentinian on their gold solidus, the differences are what make Justin and Sophia’s coin more striking. Whereas the hieratic scale clearly marks Theodosius as the senior, and more important, figure in relationship to Valentinian, no such scaling is used to differentiate Justin and Sophia. Additionally, while the bodies of Theodosius and Valentinian are separated to clearly distinguish the two sovereigns, Justin and Sophia are sitting so close together that they appear as one body. In addition, Justin and Sophia are depicted on the obverse as opposed to the reverse, which signifies their joint importance and status as rulers. Through this comparison, we are able to better recognize the innovations of Justin and Sophia’s coin. Sophia is presented not as subservient to Justin; rather, their equal stature and virtually indistinguishable features indicate their relatively shared and equal status.
Empress Sophia’s presence on this half-follis draws from a tradition of female rulers demonstrating their authority through coinage as seen with the empresses of the Constantinian and Theodosian dynasties of the fourth and fifth centuries.
Ultimately, Empress Sophia paved the way for the visual expression of female authority, which is reflected in the later coinage of Empress Irene of Athens (r. 797-802 CE). Empress Irene was the first empress to be depicted alone on both sides of her coinage, and was the first woman to solely rule the Byzantine Empire.
Bibliography
Cameron, Averil. 1975. “The Empress Sophia.” Byzantion 45: 5–21.
Bellinger, Alfred R., and Philip Grierson, eds. 1966. Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, vol. 1, Anastasius I to Maurice, 491–602. Washington, DC: Dumbarton Oaks Research Library and Collection.
Holum, Kenneth G. 1982. Theodosian Empresses: Women and Imperial Dominion in Late Antiquity. Berkeley: University of California Press.
Kalavrezou, Ioli, ed. 2003. Byzantine Women and Their World. Cambridge, MA: Harvard Art Museums.
Maya Virdell (’24), May 2022https://digital.kenyon.edu/arthistorystudycollection/2136/thumbnail.jp
How To Help Your Clients Understand Their 1099-K and Its Everchanging Threshholds
No full textAlthough there have not been many ta law changes this year, one tax policy change being implemented this year is sure to cause confusion for a plethora of our clients. That change is the new reporting requirements for the 1099- K. CPA firms are already beginning to get calls from clients about these information reporting forms. If you are a tax preparer, you will no doubt have to help your clients sort through the tax consequences of this form if they use third parties such as PayPal, Venmo and many others for day-to-day cash transactions [...
A Contribution to the Study of the Byzantine Mint in Salona - Follis from the Village of Gata near Omiš
No full textNedvojbeno je dokazano da je u vrijeme Justinjana I. u Saloni postojala kovnica novca, i to polufolisa i dekanumija. Prikazujemo pronađeni novčić – folis Justinijana I. i Justina I. iz 527. godine. Temeljem proučavanja toga novčića vjerujemo da je kovan u Saloni. Naime, svi
bizantski folisi toga vremena imaju na reversu veliko slovo M, iznad slova M križ, s lijeve i desne strane slova M izmjenjuju se šesterokraka zvijezda i križ u različitim kombinacijama. U sredini slova M često je oznaka kalupara, tj. sigla. Na svim folisima toga tipa ispod slova M u egzergu utisnuta je oznaka kovnice. To navodimo zato što primjerak koji prikazujemo nema u egzergu, tj. u donjem dijelu novčića, nikakvu oznaku kovnice. Ta okolnost upućuje nas na to da navedeni primjerak ne pripada niti jednoj poznatoj bizantskoj kovnici toga vremena pa je vrlo vjerojatno da je kovan u pokretnoj ratnoj kovnici u Saloni, kao što je nedvojbeno dokazano da su u Saloni u isto vrijeme kovani polufolisi i dekanumiji s oznakom K i I na reversu, a bez oznake kovnice.There is no doubt that there was a mint of half-folles and decanummi in Salona at the time of Justinian I. The find analysed here is a coin – a follis of Justinian I and Justin I from 527. On the basis of studying this coin, the author concludes that it was minted in Salona. All contemporaneous Byzantine folles have the large letter M with a cross above it on the reverse, flanked by a six-pointed star and a cross in different combinations. In the middle of the letter M there is often a die-caster’s mark, a siglum. All folles of this type have a mint mark in the exergue under the letter M. This is important, because the specimen described here has no mint mark in the exergue, i.e. in the bottom part of the coin. This indicates that it does not belong to any known Byzantine mint of that time so it was probably minted in the itinerant war mint in Salona, as has undoubtedly been proved for half-folles and decunummi with the marks K and I on the reverse, which were minted in Salona at the same time
Half Follis of Justin II and Sophia
No full textThis Byzantine coin of Justin II and Sophia dates to 574/575 CE. The obverse features an image of Justin II and Sophia enthroned as co-rulers with halos surrounding their heads. They are dressed in typical robes and headpieces characterized by pendilia hanging down on either side (Grierson 1999, p. 28). Justin II, on the left, holds a globus cruciger, and Sophia, on the right, holds the cruciform scepter. The inscriptions on the obverse translate to “Our Lord, Justin, Eternal Augustus” (Bellinger 1966, p. 221; Grierson 1999, p. 38).
