52 20 5655 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/7f3f18fe603c706bdf460bd4471a898d.mp3 6c381fcaca0ba8d9cde4c644a9f1c4af Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. 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Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:50:56 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Harrell, Daniel Title A name given to the resource Does Music Move? Date A point or period of time associated with an event in the lifecycle of the resource 2013-02-15 Format The file format, physical medium, or dimensions of the resource mp3 Description An account of the resource Audio recording of a lecture delivered on February 15, 2013, by Daniel Harrell as part of the Formal Lecture Series. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to: Make an audio recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audio recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a copy of my typescript available online." Type The nature or genre of the resource sound Subject The topic of the resource Music, Philosophy and aesthetics Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Bib # 80723 Relation A related resource <a title="Typescript" href="http://digitalarchives.sjc.edu/items/show/34">Typescript</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1debf710854d43e59813d644681a4c20.pdf d6eee7f8f46a4d8fdca13fd6938de92d PDF Text Text Does Music Move? Daniel Harrell Friday Night Lecture St. John's College, Annapolis, MD February 15, 2013* Does music move? Well, yes-if by "music", we meant the vibrations of sound that allow us to hear what a musician plays: from instrument to air to ear. Or yes again-if by "move" , we meant the way we can be moved by music: from table-taps to tangos to tears. But the question is harder to answer, if we ask it of music's movement in a more elementary sense. -The sense in which we might say, of a rhythm, that it quickens and slows; or of a melody, that it rises and falls ; or of a harmony, that it departs and returns. And suppose we say all this about the first movement of a symphony, not thinking twice about calling this a "movement". For we talk as if we hear just that in the symphony- movement- and as if any piece of music moves itself in moving us . Our talking this way has a point. For if we didn't hear music move, would we hear it at all? Without movement , music would seem no more than a series of sounds.1 But there is a problem with our talking this way, despite its point. And this is the problem I discuss in my lecture tonight . In its first part, I explain what I take the problem to be. In its second part, I explain why I take the problem to be important. In its final part, I offer two solutions to the problem, in the attempt to deepen our sense of it. I The nature of the problem. So what is the problem with our talking as if music moved? The problem, in a word, is space: the space in which we hear music move. -The space that allows it to quicken and slow, rise and fall, depart and return. For this space *The formatting and notes of this copy are dated February 17, 2013. I thank Gabriela Hopkins for helping me improve the lecture with comments and conversation about earlier drafts . I also thank participants in the Question Period for further thoughts, some of which appear in the footnotes of this copy. 1 For further discussion of this, see Chapter VII, "The Paradox of Tonal Motion", in Victor Zuckerkandl's Sound and Symbol: Music and the External World ; and the section "Movement" of Chapter 2, "Tone" , irt Roger Scruton's The Aesthetics of Music. 1 �2 Does Music Move? makes something close to complete sense on the one hand, yet something closer to nonsense on the other. 2 To see the sense it makes, we can start by comparing the movement we hear in music, with the variation we hear in sounds more generally. Consider, for example, the difference between a melody and a siren. Both involve a change in pitch over time. And we might say, in that respect, that both rise and fall. But unlike the siren, the melody does this in a kind of articulated space, usually conceived as a scale. And this space gives us the impression of movement, from one place to the next. We sense a change of place, in other words, within the melody's change in pitch, as if having caused it. As illustration, suppose we hear the beginning of "Twinkle, Twinkle, Little Star" on middle-C, where C is followed by the G a fifth above. Within this change in pitch, we hear a change of place-from the first degree of a melodic scale to the fifth; or otherwise put, from the i to the 5.3 And this change of place gives us the impression of a movement having caused the change in pitch: in this case, of a leap from the i to the 5, causing C to be followed by G. Now suppose we hear the siren rise from C to G. We don't hear this rise happen in the articulated space of a scale; and the continuity of the rise would seem to preclude it, since the places in a scale are discrete. But this means we are given no impression of movement by the siren's change in pitch, from one place to the next. It's as if the siren rises only in time, not in space. True, we can see, or at least infer, a change of place behind the siren's change in pitch, in the fire engine, say, that produced it. But we don't hear any change of place within the change in pitch, that might replace the fire engine as cause, and turn what we hear as a signal into what we could hear as a melody. Of course, we may not know about a musical scale, to account for the change of place we hear in the melody. But this ignorance is only more evidence for the sense made by the space of music's movement, in its own terms. And it reflects a striking fact about what it means to understand music. For we can develop an altogether discerning musical ear, while remaining all but illiterate about what we hear. And becoming literate, by studying music theory, underlines the sense music makes even without this theory. For the topography of this theory-such as the melodic scale-is more discovered than invented, and in the discovery, more inhabited than observed. One sign of this is the way we are moved by music; for we are thus moved inwardly, in the space we inhabit as selves. But I will now try to show this more explicitly. And my conclusion 2 For a defense of the necessity of thinking that music moves in space, but that the space in question is metaphorical, see Chapter 4, "Movement", in Roger Scruton's Understanding Music. 3 Strictly speaking, I refer here to the melody of "Twinkle, Twinkle .. . ", which predates the words by some forty years in a French song called "Ah! vous dirai-je, Maman". In a more important strictness, what I call the beginning of "Twinkle, Twinkle .. . " is really the second "event" in the melody. The first is a repeating of middle-C, within which we hear the repeating of the i. But is this first event a movement? Does it involve a change of place? I thank John Verdi for drawing my attention to this question after the lecture. I think this is a movement, and can even be said to involve a change of place, but one that shows why the melody is temporal rather than spatial. I say more about this in subsequent notes. �I. The nature of the problem. 3 will be that it is because we inhabit what we hear, in hearing music move, that the space of this movement makes complete sense. The completeness in this sense has to do with the experience of inhabitance. To begin to see this, recall the terms I used for the melody "Twinkle, Twinkle." I identified its first two pitches by not~middle-C and the Ga fifth above. This identification depends on two topographical facts in our perception of notes, even outside a musical context. The first such fact is that we hear a difference in pitch, whereby one note is distinguished from another, as a difference in relative place: one note sounding higher, the other note lower. This perception is also transitive: if one note sounds higher than a second, and the second higher than a third, then the first will also sound higher than the third. Our perception of pitch difference so gives every note its own position along an axis of height. Hence my talk of the G a fifth above middle-C, to distinguish it, say, from the G a fourth below. Then there is my reference just now to the two G's on either side of middleC, along with my reference to middle-C itself, in order to distinguish that C from every other C there is. This repetition of note letters reflects the second topographical fact in our perception of notes: the phenomenon of the octave. For while we distinguish notes by their difference in pitch, this difference reaches a kind of limit at the interval called the "octave", where the notes sound the same, despite their difference in pitch, and are thus given the same letter as name. Exactly why we hear this sameness is hard to say: Aristotle ascribed it to a perception of the whole number ratio two-to-one; while Victor Zuckerkandl calls it a miracle. 