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An Archaeology of Disability is a research station designed for the Venice Biennale, Architettura 2021 by David Gissen, Jennifer Stager, and Mantha Zarmakoupi and exhibited later at La Gipsoteca di Arte Antica of Pisa in 2022, at the Canellopoulos Museum of Athens in 2023, and at the Archaeological Museum of Thessaloniki in 2024. The research station works with languages and forms used by contemporary disabled people to reproduce elements—a ramp, a seat, an art gallery—from the ancient Acropolis in Athens that vanished long ago and that have little or no extant material forms. Among the many people who contributed to the research station are two performers, Christopher Tester and Pia Hargrove, who performed, respectively, the ekphrastic film and audio description Sēmata (Signs) (2021). The following dialogic essay draws on conversations with the curators and performers led by Brooke Holmes and Pasquale Toscano. This dialogic form surfaces some of the collaborative aspects of the research station to highlight the ways in which such collaboration brings different lenses to antiquity. [ABSTRACT FROM AUTHOR]

EXPOSED The Greek and Roman body CAROLINE VOUT 423pp. Wellcome Collection. 25 [pounds sterling]. In the fifth century BC, the Greek sculptor Polyclitus wrote a book describing the perfect human [...]

Summary: The Pandemic Response Accountability Committee (PRAC)'s objective was to review pandemic-related federal contracts and identify first-time contractors and contracts awarded without competitive bidding. The author found that first-time federal [...]

Current literature often links contentious protests with media hostility, showing that news outlets typically portray protests involving disruption or violence in a negative light. Contesting this literature, this work introduces an intersectional approach—focusing on geopolitics, protest goals and actions—to theorize divergences in the media framing of protests that entail violence. To illustrate these divergences, we use mixed methods—network analysis and content analysis—to examine an original dataset on U.S. media coverage of three large movements in different countries. These movements share similarities in their anti‐status quo goals and contentious actions but differ in geopolitical locations: one taking place in the U.S., the second in a U.S. ally country, and the third in a non‐ally country. As the first to apply network analysis in movement‐media studies, this comparative study contributes to a systematic examination of media framing variations both within and across social movements. This work also complicates our understanding of violence and media representation by introducing a theoretically‐informed approach that considers multiple factors simultaneously. [ABSTRACT FROM AUTHOR]

An Archaeology of Disability is a research station designed for the Venice Biennale, Architettura 2021 by David Gissen, Jennifer Stager, and Mantha Zarmakoupi and exhibited later at La Gipsoteca di Arte Antica of Pisa in 2022, at the Canellopoulos Museum of Athens in 2023, and at the Archaeological Museum of Thessaloniki in 2024. The research station works with languages and forms used by contemporary disabled people to reproduce elements—a ramp, a seat, an art gallery—from the ancient Acropolis in Athens that vanished long ago and that have little or no extant material forms. Among the many people who contributed to the research station are two performers, Christopher Tester and Pia Hargrove, who performed, respectively, the ekphrastic film and audio description Sēmata (Signs) (2021). The following dialogic essay draws on conversations with the curators and performers led by Brooke Holmes and Pasquale Toscano. This dialogic form surfaces some of the collaborative aspects of the research station to highlight the ways in which such collaboration brings different lenses to antiquity. [ABSTRACT FROM AUTHOR]

An interview with Allyson Vieira, a U.S. artist known for her sculptural works and drawings, is presented. Vieira offers information on her book "On the Rock: The Acropolis Interviews" and shares the most significant force motivating her sculptural practice. Vieira also describes what it was like to be standing inside the Parthenon looking out at the tourists. In addition, the artist discusses how the relationship to ancient technique, ancient gesture, is changed by new technology.