The reverse displays more inscriptions, indicating the coin\u27s value as 20 nummi, mint location as Thessaloniki, and date (Bellinger 1966, pp. 220-223; Grierson 1999, p. 20). The meaning of Θ+C, above the K, is unclear, but some historians think it could be ΘEOC, or God (Bellinger 1966, p. 223). It is a bronze half-follis, and its exchange ratio to the top coin, the gold solidus, was 1:576 (Grierson 1999, p. 43). Ten to sixteen of these half-folles would allow the coin’s typical owner, an average person, to buy 1 kg of second-quality bread (Morrisson and Cheynet 2001, p. 829).
This coin is significant because it displays Justin II and Sophia as co-rulers (Brubaker 2000, p. 583). It was not uncommon for coins in the Byzantine empire to have two emperors displayed on them since rulers did this to familiarize the public with the intended successor (Grierson 1999, p. 25). One example of this is the gold solidus of Justin I and Justinian I. In this depiction of the two emperors, hieratic scale indicates that Justin I, as the much bigger figure, is senior to Justinian I, the smaller figure (Grierson 1999, pp. 25–26, fig. 48). The coins of Justin II and Sophia do not use hieratic scale. This makes them appear as two equal co-rulers, which was not a common depiction for empresses at this time. This equality is also suggested by the imagery on the Cross of Justin II in the Treasury of St. Peter’s Basilica. Justin II and Sophia are again both depicted with equal size in roundels placed on the left and right arms of the cross. Analyzing the iconography, using the methods of Erwin Panofsky, of these repeated images of Sophia as being equal to her husband indicates her power and significance at a time when it was not customary for a woman to be shown with such equality. Sophia was known as strong-willed, persistent, and ambitious, which speaks volumes about her remarkable status as a co-ruler.
Bibliography
Bellinger, Alfred R. 1966. Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, vol. 1, Anastasius I to Maurice, 491–602. Washington, DC: Dumbarton Oaks Research Library and Collection.
Brubaker, Leslie, and Helen Tobler. 2000. “The Gender of Money: Byzantine Empresses on Coins (324–802).” Gender & History 12: 572–594.
Grierson, Philip. 1999. Byzantine Coinage. Washington, DC: Dumbarton Oaks Research Library and Collection.
Morrisson, Cécile, and Jean-Claude Cheynet. 2001. “Prices and Wages in the Byzantine World.” In The Economic History of Byzantium: From the Seventh Through the Fifteenth Century, ed. Angeliki E. Laiou, 815–878. Washington, DC: Dumbarton Oaks Research Library and Collection.
Panofsky, Erwin. 1955. “Iconography and Iconology: An Introduction to the Study of Renaissance Art.” In Meaning in the Visual Arts: Papers in and on Art History, 26–54. Woodstock, NY: The Overlook Press.
Mia VanWie (’24) for ARHS 110 (Fall 2022)https://digital.kenyon.edu/arthistorystudycollection/2582/thumbnail.jp
Reversal of the p53 gene from oncogenic to a normal functioning gene
No full textThis paper will examine P53, a gene that can be mutated into an oncogenic form that can
cause extensive cellular damage. Such mutations can induce a loss of cell cycle control and
promote abnormal cellular growth resulting in tumor formation. The feasibility of mutating P53
back into its original non-oncogenic form will be examined and discussed. Thus, by mutating the
oncogenic P53 gene, it could allow the cell to regain cell cycle control and inhibit further
cancerous growth. Genes P16 and P21 will also be included in the discussion because of their
immense implication in aberrant growth control. P53, if mutated from the cancerous form into
the original form, could reverse multiple types of cancer and activate various tumor suppressor
genes that have altered function due to a P53 mutation.Thesis (M.A.)Department of Biolog
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