2,427 research outputs found
The Dominance of the Roman Army in Northern Britain and Subsequent Rift between Roman and Briton on the Military Frontier
No full textHUBER, CHRISTOPHER RYAN. The Dominance of the Roman Army in Northern Britain and Subsequent Rift between Roman and Briton on the Military Frontier. (Under the direction of Dr. S. Thomas Parker.)
Britain was a province far from the Roman heartland. An accomplishment in its mere inclusion within the Roman Empire, such distance made Britain a difficult prize to claim. Unable to successfully conquer the entirety of the island, the Romans established a permanent zone of military occupation that varied throughout the northern half of Britain. Under military governance, Roman interaction with local Britons remained limited, and no opportunity existed for the enfranchisement of the British aristocracy within the military administration. With minimal interaction between occupier and local, urban development, the foundation for Roman administration never took hold in the north, thus preventing the development of civil administrations or familiarity with the highpoints of Roman culture. The presence of Roman civilians on the frontier similarly remained limited. Civil settlements developed, in close association with military forts, but their administration and demographics remain unclear. Though drawing upon an ever increasing body of archaeological and epigraphic evidence to better understand the presence of Britons within the Roman military frontier, the cultural gap between native and occupier becomes similarly more apparent. With the withdrawal of Roman forces and authority in the early fifth century AD, most of Britain returned to a form that had been present during much of the Iron Age. In the north such a change was less drastic, as fewer aspects of Roman culture and society had taken hold due to the exclusion of Britons from administrative roles. Like the rest of Britain, those of the north returned to ways of life that had previously developed to fit the specific challenges of British life
Europäischer Bürgerkonvent
No full textEUROPÄISCHER BÜRGERKONVENT
Europäischer Bürgerkonvent / Huber, Roman (Rights reserved) (-
Writers Talk Featuring Sonya Huber
No full textSonya Huber, 2004 graduate of OSU's MFA Creative Writing Program, currently an assistant professor at Georgia Southern University. Author of "The Backwards Research Guide for Writers," "Opa Nobody," and most recently "Cover Me: A Health Insurance Memoir."The media can be accessed here: http://streaming.osu.edu/knowledgebank/cstw12/WT_WCRS_11-08-10_SonyaHuber.mp3Ohio State University. Center for the Study and Teaching of Writin
Eunota albicauda Duran & Roman & Huber 2021, n. sp.
No full textEunota albicauda Duran & Roman, n. sp. urn:lsid:zoobank.org:act: 4AB9D7EE-5A01-49D1-9F6D-1AA86C5A627A Figs. 2-6, 7A, 8A Type material. HOLOTYPE: 1 ♀, " TEXAS: Aransas Co. / 10 mi. N. Rockport / 10.IX.1966 // G.C. GAUMER, / leg. // ON SANDY FLAT ” (NMNH). PARATYPES: 1 ♂ “ Date: 9.27.50 / Kingsville, Tex. / Kleberg Co. (RLHC). Type specimens labelled: HOLOTYPE or PARATYPE, respectively. Diagnosis. Eunota albicauda n. sp. can be distinguished from all other similar Eunota by the following combination of characters. This species has ochre-brown legs with purple and green reflections (Figs. 2–4), expanded white maculations that almost completely cover the apical 25% of the elytra (Fig 5A) but other maculations not so expanded, elytral texture rough/dull for a Eunota, not smooth/polished between punctures (Figs. 2, 6A). Areas in between punctures form ridges/wrinkles, especially in basal third of each elytron. The most likely species to be confused with E. albicauda n.sp. are E. togata and E. circumpicta, however, it is separable from both of these taxa based on multiple characters. Eunota togata has numerous setae on the genae and the clypeus, whereas E. albicauda n.sp. is glabrous in both areas. Eunota togata is densely setose on the entire surface of the pronotum, whereas E. albicauda n.sp. has sparse setae, mostly confined to marginal areas. The apical portion of the elytra of E. togata forms a lunule (Fig 5B), whereas it is expanded in E. albicauda n.sp. to cover the entire apical portion of the elytra (Fig 5A). Eunota togata elytra possess relatively shallow punctures with mostly flat intervening