4 But however it happens, the sameness we hear in notes, once their difference in pitch reaches the octave, in effect contains that difference. If we pass beyond it, we don't encounter new notes, but only new instances, higher or lower, of old notes. The octave thus turns the axis of height, along which notes are arranged by pitch, into a kind of circumference, which continues to trace their increase or decrease in pitch without end, but always to the same place again. Yet this image, of notes now arranged into a circumference by the octave, is not yet an image of the space in which music moves. For it only comprehends the change in pitch involved, as we might conceive this change to carry us along the circumference. But in hearing a melody, we again hear a change of place within the change in pitch, such as the leap from the i to the 5 at the start of "Twinkle, Twinkle . .. " . And this description reflects another pair of topographical facts in our perception of notes, once we hear these notes in a musical context. The first such fact is that we hear movement from note to note, without having to hear any notes between. So in "Twinkle, Twinkle . .. ", we hear a leap from the i to the 5, without having to hear the 2, 3, and 4 first. And to hear them first would not complete the leap, as if to fill it in, but rather transform the leap into a climb. Why this is a fact of musical perception may 4 Aristotle attributes the cause of the octave to the ratio 2: 1 in Book II, Chapter 3, of his Physics, 194b28-29. Zuckerkandl calls it a miracle in his discussion of the octave in the section "Scale" of Chapter VIII, "The Thue Motion of Tones", in Sound and Symbol. �4 Does Music Move? be as hard to explain as the octave. But as a phenomenon, it seems to involve a sense of being oriented in the movement we hear from note to note. It's as if we faced the note we were moving to, and reached it as a goal, heedless of any notes on the way. 5 The sense of being oriented among notes is even clearer in the second topographical fact, which involves our perception of notes in musical contexts we call tonal. It is this fact that forced me to shift from letters to numbers, when identifying the leap in "Twinkle, Twinkle .. . " from the i to the 5. For in tonal musical contexts-and the name "tonal" is derived from this fact-we will hear one note as a kind of center, which orients us with respect to the other notes we hear, as if to provide a place from which to face them. The central note is so assigned the number 1 in analysis , and the other notes assigned other numbers in reference to 1. Again, why we can hear a certain note as central is hard to say. But the phenomenon, as Zuckerkandl would remind us, is dynamic, in an orientation more felt than seen. We hear the central note as central, that is, by sensing a stability in it relative to the other notes, as if it provided a place to face them as a center of gravity. This second topographical fact so informs the first : for we then move from note to note as if under the influence of a gravitational pull, requiring effort to overcome, and supplying momentum in success, in a deepened sense of having faced the note being moved to, and reaching that note as a goal. We can accommodate these facts of musical perception into the ear lier image of a circumference of notes, arranged by pitch and bounded by the octave. For once we hear one note in the melody as central, especially if we hear it as a center of gravity, it's as if we were projected with that note inside the circumference. And this projection allows us to move from note to note not simply along the circumference, through every note between, but now across the circumference, guided by the one note inside it as a center of orientation. This image so gives a geometric form to the complete sense made by the space in which music moves. For this is the sense in which we inhabit that space. To be sure, the development of this sense, as shown by the specifically tonal context in which we hear one note of a melody as central, depends on the like development of a specific form of musical art-the art of tonality, to which we owe the music of the West. But there would be no such art to develop, unless the result made a difference to what we could hear; and in this case, to what we could inhabit in what we hear. And much of tonal music's development can be explained as a deduction from the features of a place we inhabit. I spell this thought out briefly, in one example, for those familiar with this 5 It could also be noted here, in light of a previous note, that we hear the repeating of the i at the start of "Twinkle, Twinkle . . . " in the same way: as a movement from origin to goal, even though the origin and goal in this case are the same. This already suggests there is something fundamentally temporal about our orientation in the perception of notes in a musical context. For we would simply stay in the same place (on the i) except for the repetition allowed by time, which distinguishes the place at one moment from the place at a subsequent moment, and allows the staying to be the result of movement (in this case from the i to the i). �I. The nature of the problem. 5 development. If we inhabited the space of music's movement, it seems we should not simply be fixed at a single center of orientation. We should rather be able move that center, carrying it with us from place to place. And move it we can-once tonal music developed the device of modulation, to carry us from key to key. We might also expect the movement of that center to happen along an axis of depth, away-and-back, not just to distinguish it from the upand-down movement between notes along an axis of height, but also from a sense of perspective, which implicitly belongs to our sense of orientation when we inhabit a place. And so we do move away and back-once tonal music developed the harmony out of polyphony that modulation relies upon. We might further expect the movement of the center to clarify our sense, as I described this above, of the gravity felt at work in such a space. And clarified it is-once the use of modulation effectively reduced the modes of chant to the major-minor scale. We might finally expect the movement of the center to deepen our sense that we inhabit one space, which contains the places moved between, rather than many spaces distinguished and divided by those places. And deepened it is--once the use of modulation forced upon the tuning of a scale the leveling of equal temperament. For this restricts the notes of any key to the notes in every key. And as Roger Scruton has strikingly described the result, equal temperament thus "places the whole of tonal space within reach of its every occupant." 6 Along with this deduction comes a plausible measure of the greatness in a musical work. The greater it is, the deeper it carries us into the space of music's movement. And by that measure of inhabitance, the best demonstration of the complete sense this space can make, is found not in my account, but rather in those masterpieces of music-such as Beethoven's Eroica-where this space is explored to a kind of limit, in the conquest of it. 7 But as I said, the space of music's movement also makes a kind of nonsense. To see this, we can start by now comparing the movement we hear in music, with motion as we observe this more generally. Consider, for example, the difference between the movement of a melody, like "Twinkle, Twinkle ... " again, and the motion of our hand in following that melody, as if to conduct it. We could say that both rise and fall, and do so not just in time but in space, through a discernible change of place. But there is a difference. For as I mentioned earlier, we hear the change of place in the melody, such as the leap from the i to the 5 in "Twinkle, Twinkle ... ", without having to hear any places between. The movement happens discretely. By contrast, we see the hand's change of place happen continuously, from place to place through all the places between. And this continuity would seem a necessary feature of its 6 Roger Scruton, The Aesthetics of Music, p. 244. also suspect that the space we are carried into so clearly and compellingly by tonal music is what makes atonal music so off-putting for first-time listeners; it doesn't carry us (at least at first) into any space. There is also a question, then, about what allows atonal music to make sense once a listener does grow accustomed to it. If atonal music can carry us into a space in which we hear it move, then is this a different space from tonal music or not? I thank Sam Weinberg for bringing this issue up in the question period. 71 �6 Does Music Move? motion. For if our hand got from place to place discretely, like the melody did, skipping places along the way, then it would look to us as if our hand reached each place not by motion, but rather by magic. Or at least we'd be tempted to think there was something in the space where the motion occurred, beyond just space, that was interrupting the motion, disrupting the continuity it would otherwise have. But this is one reason, then, to think there isn't really a space for the melody to move in. For if there were, then it would allow the melody to move in it continuously rather than discretely. But this reflects another difference-involving identity rather than continuity-between the movement of the melody and the motion of our hand in following it. For the melody is composed of the notes it moves between, while our hand is not composed of the places it moves between. And this explains at once why the melody has to move discretely. For it has to become what it is. And this means passing through only those notes that compose it, and that distinguish it, thus composed, from any other melody. But then the melody can only be what it is by becoming so, over an interval of time. And in this sense, the melody is temporal rather than spatial, with an identity in time rather than space. 8 But this is then another reason to think that there isn't really a space for the melody to move in. For if there were, then it would allow the melody to possess an identity in space; that is, it would allow the melody to be what it is in space without having to become so, and to remain what it is, unchanged, through every change of place. But here is perhaps a stronger way to put the nonsense: If there really were a space for the melody to move in, then there would be a melody to hear, in the space where we hear it move. But there isn't. We hear the leap in "Twinkle, Twinkle" , for example, without hearing anything making the leap. For we hear this leap being made between unleaping notes, but nothing further to which we might attribute the leap. And this is true for music in general-a fact reflected in the unmoving notes on a musical score. Once the score is performed, we hear a movement being made between the unmoving notes, but nothing further to which we might attribute the movement. So we hear movement, but nothing making the movement. Yet how, in that case, could there be any movement to hear? And what could be making it? Yet this is only the start of the nonsense. And the end of it implicates our very inhabitance of the space in question. We can see this through an objection to the analysis I just gave. True, the objection runs, we have a sense of the space in which motion ordinarily occurs, that we cannot apply to the movement of music. For applying it makes nonsense of the movement, by depriving this movement of any object to which it might be attributed. But what follows from this? Perhaps only that the space in which music moves, is not ordinary, 8 As I mentioned in an earlier note, another mark of the temporal identity of a melody is the fact that a note can be repeated in it (like at the beginning of "Twinkle, Twinkle . . . "), and we hear a movement in this repetition even though the place remains the same (making the staying-in-place of the melody event-like rather than inertia-like). This implies that the places in a melody are not just defined by the articulated space we know as a scale, but also by the articulated time we know as beat, meter, and rhythm. �I. The nature of the problem. 7 but extraordinary. And this is one way to understand my earlier defense of the sense-the complete sense-made by this space. For this was not an observed sense of space, but rather an inhabited sense of space. The sense, for example, in which we face the note being moved to, and reach it as a goal. So if there is a space for music to move in, which makes sense of the movement, then this space will have to be conceived from within, as a matter of inhabitance, rather than from without, as a matter of observation. The objection has a point. But it makes the nonsense even clearer. For what is it, finally, that makes an inhabited sense of space extraordinary? Here is one answer. An inhabited sense of space is extraordinary, in not stopping short of totality. That is, our inhabited sense of space implicitly includes everything there is, known or unknown; anything captured in the word "Being". For it is beings, finally, that we take ourselves to be surrounded by, and our own being that provides the place from which to face them. This is why, despite our sometimes talking as if there were more than one world, and even more than one world we might inhabit, we can also talk intelligibly of the world, as if there were only one. And it is our being-in-one-world, on this answer, that grounds our inhabited sense of space. But what happens, then, when our inhabited sense of space is divided? - For example, between sleeping and dreaming, where it seems we inhabit two spaces at once? We resolve the division, evidently, by conferring worldhood on only one such space, taking it to contain the other such space. That is, we credit only one space with the totality, and thus the reality, of inhabitance, and regard the other space as merely part of this totality. The credit we give to its own totality, then, is the credit we give to a dream. We still inhabit the dream-and more alertly than we inhabit the bedroom in which we dream, often with a sense that everything is put at stake in the dream, in a matter of life or death. But in waking from the dream, we prove it part of a larger space of inhabitance. And this gives the dream's apparent totality the status of mere appearance; and our inhabitance of it, the form of an illusion. To our relief, or perhaps our regret, what happened to us in the dream, didn't really happen after all. But if this is so, then it gives us reason to suspect the very same thing of the space we inhabit when hearing music move. The space may well be illusory, making all the sense- but also all the nonsense-of a dream. And in that case, the greater the work of music, the deeper it carries us into the dream. We hear the sound of Beethoven's Eroica surge forth in a concert hall, seeming to make the whole world shake. Yet the musicians barely move by comparison, while the notes they play move not at all. And we concert-goers stay glued to our seats-entranced. And once the work is finished, in a triumph of conclusiveness, we are released from the trance in a daze-and the desire, perhaps, to have remained. For we leave the concert hall likely finding the world we truly inhabit unchanged by what we heard, and nothing comparable to its conclusiveness in the life we have to live. This, then, is what I take to be the problem with our talking as if music moved. Talking that way fails to distinguish our experience of music from a �Does Music Move? 8 dream, in which nothing we experience really happens. II The importance of the problem. I also take this problem to be important. To explain why, I discuss this problem again, but now as a problem not simply with our experience of music, but more generally, with our experience of the world. For we talk not just as if music moved, but as if anything moved. Yet this too involves a kind of nonsense, known since the time of Parmenides. And it proves to be the same kind of nonsense we encountered in the movement of music. To see this, recall my earlier analysis of why there really isn't a space for a melody to move in. For the melody, in this respect, is temporal rather than spatial. It is composed of the places it moves between, and can only be what it is by becoming so. So there isn't a space, strictly speaking, for the melody to move in, with the continuity or identity of truly spatial things, like our hand in following that melody. But while our hand may be spatial in this respect, the motion of our hand is temporal, just like the melody. In a sense, it too is composed of the places moved between, and can only be what it is by becoming so. But this implies, on the earlier analysis, that there isn't really a space for our hand to move in, or for anything to move in. There is only a space for it to be contained in, and to occupy, over the course of its motion, at every place composing that motion. Space, in other words, contains only the path of the motion, not the motion itself. But here again is perhaps a stronger way to put the nonsense. If there really were a space for our hand to move in, then there would be a hand to see, in the space where we see it move. But there isn't. All we see is the motion being made from place to unmoving place, by something that occupies each such place. We see nothing further, to which we might attribute the motion between places, rather than just the occupancy of those places. So we see motion, but nothing making the motion. Yet how, in that case, could there be any motion to see? And what could be making it? One answer, the kind Zeno might give, is that there isn't any motion to see.9 When we think we see something move, all we really see is that it occupies different places at different times. And the appearance of motion in this, is something like the appearance of motion on a movie screen, or in a flip book, from a succession of images, each of a single place and time, that happens too rapidly for us to detect. But this first answer leads to a second answer, found for example in calculus, where there is a motion to see.10 When we see something move on this answer, all we see, again, is that something occupies 9 For further discussion of Zeno's arguments VI , Chapters 2 and 9, and Book VIII, Chapter Considered Historically," in Bertrand Russell's 1 °For a further discussion of this answer, see Lecture VII, "The Positive Theory of Infinity,'' World. against motion, see Aristotle 's Physics Book 8; and Lecture VI, "The Problem of Infinity Our Knowledge of the External World. Lecture V, "The Theory of Continuity,'' and in Russell's Our Knowledge of the External �II. The importance of the problem. 9 different places at different times. Still, it can be proved that there are more such places than we could ever arrange from one to the next. The places are many enough, that is, to form a real continuum, beyond the mere appearance of one. And this makes for a real continuity in the motion we see, giving it all the reality it needs. There is a sense, however, in which this second answer misses the point. For the continuity in question belongs to the motion's path rather than to the motion itself. And the way this path is proved continuous-for example, in Dedekind-is by analogy to a line, undivided by time, where every place upon it is present at once. 11 But the proper analogy for the motion itself would seem to be a line divided by time, where only one place upon it is ever present at once-the point right now, so to speak. But how could such a line prove continuous, if it is made of only one point at a time? The second answer so leads to a third answer, more philosophical than mathematical, and found, for example, in Bergson. 12 This answer is distinguished from the first answer in taking the motion we see to be real, and from the second answer in taking this reality to involve more than just the continuity of the motion's path. But the promise of this answer comes at a price: for it embraces the nonsense that makes the problem a problem. On this answer, that is, there is nothing to see, in the space where we see anything move. And this is because the space where we see anything move, is the space where the motion belongs to us, rather than to anything we might see outside us. So there is a motion to see, when we are the ones making it. On this answer, in other words, motion occurs in the space we inhabit, rather than in the space we observe. In the space we observe, we see only the continuous path of a motion, occupied at every place by the thing that moves. But in the space we inhabit, we see the motion itself, which is not simply continuous, but indivisible. The motion in this indivisible sense stretches from the beginning of its path to the end in a single bound, as if the entire path were a single place for the moving thing to occupy. And we know this indivisibility when moving ourselves. For in that case, we face the end of our motion at the beginning of it, and reach the end as a goal, heedless of any places on the way-just like in the movement of a melody. And the path we trace in reaching that goal can be divided only by our changing the goal, in a motion now different from what it was, but again indivisible. This too is like the movement in a melody; for only further notes can divide the distance from note to note, but thereby produce a new melody out of the old one, showing the movement between notes in any one melody to be indivisible. But what should we make of this answer? It makes the same appeal to our inhabited sense of space that we encountered before in making sense of 11 Dedekind draws the analogy in Chapters II and III of his Continuity and Irrational Numbers. 