areas (Fig 6B), whereas the punctures are deeper in E. albicauda n.sp., and the intervening areas are not smooth, but contain rough ridges (Fig 6A). Eunota togata has shiny dark legs with purple-green reflections, whereas E. albicauda n.sp. legs are a paler ochre-brown color with purple-green reflections. Eunota circumpicta possesses a typical apical lunule (Fig 5C) unlike the expanded markings of E. albicauda n.sp. (Fig 5A). Eunota circumpicta possesses shallow elytral punctures with smooth/polished intervening areas (Fig 6C), in contrast to the deeper punctures and rough/ridged intervening areas of the elytra of E. albicauda n.sp.. Eunota circumpicta has shiny dark legs with purple-green reflections, whereas E. albicauda n.sp. legs are a paler ochre-brown color with purple-green reflections. Description. Small-sized Eunota. Body (Figs. 2–4) length 10.8–11.3 mm, ♀ 10.8 mm, ♂ 11.3 mm. Head noticeably wider than pronotum due to large eyes, width 3.0 mm, ♀ 3.0 mm, ♂ 3.0 mm, vertex cupreous-green; all head portions glabrous except for two supraorbital setae next to each eye. Frons slightly convex in median area, clearly delimited from clypeus, gradually blending into vertex. Frons surface with distinct longitudinal striae especially in lateral areas bordering eyes, vermiculate-striate in median area. Genae bright polished cupreous-green with deep longitudinal striae abruptly ending at border of vertex. Clypeus cupreous, blending to green and green-blue in some areas, irregularly wrinkled to finely vermiculate. Male labrum with 6 setae, ochre-yellow to pale yellow with thin dark brown to black border; male labrum unidentate (Fig 7A), length 0.7 mm, width 1.4 mm; female labrum tridentate (Fig 7D), length 0.9, width 1.5 mm. Mandibles medium-sized, ochraceous, dark testaceous along edges. Maxillary palpi mostly yellow with darker metallic reflections, apical segment dark shiny metallic green to purple. Labial palpi ivory to pale yellow, apical segment dark metallic green to violet. Antennae of normal length, reaching humerus to basal third of elytron, scape dark testaceous with metallic reflections of cupreous, gold, and violet, with a single subapical seta; pedicel dark testaceous with metallic reflections of cupreous, gold, and violet, lacking any setae; flagellum antennomeres 3–4 dark testaceous with metallic cupreous and violet reflections, with ring of apical setae and additional sparse setae throughout, antennomeres 5–11 ochre-brown, dull-textured without metallic reflections and possessing erect setae in apical rings only, covered with fine pubescence throughout. Pronotum (Fig. 2) 2.1–2.2 mm wide, ♀ 2.2 mm, ♂ 2.1 mm, length 2.0– 2.1 mm, ♀ 2.1 mm, mean ♂ 2.0 mm, slightly polished with metallic finish, cupreous green, sparse white decumbent setae present along marginal areas of dorsal surface; disc finely rugose to vermiculate with thin but distinct median line and most strongly impressed anterior and posterior sulci; notopleural sutures clearly defined, not visible from dorsal view; proepisternum (Fig 3–4) polished dark bronze, setae densely covering nearly the entire surface; all other ventral segments of thorax dark testaceous with metallic blue to violet reflections, lateral areas covered in setae, median areas glabrous. Elytra (Fig. 2) elongate, 7.2–7.5 mm length, ♀ 7.2 mm, mean ♂ 7.5 mm, shape similar in both sexes, but slightly wider in female, especially toward apical third; sutural spine small, fine microserrations present on elytral apices; elytra dull cupreous green throughout, with dense metallic green punctures. Intervening areas between punctures are slightly ridged (Fig 5A) giving the elytra a rougher texture than other Eunota. Subsutural foveae present, but nearly indistinct due to the background punctate texture; elytral maculations present, with a wide complete marginal band, a humeral lunule, wide and rounded middle band, and a greatly enlarged apical maculation. Apical area does not form a typical lunule seen in other Eunota, but instead the region is completely unpigmented (Fig 6A). Procoxae and mesocoxae dark testaceous with metallic blue to violet reflections, covered in dense setae; metacoxae dark testaceous with metallic green to violet reflections, nearly glabrous, possessing only a few setae; pro-and mesotrochanters with a single subapical seta, metatrochanters