12 See, for example, Bergson's lecture "The P erception of Change" in the collection The Creative Mind. There Bergson even connects his account of motion generally to the movement in a melody. Zuckerkandl follows Bergson's lead in his own account of music 's movement in Sound and Symbol. �10 Does Music Move? the movement in music, only now to make sense of motion as such. But does it have the same problem? That is, can we show, or know, that we aren't dreaming when we see anything move? The question put this generally might seem absurd. After all, to suppose we were dreaming when seeing anything move, would mean suspecting something illusory about our inhabitance of the world. But there is reason for this suspicion. And it explains why a question like "Are we dreaming right now?" has been raised in the history of thought-for example, by Descartes. 13 For while we might not be dreaming right now, there is arguably nothing in our inhabitance of the world to prove it. And we lack this proof, so the argument goes, because we inhabit the world. If we had the proof, we would no longer inhabit it, but merely observe it. To see why this argument is worth taking seriously, consider, first , a striking fact about optical illusions, such as the look of a stick half-plunged in water, and seemingly half-bent by it. Our knowing the stick stays straight does nothing to dispel the illusion. But why? One answer is that there is nothing in the illusion to tell us it's an illusion, and if there were, then the illusion wouldn't be an illusion. We so remain in the illusion, or inhabit it, as a matter of perception, even if we stand outside the illusion, or merely observe it, as a matter of knowledge. This could also be said of dreams, taking "dreams" in the ordinary sense. For our dreams so often contain implausible or even impossible events, not to mention the sense in which all its events, once we wake up, prove unreal. So why did they seem so real in the dream? Again, one answer is that there is nothing in the dream, no matter how implausible or impossible, to tell us we are dreaming, and if there were, then we wouldn't be dreaming. Not being able to tell is what it means to inhabit the dream. And it is only when something in the dream wakes us up from it, and puts us outside the dream to observe it, that we can know it for the dream that it is. We can give this same answer to the question of why our experience of music would still seem so real, even if we were convinced-say, by my lecture tonight-that it was only a dream. For there is nothing in the music to tell us so, even if there is some account of the music to tell us so. And this is what it means to inhabit the music, past the point of any account we might give of it. This answer, then, points to perhaps the most decisive, if negative, feature of our inhabitance of the world. There is nothing we might encounter in the world-motion, for example-to tell us the encounter is illusory. For if there were, then we wouldn't be having the encounter. So for all we know, we might be dreaming. Arguing against this prospect, perhaps, is our sense that this is the world, not just some world. But this sense can never be decisive. For the cost of inhabiting the world, on this answer, is to be past the point of telling whether it involves any illusions. 13 Descartes raises this question in his First Meditation. It is also discussed in Plato's Theaetetus, 158b-d; and mentioned, but also dismissed, in Aristotle's M etaphysics, 10lla6. · �III. Two solutions to the problem. 11 This, then, is what I take to be the importance of the problem with our talking as if music moved. For it illustrates a more general problem, with our talking as if anything moved. Talking that way fails to distinguish our experience of the world from a dream, in which nothing we experience really happens. III Two solutions to the problem. I conclude my lecture with two solutions to this problem, in the attempt to deepen our sense of it. They are incompatible solutions, since they give contrary answers, in effect , to the question "Are we dreaming right now?" In the first solution, the answer to this question is yes, we are dreaming right now. And the solution, then, is to make no appeal to the dream, when we try to understand the world. We try to understand the world, in other words, by making no appeal to the sense it makes only from a place of inhabitance-or even better, by challenging that sense. Thus described, the solution may sound unpromising; for how can we avoid this appeal? Still, this is one way to characterize how we have tried to understand the world since Descartes. And we might call this first solution the solution of science. A central example of it is the way we try to understand motion, by means of calculus rather than introspection. But more generally, the terms in which we explain the world, as a matter of observation, are not the terms in which we encounter the world, as a matter of inhabitance-and in many cases, such as quantum physics, could never be the terms of such an encounter. Yet we take this discrepancy as a sign that the world has been explained rather than erased. And we look for an explanation of our encounter with music, not in Beethoven's Eroica, but rather in the mathematician's account of numerical ratios, or the physicist's account of wave phenomena, or the neuroscientist's account of brain patterns, or the biologist's account of evolutionary adaptations, or even the Nietzschean's account of a sickness in the soul. Despite the fact we don't encounter music as music in such terms, we credit these accounts as attempts to explain that encounter. Which suggests that we find nothing self-justifying in the encounter itself; nothing there to tell us what's really going on- as if the encounter were just a dream. -Or, according to this first solution to that problem, as if the encounter were what required explanation, rather than what provided explanation. This brings me to the second solution. My sketch of it will remind many of you of Heidegger. 14 But I call it the solution of philosophy. For it embraces our inhabitance of the world in a way that I suspect always distinguishes a philosophic understanding of the world from a scientific one. In this solution, then, the answer to the question "Are we dreaming right now?" is no. There may be nothing to tell us this- true-but this doesn't mean we might be dreaming; it rather means we aren't . 14 For a further account of Heidegger's actual answer, see Part One, Division One, Chapters II and III of his Being and Tim e. �12 Does Music Move? This solution may already sound unprorrusmg. After all, there may be nothing in a dream to tell us we are dreaming, but we are. On this solution, however, it turns out we aren't, at least as a matter of inhabitance. For any space of inhabitance is real, because it can be inhabited. And this means we are always surrounded by beings, and always face them from a being of our own, whether we find ourselves in a dream, in a symphony, or in the world that contains them. True, we have reason to think otherwise, in thinking that these smaller spaces are contained in a larger space that proves their own totality to be illusory. But this assumes that any space of inhabitance lies in space. Yet it is only a space of observation, on this solution, that lies in space. Any space of inhabitance lies instead in time. Perhaps this solution now sounds even more unpromising. For how can there be any room in time for a space of inhabitance, when the only part of time that ever exists is 'right now ', that instant between the no-longer and notyet at the seeming size of a point? Still, this very fact about time's evanescence turns the illusion of motion into an object of wonder, if not astonishment. For according to our earlier analysis, motion is what it is, only in time. But if time exists only at a point, then how could we ever encounter a temporal whole like motion---even in the form of an illusion? How could we even dream that we hear the rise and fall of a melody, or see the rise and fall of our hand in following it? It is in offering an answer to this question, that the solution starts to look more promising. And the answer is this. 