glabrous; femora pale ochre-brown with some metallic green to violet reflections, especially on the metafemora, femoral surface with rows of erect white setae dorsally and ventrally; tibiae pale ochre-brown with green to violet reflections near the apices, clothed with white setae that are sparser and shorter than those of the femora; tarsi pale ochre-brown with green to violet reflections near the apices, first three dilated protarsomeres in male with dense greyish-white setal pads. Abdominal ventrites 1–6 dark testaceous with most surfaces covered by metallic blue, dark blue and violet reflections; dense white decumbent setae present mostly along lateral third of each ventrite. The male specimen (paratype) has a damaged abdomen and an intact aedeagus was not available for study. Etymology. Eunota albicauda n. sp. is named for the extensive white maculated area of the posterior portion of the elytra, derived from Latin: albi - = white, -c auda = tail. Distribution and habitat. Eunota albicauda n. sp. is currently known only from two localities along the Gulf Coast of southern Texas, “Kingsville and 10 m N. of Rockport. The only habitat information is found on the Rockport specimen label: “on sandy flat. The majority of Eunota, including the E. circumpicta group, inhabit muddy or sandy saline habitats, and this species likely does as well. Both specimens of Eunota albicauda n. sp. were collected in September, suggesting that this species may be active late in the season and may not overlap significantly with the adult phenology of other sympatric Eunota.Published as part of Duran, Daniel P., Roman, Stephen J. & Huber, Ronald L., 2021, A new tiger beetle from the Gulf Coast of Texas (Coleoptera, Cicindelidae, Cicindelini), pp. 73-80 in Zootaxa 5072 (1) on pages 75-78, DOI: 10.11646/zootaxa.5072.1.8, http://zenodo.org/record/572899
Robust Linear and Support Vector Regression
No full textThe robust Huber M-estimator, a differentiable cost function that is quadratic for small errors and linear otherwise, is
modeled exactly, in the original primal space of the problem, by an easily solvable simple convex quadratic program for both linear and
nonlinear support vector estimators. Previous models were significantly more complex or formulated in the dual space and most
involved specialized numerical algorithms for solving the robust Huber linear estimator [3], [6], [12], [13], [14], [23], [28]. Numerical test
comparisons with these algorithms indicate the computational effectiveness of the new quadratic programming model for both linear
and nonlinear support vector problems. Results are shown on problems with as many as 20,000 data points, with considerably faster
running times on larger problems
Expanded Interiors Re-Staged - Photographic documentation of the exhibition - gallery 2 - Catrin Huber
No full textPlease read in conjunction with the Project
Overview Metadata
Images for Expanded Interiors Re-Staged, gallery 2: Catrin Huber: The Corner Escape have to be
credited to the artist Catrin Huber and the respective photographer: Colin Davidson, Catrin Huber, Arto Polus (Please see file name for information)Gallery 2 titled The Corner Escape at the Hatton Gallery
exhibits Catrin Huber’s installation ‘Around
and Up”, a large-scale painting installation, which was originally
exhibited at the House of the Cryptoporticus in Pompeii (July 2018 – January
2019). It also displays ‘The Corner
Escape’, a wall paper drawing / collage / painting. This dataset contains
images of The Corner Escape and all
the artworks, together with the wall and interpretation leaflet texts (PDF
documents) for Gallery 2.
The Expanded Interiors Re-Staged exhibition forms one
of the key outputs of the Expanded Interiors Re-Staged project.
The exhibition, Expanded Interiors Re-Staged,
relocated to Newcastle’s Hatton Gallery contemporary installations created by
visual artist Catrin Huber as part of an earlier project, Expanded
Interiors, which had been sited and displayed at the UNESCO World
Heritage Sites of Herculaneum and Pompeii. The installations sited at the House
of the Beautiful Courtyard in Herculaneum and the House of the Cryptoporticus
in Pompeii, had responded to and were in dialogue with the specific nature of
the buildings and wall paintings from these two Roman houses. They were shown
in situ from May 2018 – January 2019.
In the Hatton Gallery in Newcastle these installations were
exhibited alongside new work developed by Catrin Huber to set them in a fresh
dialogue in a new context, with the distinctive architecture of the Hatton
Gallery. Artist Rosie Morris, who was part of the original Expanded Interiors research team was commissioned to
develop her own contemporary installation in response to the research done
within the Roman houses, and the new venue. </p
Expanded Interiors Re-Staged - Photographic documentation of the exhibition - gallery 4 - Catrin Huber
No full textPlease read in conjunction with the Project
Overview Metadata
Images for Expanded Interiors Re-Staged
in gallery 4: Catrin Huber: Light Trap have to be
credited to the artist Catrin Huber and the respective photographer: Colin Davidson, Catrin Huber, Arto Polus (Please see file name for information)Gallery 4 titled Light Trap at the Hatton Gallery exhibits
Catrin Huber’s installation ‘Bella Ciao’ a
large-scale installation comprising scaffolding-like construction, prints on
perspex, and 3D printed replicas of Roman statues. ‘Bella Ciao’ was originally exhibited at the House of the Beautiful
Courtyard in Herculaneum (May 2018 – January 2019). Light Trap also displays Black
Hole, Asteroids, and White Dwarf, textile wall hangings of
various sizes; and Light Trap, a 3D
real-time environment (documentation and artwork) showing Huber’s installations
within the interiors of the House of the Cryptoporticus and the House of the
Beautiful Coutyard in Pompeii and Herculaneum. This dataset contains images of Light Trap and all the artworks,
together with the wall and interpretation leaflet texts (PDF documents) for Gallery
4.
The Expanded Interiors Re-Staged exhibition forms one
of the key outputs of the Expanded Interiors Re-Staged project.
The exhibition, Expanded Interiors Re-Staged,
relocated to Newcastle’s Hatton Gallery contemporary installations created by
visual artist Catrin Huber as part of an earlier project, Expanded
Interiors, which had been sited and displayed at the UNESCO World
Heritage Sites of Herculaneum and Pompeii. The installations sited at the House
of the Beautiful Courtyard in Herculaneum and the House of the Cryptoporticus
in Pompeii, had responded to and were in dialogue with the specific nature of
the buildings and wall paintings from these two Roman houses. They were shown
in situ from May 2018 – January 2019.
In the Hatton Gallery in Newcastle these installations were
exhibited alongside new work developed by Catrin Huber to set them in a fresh
dialogue in a new context, with the distinctive architecture of the Hatton
Gallery. Artist Rosie Morris, who was part of the original Expanded Interiors research team was commissioned to
develop her own contemporary installation in response to the research done
within the Roman houses, and the new venue. <br
Expanded Interiors Re-Staged - Photographic documentation of the exhibition - gallery 1 - Catrin Huber
No full textPlease read in conjunction with the Project
Overview Metadata
Images for Expanded Interiors Re-Staged in gallery 1: Catrin Huber, Along and Through have to be
credited to the artist Catrin Huber and the respective photographer: Colin Davidson or Arto Polus (Please see file name for information)Gallery 1 titled Along and Through at the Hatton Gallery
exhibits Catrin Huber’s installation ‘Along
and Through’, a large-scale painting installation, which was originally exhibited
at the House of the Cryptoporticus in Pompeii (July 2018 – January 2019). This
dataset contains images for Along and
Through, together with the wall and interpretation leaflet texts (PDF
documents) for Gallery 1.
The Expanded Interiors Re-Staged exhibition forms one
of the key outputs of the Expanded Interiors Re-Staged project.
The exhibition, Expanded Interiors Re-Staged,
relocated to Newcastle’s Hatton Gallery contemporary installations created by
visual artist Catrin Huber as part of an earlier project, Expanded
Interiors, which had been sited and displayed at the UNESCO World
Heritage Sites of Herculaneum and Pompeii. The installations sited at the House
of the Beautiful Courtyard in Herculaneum and the House of the Cryptoporticus
in Pompeii, had responded to and were in dialogue with the specific nature of
the buildings and wall paintings from these two Roman houses. They were shown
in situ from May 2018 – January 2019.
In the Hatton Gallery in Newcastle these installations were
exhibited alongside new work developed by Catrin Huber to set them in a fresh
dialogue in a new context, with the distinctive architecture of the Hatton
Gallery. Artist Rosie Morris, who was part of the original Expanded Interiors research team was commissioned to
develop her own contemporary installation in response to the research done
within the Roman houses, and the new venue. </p
Expanded Interiors Re-Staged - Educational resource pack - Roman Interiors
No full textPlease read in
conjunction with the Project Overview Metadata
This dataset contains an adaptable
Powerpoint presentation for schools: Roman Interiors, together with its
respective worksheet (PDF). These built on the research done for Expanded
Interiors. The Powerpoint presentation is also
available as a PDF.
These
educational resources are created for Key Stage 2 pupils (aged from 7 – 11;
years 3,4,5 and 6).