'Right now' may be no larger than a point. But this is still room enough to establish a space of inhabitance, in providing a center of orientation. And this is the center from which the not-yet lies ahead of us, the no-longer lies behind us, and the right-now is always with us. And in being always at this center, we are always in the world, even when we find ourselves in a dream, or a symphony. We inhabit even these smaller spaces from the same center of orientation, where the not-yet is ahead of us as a matter of expectation, the no-longer is behind us as a matter of memory, and the right-now is always with us as a matter of attention. And in these terms, temporal terms, any space of observation becomes a place of inhabitance. It is also in these temporal terms that any place of inhabitance is real rather than illusory. For this center of orientation, despite being a mere point in time, comprehends a totality of time for each of us: from a beginning in birth that no one else can share, to an end in death that no one else can know, in a span of time without remainder. This is the center, then, from which the not-yet ahead of us is a future to face ; the no-longer behind us is a past to bear; and the right-now always with us is a present at stake. So in being always at this center, at a point of totality, we are always in a world that is real, even when we find ourselves in a dream or symphony. We inhabit even these smaller spaces from the same center of orientation, with a future to face, a past to bear, and a present at stake. This is why we can be released from their spell, without having recovered from it. In this sense, again temporal rather than spatial, we are not carried from the world by a dream or symphony, but concentrated in it. And if our inhabitance of the world is temporal rather than spatial, then �III. Two solutions to the problem. 13 we are surrounded by events rather than things, to which we are open rather than closed, making dreams and symphonies possible, not impossible. Or to summarize this second solution to the problem in conclusion: we can only talk as if anything moved, much less as if music moved , insofar as the space we inhabit in talking that way, makes complete sense of what we say, without any room for nonsense. And this is the space we inhabit right now: the space made possible by time. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Harrell, Daniel Title A name given to the resource Does music move? Date A point or period of time associated with an event in the lifecycle of the resource 2013-02-15 Format The file format, physical medium, or dimensions of the resource pdf Description An account of the resource Typescript of a lecture delivered on February 15, 2013 by Daniel Harrell as part of the Formal Lecture Series. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to: Make an audio recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audio recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a copy of my typescript available online." Type The nature or genre of the resource text Subject The topic of the resource Music. Philosophy and aesthetics. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Bib # 80674 Relation A related resource <a title="Audio recording" href="http://digitalarchives.sjc.edu/items/show/33">Audio recording</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/b78374badf55244d45d4eb3311184e55.pdf 20d3fab50c45c8d4140294a3cfc03250 PDF Text Text THE KING WILLIAM PLAYERS pre.&enl.& GEORGE BERNARD SHAW'S DON JUAN IN HELL • �• DON JUAN IN HELL IN ORDER OF APPEARANCE NARRATOR ----------·-------------------------------------------------Judy Schloss DON JUAN-------------------------·--------------------------------------------Bill Tilles THE OLD WOMAN ---------------------------------------------Kathryn Hsu THE YOUNG WOMAR--------------- ---·--------------------Wendy Bertin THE STATUE ---------------·--------------------------------------------Tom Dews THE DEVIL ·-----------------------------------------------------------Chris Griffin Directed by Norbert Settle The Time- Eternity The Place - Hell There will be a 10 minute intermission between Acts I & II ~~~~ �SLATER FOOD SERVICE MANAGEMENT ID4r 14ittlr Qtampun ~uu CONGRATUL ATES and -The King William Players * Regional Offices of Slater Qtnlnuial Qtnrktail iar ON MARYLAND AVENUE Located in Baltimore "F ine Men's Wear" Barton~ 'Jlower rtlart PENDLETON - DOBBS - BOSTONIANS 90 MARYLAND AVENUE SHOP JOHNSON'S FIRST MANHATTAN- McGREGOR- ARROW JANTZEN-BERNHARD ALTMANN FORSTMANN - BOTANY JOHNSON'S Cor. Md. Ave & State Circle Annapolis. Md. * THE FINEST OF FLOWERS FOR ALL OCCASIONS Compliments of Walter Lears and Sons FINE FURNITURE SINCE 1885 RANDALL STREET at KING GEORGE 76 MARYLAND AVENUE COlonial 3-2878 �ST. JOHN'S COLLEGE BOOK STORE E. CHURCHILL MURRAY FOR ST. JOHN'S COLLEGE AND THE * COMMUNITY OF ANNAPOLIS COlonial 3-2678 MILLS LIQUOR MART G& J RESTAURANT Compliments of Compliments THOMAS ESPINOSA HI- Fl- SHOP BARBER County Trust Company of Maryland Jlfine Jlf urniture COlonial 8-3805 44 MARYLAND AVE. CARVEL HALL, ANNAPOLIS ANNAPOLIS. MD. Member Federal Deposit Insurance Corp. BEST WISHES FROM The Baltimore Contractors -Incorporated - �PRODUCTION STAFF STAGE ....................................................................... Jerry Hensen LIGHTS umom••m••nno•m••muuno•m••• • nnm•numuu~ SOUND ....................................................... George Alexander Ivan Ronquist PROPERTIES ................................................................. Joe Green Woody West and George DePue COSTUMES ------------------------------------------------------------Nancy Eagel PUBLICITY .................................................................John Pattie PROGRAMS ............... Harvey Goldstein, Mike Hernandez, Joe Fastner. Ron McGurk, Linda Ferguson POSTERS ......................... Ellen Davis and Martha Goldstein The King William Players thank all those who. as actors. production crew. donors and advertisers. have made this production possible. Presented on Decemb8r 13. 14, and 15. 1957. in the Great Hall of St. John's College, Annapolis. Chris Griffin, President. Norbert Settle, Director and Production Manager. • � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 5 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Don Juan in Hell Date A point or period of time associated with an event in the lifecycle of the resource 1957-12-13/14/15 Identifier An unambiguous reference to the resource within a given context Bx2-34 Description An account of the resource Playbill of the King William Players Production of "Don Juan in Hell" by George Bernard Shaw Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/66634b9dab8335067748917730b1951c.mp3 28e43d170ad7baca9fb6496aedd88f70 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:48:59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Don Quixote and the Art of Reading Description An account of the resource Audio recording of a lecture given by tutor Obed Lira on November 1, 2024 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "What is reading? Is it an art? Few books explore what it means to read as compellingly as Don Quixote. Guided by a character who writes and reads himself into the world, the novel's numerous characters also appear to write and read themselves into dizzying stories as the book unfolds. The world, it seems, wants to read itself in narratives. To live in the world is to read the world. And yet, as we read, the book warns us that although reading ought to be edifying and delightful, it may easily prove harmful to individuals and dangerous to society. What lies at the center of this ambiguity in reading? Jests and metafictional trickery notwithstanding, the unrelenting violence depicted in the novel suggests that Cervantes might be deadly serious about a predicament that arises when thinking about reading more broadly: how are we to read the world, and what are we to do with how the world reads us." Creator An entity primarily responsible for making the resource Lira, Obed Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-01 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Cervantes Saavedra, Miguel de, 1547-1616. Don Quixote Reading Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_LiraO_Don_Quixote_and_the_Art_of_Reading_2024-11-01 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/ee89e5b7103deb587989d5f651085fbe.jpg 0dd0902dda87fd241c56c53be33dc4c1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 17.5 x 13 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0684 Title A name given to the resource Donald G. Bounds at Bat Playing Baseball on Back Campus, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Subject The topic of the resource Baseball St. John's College (Annapolis, MD) -- Students. Bounds, Donald G. Date A point or period of time associated with an event in the lifecycle of the resource 1944-1948 [circa] Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Alumni https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/34ee5bc6c4e4cb072b01df8ea582f5f1.jpg 353fa22e6c1a584575390adf6939cbb1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 17.5 x 13 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0685 Title A name given to the resource Donald G. Bounds Winning a 440 Yard Race, [Annapolis, Maryland] Description An account of the resource 1 photographic print : b&w Subject The topic of the resource Running races Running St. John's College (Annapolis, MD) -- Students. Bounds, Donald G. Date A point or period of time associated with an event in the lifecycle of the resource 1944-1948 [circa] Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Alumni https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/66ba0adb6335959cbf25ed8985ee14a1.pdf db2629e975d57447667df8322956de43 PDF Text Text Double Duty: How to Live in the Cosmos of Plotinus William Pastille A lecture delivered at St. John’s College November 20, 2020 When I started studying Plotinus more than thirty years ago, one of the first things that struck me about the scholarly literature was that everyone agreed Plotinus was both a philosopher and a mystic. It was also pretty apparent that no one found fault with Plotinus for being a philosopher, but some disparaged his mystical tendencies. I think that I can pass over what it means to be a philosopher. Everyone here has enough experience with philosophers to have some idea of what that means—and it has something to do with thinking. But what does it mean to be a mystic? There seems to be general agreement, as far as I can tell, that a mystic is someone who claims it is possible for a human being to contact, or even to experience union with, the source of all reality. If this is what it means to be a mystic, then it goes beyond thinking—at least beyond thinking as we normally conceive of it. Union with the source may be compatible with thinking, but the idea of actually becoming one with something else certainly seems to be different from thinking. There is more than enough evidence in Plotinus’s writings to prove that Plotinus is both a philosopher and a mystic. As far as philosophy goes, he himself insists that he is a follower of Plato. In fact, he goes so far as to say there is nothing that is not consonant with Plato’s teachings in his thinking. That may be an overstatement, but his world view is without doubt built upon Platonic foundations, such as the image of the Divided Line in the Republic and the structure of reality discussed in the Timaeus. Even a cursory reading of the Enneads quickly reveals, however, that Plotinus knows a great deal about all the ancient schools of philosophy, including the tenets of the greatest thinkers and the controversies among their followers. Plotinus is also quite knowledgeable about Aristotle and his differences with Plato. Where he is critical about Aristotle, he states his objections clearly. Where he agrees, he incorporates Aristotle’s thought into his own. This small account leaves little doubt about classifying Plotinus among the thinkers. He is certainly a philosopher—indeed, he is a great philosopher. As for his status as a mystic, that is just as certain. We need only listen to one passage from the sixth Ennead to know this. Here is Plotinus describing the experience of union with the source: And when the soul meets with this and it comes toward her, or rather, when it comes to light as something present, . . . and having seen it appear suddenly within her (for there is nothing between and they are no longer two, but both are one, . . . having sought this, she meets it as something present and looks at it instead of at herself; and she does not even take the time to see who it is that is looking (Plotinus, Enneads 6.7.34.8-22).1 Nothing could be more mystical than this description of becoming one with the source. The soul becomes so much more than itself that its sense of self disappears. There is no more separateness between itself and the source; distinction disappears; the soul does not even seem to know who it is any longer. 1 Unless otherwise noted, translations are the author’s. �So, Plotinus is both a philosopher and a mystic. He has a very intricate, well thought-out understanding of the nature of reality that requires difficult thinking to understand. This is his philosophy. But he also talks about transcendence of self through union with the source of being, and that would require the disappearance of the thinker, judging from the passage I just quoted. For how can a soul that no longer knows who it is be thinking? This is his mysticism. Now about the same time that I began studying Plotinus, I also fell in with the writings of the great philosophical scholar Pierre Hadot, from whom I became convinced about a suspicion I had long held concerning the ancient schools of philosophy. Hadot’s belief, which I share, is that all philosophical pursuits arise ultimately from a deep-seated desire to answer the question How should I live my life? This belief runs a bit counter to the old saw that philosophy begins in wonder. But the two ideas are not that far apart. If we are stunned by our ignorance in the face of the infinitely large and the infinitely small, as Pascal has it, the desire arises to know as much as we can about these infinities in which seem to be embedded. Each success on the path to knowledge may seem to be merely speculative or theoretical, involving only step-by-step progress in thinking. But each step is at the same time ethical. For every truth one comes to see, there is a corollary question that goes something like this: If this is the way things are, do I live in accordance with this truth? We avoid this question at our peril. To the extent that we live our lives in discord with the truth, we run the risk of having things turn out badly for us. And yet we all have our blind spots, our habitual actions that contradict what we know to be the truth. It seems that Aristotle was right about this: a habit once formed is difficult or impossible to change. Speculative knowledge does not seem to have the power to override ethical habits. Nevertheless, anyone who tries to work out a speculative philosophy that gives an account of the nature of reality cannot help but confront ethics eventually—if he is being honest with himself. If he really believes what he says about the way thing are, he would be a fool not to act in accordance with his beliefs, for things will not go well with him if he is actually right about the way things are. And in any case his own contradictory actions will continually provide evidence that things are not as he says they are. So, my question about Plotinus some three decades ago was this: What does Plotinus’s view of the world indicate about how human beings ought to live? And it was with the same question that I sat down a few years ago to begin the studies that led to this lecture. ***** To get started with this question, we first need to grasp the contours of Plotinus’s world view. It is, as he claims, largely Platonic, drawn mostly from the Timaeus and the Republic, combined with elements from the myths in the Phaedrus and the Meno. Plato’s Forms play a large role in Plotinus’s world view, as does the immaterial being that Plato calls Soul. According to Plotinus, the roots of the phenomenal world are found in the realm of the Forms and in the regions of Soul, as we shall soon see. Now any sketch of Plotinus’s world view must begin with the One, which he sometimes refers to simply as “there,” the furthest pole from where we find ourselves within the structure of reality— which is to say, in the phenomenal world, that is, “here.” So, what is the One? It is as Plato portrays it in his dialogue Parmenides. It is something that is utterly and unutterably unified—utterly in that it is completely simple, without parts or internal differentiation of any kind; unutterably because nothing that is said of it can possibly do it justice. This is not merely because it is beyond our capacity to comprehend but because its simplicity is Pastille, Double Duty 2 �incompatible with language itself, which is a thing with parts, as, for example, subject and predicate. That which must have parts cannot accurately reflect that which has no parts. Indeed, the problem goes even deeper than language. Language is a representation of dianoia, thinking something through. The successivity of this kind of thought is obviously at odds with the radical simplicity of the One, simply on the ground that dianoia is divided up into parts that come before and after. There is another kind of thinking, however, that may seem to be clear of this difficulty. Nous, the direct apprehension of a knowable object—like a tree or the idea of equality—seems to skip over the discursive element inherent in dianoia to get directly at the knowable object. But even this kind of thought is subject to an ineradicable dualism—the distinction between the knower and the thing known. So, it is not just language that is incapable of grasping the One, but even nous seems to be too diverse to get a handle on the ultimate, and ultimately simple, source of everything. If we are to get any further, then, we have to ignore this difficulty, as Plotinus himself does. We have to keep thinking about the One even though it is impossible to grasp it in thought. We have to keep asking questions despite the fact that even correct answers will not be able to get at the One itself. So, here is an opening question: How is it that there is anything else besides the One if the One itself is entirely simple, pure unity, excluding all difference and multiplicity? Plotinus’s answer to this question is that the One has a pure, undifferentiated internal activity that is beyond our comprehension because of our innate multiplicity. The intensity of that pure internal activity gives off an external activity that is not the proper activity of the One, but rather a likeness of it. How are we to understand this? Let me propose an image. The internal activity of a human being, the inner life, is accessible only to the individual. But the inner life throws off an external image that can be seen by others. One person’s movements and speech give off an impression of grace, another’s an impression of seriousness, another’s an impression of foolishness. This external image is certainly not the individual’s inner activity, but a secondary being emanating from that inner activity, a being real enough to be observed by others, real enough to become the source of motion in others who are attracted or repulsed by that image. It is a remarkable feature of this process that it requires no effort or outflow of energy on the part of the primary being beyond its innate inner activity. Of such cases Plotinus says that the original “remains” or “stays unaffected” by the external being that it throws off. In a similar way, the internal activity of the One gives off an external image of its internal activity. Plotinus calls this external image of the One Nous, that is Intellect or Understanding. ***** In trying to describe Intellect, I’m going to use an image that builds on the previous one but is even more fantastical. Think again of the external likeness thrown off by a human being. Now imagine that it takes on a more solid existence than we normally experience, like a shell surrounding the person whose inner activity throws it off. Now imagine the inner surface of that shell as a single giant retina focused on and seeing the person who is its source. Finally, imagine that this seeing shell is aware of itself looking at the source. Weird as this image is, it captures some significant aspects of Plotinus’s Intellect. This external image of the One is a Being, standing out from the source that it perceives. Its activity