As
part of Expanded Interiors Catrin
Huber developed three large-scale installations that responded to and were in
dialogue with the interior decorations, wall paintings, and architecture of two
Roman houses: the House of the Cryptoporticus at Pompeii and the House of the
Beautiful Courtyard in Herculaneum. This teaching material aims to creatively
engage pupils with Roman interior decoration both in Italy and the UK, while
linking it to their present day life. Pupils will also discover how a contemporary artist
responded to an archaeological
site, and
will be encouraged to do their own artworks in response.Texts by Catrin Huber, Dr Harriet Sutcliffe.
Design by Dr Harriet Sutcliffe. Concept by Catrin Huber, Dr Thea
Ravasi, Dr Harriet Sutcliife.
Please
note that you can adapt the Powerpoint presentation to your own
needs, however all the images are protected under the following licence: CC
BY-NC-ND-4.0.
The
exhibition Expanded Interiors Re-Staged relocated to Newcastle’s Hatton
Gallery contemporary installations created by visual artist Catrin Huber as
part of an earlier project, Expanded Interiors. Catrin Huber’s Expanded
Interiors installations had been sited and displayed at the UNESCO World
Heritage Sites of Herculaneum and Pompeii. They were shown in situ from May 2018 –
January 2019.
In
the Hatton Gallery in Newcastle these installations were exhibited alongside
new work developed by Catrin Huber to set them in a fresh dialogue in this new
context, with the distinctive architecture of the Hatton Gallery. Artist Rosie
Morris, who was part of the original Expanded Interiors research team
was commissioned to develop her own contemporary installation in response to
the research done within the Roman houses, and the new venue. The
Expanded Interiors Re-Staged exhibition ran from 3 July to 10 August
2021.
</p
Expanded Interiors Re-Staged - Educational resource pack - Roman Face Pots
No full textPlease read in
conjunction with the Project Overview Metadata
This dataset contains
an adaptable Powerpoint presentation for schools: Roman Face Pots,
together with its respective worksheet (PDF). These built on the research done
for Expanded Interiors. The Powerpoint
presentation is also available as a PDF. These educational resources are created for Key Stage 2
pupils (aged from 7 – 11; years 3,4,5 and 6).
Replicas of Roman
face cups from Pompeii are part of Huber’s installation Along and Through, which was originally exhibited within the House
of the Cryptoporticus at Pompeii. This teaching material playfully
explores what Roman face pots are and their history, while linking Italian and
British Roman sites. It encourages pupils to explore the Roman heritage they
share with Pompeii and Herculaneum and the rich connections between Roman and
contemporary visual culture, while creatively engaging them with Roman history.
Texts by Catrin Huber (text on slide 21),
Eniko Hudak, Dr Harriet Sutcliffe. Design by Dr Harriet Sutcliffe. Concept
by Catrin Huber, Eniko Hudak, Dr Thea Ravasi, Dr Harriet Sutcliife.
Please
note that you can adapt
the Powerpoint presentation to your own needs, however all the images are
protected under the following licence: CC BY-NC-ND-4.0.
Please
also note that this Powerpoint presentation ‘Roman Face Pots'
contains a link to a video by master potter Graham Taylor from Potted-History,
who has created for Expanded Interiors
Re-Staged a hands-on introduction and demonstration to how the Romans made
their face pots, together with instructions and a demonstration for children
(and adults) to do their own face pots.
The
exhibition Expanded Interiors Re-Staged relocated to Newcastle’s
Hatton Gallery contemporary installations created by visual artist Catrin Huber
as part of an earlier project, Expanded Interiors. Catrin Huber’s Expanded Interiors
installations had been sited and
displayed at the UNESCO World Heritage Sites of Herculaneum and Pompeii. Her
installations had responded to and were in dialogue with the specific nature of
the buildings and wall paintings from the House of the Cryptoporticus in
Pompeii and the House of the Beautiful Courtyard in Herculaneum. They were
shown in situ from May 2018 – January 2019.
In the
Hatton Gallery in Newcastle these installations were exhibited alongside new
work developed by Catrin Huber to set them in a fresh dialogue in this new
context, with the distinctive architecture of the Hatton Gallery. Artist Rosie
Morris, who was part of the original Expanded
Interiors research team was commissioned to develop her own
contemporary installation in response to the research done within the Roman
houses, and the new venue. The Expanded Interiors
Re-Staged exhibition ran from 3 July to 10 August 2021. </p
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