has the shape of thinking, namely, the shape of a perceiving, self-aware subject assimilating a perceived object to the best of its ability. That is why this secondary being is called Intellect. Pastille, Double Duty 3 �Now in assimilating the One from its distant perspective, Intellect knows itself to be different from the source it sees; but it also knows that it is the same, since, in its own oneness, it takes the One into itself through its seeing. And it recognizes some sort of Motion when it contemplates first itself and then its source; and this motion is mixed together with some sort of Rest when it does not think but merely looks upon its source. So, in the first rank of things that it thinks are the forms of Being, Sameness, Otherness, Motion, and Rest—the so-called “five greatest forms” mentioned in Plato’s Sophist. The interplay of its thinking on these greatest forms gives rise to all the forms that can possibly exist. In this regard, Plotinus’s Intellect is like Aristotle’s Prime Mover: it is thought thinking itself. I need to mention just two other aspects of Intellect for further reference. First, because it contains many Forms, Intellect is obviously multiple and variegated. Indeed, Plotinus calls it a “onemany” for this very reason. Second, this multiplicity is a defect or a falling away of the Intellect in comparison with its source, the hyper-unified One. An image is always lacking something that its source possesses, and it relies on the source to satisfy that need. In this case, Intellect needs the image of oneness that it borrows from the One to hold together its multiplicity. So much for Intellect, the second level of reality in Plotinus’s conception of the way things are. ***** Now we move on to the third and final level of reality in Plotinus’s system. The internal activity of Intellect, its self-contained thinking, throws off another external activity. Here I’m going to abandon the image of the self-aware retina. It would become much too unwieldy. Instead, I’m going to show you a visual image that tries to capture the relations among the levels of reality. Perhaps this drawing will provide some orientation while I describe the characteristics of this new being that is a likeness of Intellect, the being which Plotinus calls Soul. The first thing to notice about this drawing is that a portion of the area allotted to Soul falls within the area allotted to Intellect. This is a consequence of Intellect’s relative lack of unity in relation to its source. Intellect is not sufficiently unified to throw off its external activity entirely. Some of its image remains within, while most of it stands outside. That is to say, some aspect of Soul both images Intellect and at the same time is Intellect. This is a crucial element of Plotinus’s system, as we will see in a moment. Insofar as it is an image, Soul mirrors its source in many respects. I will mention only three of them. First, it images the thinking of its source. Second, it images the self-awareness of its source. Third, and most important here, it images the oneness of its source—which is to say that Soul’s oneness is even more deficient than the oneness of Intellect. Or, looking at it the other way round, it is even more multiple and variegated than its source. Its unity is so deficient, in fact, that its inner activity cannot throw off an external image of itself at all. Whatever imaging continues to occur in the system does so within Soul. There is no other level of reality. This decrease in oneness that is at the same time an increase in multiplicity affects Soul’s selfawareness and its thinking. Soul is distracted by its own variety and has difficulty focusing its thinking on its source. This same distractedness interferes with Soul’s ability to focus on its awareness of itself, on its attention to what it is doing. So, what is Soul? In short, it is a bit of Intellect together with everything else that exists besides the One and Intellect. The drawing situates the entire phenomenal world within the level of Soul. For Plotinus, everything in the phenomenal world is Soul, Soul expressing itself with the utmost variety in every possible way. It does this by bringing the forms it sees in its upper reaches—the area of overlap between Soul and Intellect in the drawing—into its lower reaches, where form is less at home because of the increased multiplicity of Soul. This is why the overlapping area on the Pastille, Double Duty 4 �drawing is crucial to Plotinus’s system: Soul could not transfer forms to its lower reaches if it were not in touch with them in its higher reaches. It is too complicated a topic to explain all the ways in which the phenomenal world—the “here” we humans inhabit—is a manifestation of Soul. But here is just the briefest outline. The highest reaches of Soul, as we’ve seen, consort with Intellect and the forms. At Soul’s very lowest end, on the other hand, it transmits the last possible vestige of form—the form of pure potentiality. This is the form of something that has no properties except a need for form, a continual striving to receive form. This is what Plotinus calls matter. The One Intellect Soul World Matter Fig. 1: The structure of reality according to Plotinus Pastille, Double Duty 5 �The entire phenomenal world, then, is the work of Soul endowing pure potentiality with form in order to satisfy matter’s ultimate neediness. This is true both for animate and inanimate objects. Whatever form a phenomenal object has—whether it be the complex living form of a human being or the simple shape of a rock—comes to it from Soul uniting forms with ultimately needy matter. ***** Now to complete our overview of Plotinus’s system, let’s look a bit more closely at the activity of Soul along its whole extent. We’ve already seen that Soul, as an image of Intellect, is more diversified than its source. Even in its upper reaches, where presumably it can borrow some unifying force from Intellect, it gets distracted from its thinking and its self-awareness by the variety within it. This distraction causes a reversal in the order of reality. Soul, the image of Intellect, loses its focus on its source and turns away from Intellect in the only other direction it can look, namely, toward itself. Attending now to its own multiplicities and capacities, it loses focus on its self-awareness and pays more attention to the many things within it. And this interest in the multiplicities is the phenomenal world—it is Soul looking toward its own variety and informing matter in every possible way. But the activity of informing matter is itself a further decrease in unity and a further increase in multiplicity. A phenomenal object of any kind is not pure form; it is form serving the neediness of matter. Unlike pure forms, these forms-with-matter are not entirely compatible. Nor are they completely subservient to the Soul that informs them because matter binds Soul through its intense, clutching need for form. The result in the phenomenal world is all sorts of random collisions and interdependencies among both inanimate and animate objects, accompanied by all sorts of misjudgments among animate objects as they try to navigate the confusing world around them. And this brings us to one final aspect of Plotinus’s reality that we need to consider, namely, our place in it, the situation of human beings. Obviously, we belong among the animate objects. So, as we have just mentioned, the Soul that informs us is bound by matter’s neediness and is further enmeshed in the network of collisions, interdependencies, and misjudgments that abound in the phenomenal world. Our attention to our own bodies and to external objects obstructs our thinking and self-awareness —so much so that it seems nearly impossible to free ourselves from the incessant demands the world makes on us. This is the situation of human beings as Plotinus sees it: we are Soul bound to matter in such a way that it hardly remembers itself, sunk into the phenomenal world with barely the dream of a memory of its actual lineage. For a brief summary of Plotinus’s system of reality, this has been rather long. But it presents just as much information as we need to address the question I started with and to give it a provisional answer. ***** Let us take up again the initial question, namely, What does Plotinus’s view of the world indicate about how human beings ought to live? The provisional answer is the one that first comes to the fore when we begin to study Plotinus, especially when one focuses on the passages we read here at St. John’s. Judging from those readings, we ought to live in such a way as to extricate ourselves from the bonds of the phenomenal world. We need to loosen the chains that shackle us to the dispersive and all-consuming distractions of the world around us. We need first to remember the Soul that we are, then turn back toward Intellect and to its original, the One. And then, having made the turn, we need to reach journey’s Pastille, Double Duty 6 �end in the ultimate meeting between our Soul and the source of all being, a meeting in which, as we heard before, “there is nothing between and they are no longer two, but both are one.” In short, we should live as mystics. We should spend our time turning inward, away from the phenomenal world, seeking the One within. We might well imagine that such a life consists largely of meditation and retirement from the world. It would be a life of interiority and withdrawal, a life of apparent self-absorption. Now Plotinus provides a lot of advice about how to carry out the meditative practice that may bring us back to our home in the One. There is, for example, this famous admonition in Plotinus’s first written work, On Beauty, where he is focusing on Beauty as a prominent characteristic of the One and everything that proceeds from the One, including the seeker, who can use his own beauty as point of contact with the Soul, the Intellect, and the One within. Go back into yourself and look. If you do not yet see yourself as beautiful, then be like a sculptor who, making a statue that is supposed to be beautiful, removes a part here and polishes a part there so that he makes the latter smooth and the former just right until he has given the statue a beautiful face. In the same way, you should remove superfluities and straighten things that are crooked, work on the things that are dark, making them bright, and not stop “working on your statue” [Plato, Phaedrus 252D7] until the divine splendor of virtue shines in you, until you see “Self-control enthroned on the holy seat” [Phaedrus 254B7]. . . . For the one who sees has a kinship with that which is seen, and he must make himself the same as it if he is to attain the sight. For no eye has ever seen the sun without becoming sunlike [Plato, Republic 508B3 and 509A1], nor could a soul ever see Beauty without becoming beautiful. You must first actually become wholly god-like and wholly beautiful if you intend to see god and Beauty (Enneads 1.6.9.8-342). Then, in the treatise called On the Good or the One, Plotinus goes on to say that this shaping of the beautiful inner statue is only the first step in the “seeing” that the seeker intends. The intimate contact within is not with a statue or an image, but with the One itself. The statue and the image are actually secondary visions, whereas the One itself is indeed not a vision, but another manner of seeing. It is self-transcendence, simplification, and surrender, an urging towards touch, a resting, concentration on alignment, if one is to have a vision of what is in the sanctum. If indeed someone looks in a different way then nothing is present to him (Enneads 6.9.11.20-25; Gerson, 897). I will not go on quoting Plotinus on this point but, as I say, there are many such indications in Plotinus’s writings that the inward, mystical turn is the path human beings should follow, the path that leads out of the darkened and darkening phenomenal world, the path that leads toward the light. It seems that the ethical inference from Plotinus’s beliefs about reality is that we should all become mystics, spending our time seeking unification with the inner source of our being. ***** Why then did I call this a provisional answer? Because there is something wrong here, something that goes back to my initial remarks on the thinker who does not act according to his beliefs about the structure of reality. The simple fact is that there seems to be a contradiction between Plotinus’s view of reality and his life. His view of reality indicates that a meditative, inward-focused life is the best life for human beings. But we know that Plotinus did not expend all his energies in that pursuit. Of course, we could say that this is just not possible. We could point out, as Aristotle does, that our situation in the phenomenal world makes it necessary to attend to matters that preclude the 2 Lloyd Gerson, ed., Plotinus: The Enneads (New York: Cambridge University Press, 2018), 102. Pastille, Double Duty 7 �inward turn, like eating, sleeping, exercising, communicating, and so forth. Nevertheless, as Aristotle also suggests, it seems that our happiness depends on conceding as little as we must to our physical existence while spending as much time as possible in contemplation, just as Plotinus’s view of reality indicates. Now here’s the problem: Plotinus did not act that way. Of course, he meditated quite a bit, and this shows that he recognized the duty of turning inward that his view of reality implies. No doubt he also minimized concessions to the demands of physical existence. But we also know that he spent a great deal of time actively engaging with life in the here-and-now rather than meditating. Our evidence about this comes from the short biography of Plotinus written by his student Porphyry, who spent six years in constant contact with his teacher. Porphyry tells us, among other things, that Plotinus ran a school, or at least was a well-known teacher who was very much involved in dialogue with students and friends. We also know that Plotinus wrote the fifty-four treatises of the Enneads, and Porphyry tells us that Plotinus was not a thoughtless writer. He wrote with care and edited repeatedly with the aid of assistants, reconsidering his arguments with an eye to the individuals who were likely to read the texts. And, to add just one more example, Porphyry tells us that Plotinus looked after quite a few children who were placed in his care, providing for both their physical and their educational needs. Now we all know how much time and effort it takes to teach, to be a friend, to write carefully, and to raise children. Undertaking these tasks is a very different thing from making concessions to physical necessities. Plotinus did these things voluntarily. By choosing these outward-facing activities instead of the mystic path, Plotinus seemingly acted in opposition his own view of reality. The fact that these actions are altruistic or even compassionate may make them attractive to us, but it does not remove the contradiction. Plotinus willingly acted in violation of the duty to turn inward that his view of reality indicates is best for human beings. ***** At this point, I’m going to take a break from the course of the argument to insert a humiliating bit of personal biography. Think of it as an interlude. Or as comic relief. Anyway, here it is. This seeming contradiction actually bothered me for quite a while. In one of the many ways these things can happen, the bulk of my attention was captured by many other difficult and interesting Plotinian conundrums while this unresolved problem percolated under the surface. One day I was thinking about a quite unrelated issue and just ran out of steam. My mind went blank. And in the blankness, the little inner voice that enjoys bombarding us with critical remarks, piped up. “Well,” it said snidely, “what do you think is more likely—that Plotinus doesn’t know what he’s doing or that you missed something?” The question answered itself, but I was ashamed that it took me so long to get the point, especially since I have a lifetime of experience to teach me that I get things wrong far more often than I get things right. Once that had been settled, it was clear what I was missing. Plotinus was no fool. He was not the kind of thinker who could ignore the ethical implications of his own beliefs. So, there must be an aspect of Plotinus’s system that suggests a second duty in addition to the duty of the inward turn. I must have missed the element that motivated Plotinus’s engagement with the here-and-now. From that point on, the question I was dealing with was no longer just What does Plotinus’s view of the world indicate about how human beings ought to live? It became a more specific question, namely, How does the reality of Plotinus suggest a double duty of turning inward toward our source and of turning outward toward our world? ***** Pastille, Double Duty 8 �Having refocused the question, I soon realized that I had all along been noticing the traces of an answer without actually noticing them. As I looked at my notes in the margins of my copy of the Enneads, I found question marks near passages having to do with the outward turn. And after a while, I saw that Plotinus very often quoted (for instance, in Enneads 2.9.18.40, 3.4.2.1, 4.3.1.34, and 4.3.7.14) this line from Plato’s Phaedrus: “All Soul cares for what is without soul” (446B6). Of course, as we have already seen, Plotinus does not believe that there is anything in the phenomenal world that is, strictly speaking, without Soul. So, he puts his own spin on this passage when he says that “[Soul] comes here voluntarily and for the sake of its capacity and for the ordering of what is after it” (Enneads 4.8.5.26; italics mine). The first part of this passage reconfirms the way Soul reverses the order of source and image. As we said, Soul turns toward itself and away from its source, the Intellect, for the sake of exercising its own capacities. This turning away is, as Plotinus puts it, the “beginning of evils” for Soul (Enneads 5.1.1.4-5). The turn away brings Soul into the phenomenal world, where matter binds it. And this, as we have seen, is the reason why humans are duty-bound to make the mystic ascent. But the second part of the passage introduces a new element. Soul turns toward its own multiplicities and capacities not only for its own sake, but also “for the ordering of what is after it.” And that, I realized, was the missing piece. Soul, by informing matter’s neediness, transmits an image of oneness to “what is after it”—which is the whole phenomenal world. It is through Soul that the One’s ultimate unity reaches everything that exists in world “here.” To be sure, the oneness of rocks and microscopic dust particles may be extremely attenuated, but it is there by virtue of Soul’s donation of form to matter’s neediness. This additional element gives a double meaning to the Soul’s turning away from Intellect. Its turn toward itself, toward its own multiplicities and capacities, does indeed carry the mark of Lucifer’s sin, the sin of pride. Plotinus in fact calls Soul’s turn toward itself tolma, that is, audacity (Enneads 5.1.1.4-5). And as a consequence of its audacity, Soul conjoined with body suffers all the evils of being bound to matter—confusion, distorted judgment, forgetfulness of its source. But that same prideful turn also has a positive aspect. It is true that Soul cares more for itself than for its source. But this is still a caring. By giving form, and therefore order, to “what is after it,” Soul tends for the phenomenal world, taking care of its well-being to the extent that it is possible for matter-with-form to be well. Here ends the biographical interlude. Now that we know there are two duties in Plotinus’s reality, we need to get a bit clearer on what each duty entails. And finally, we need to consider the relationship between them in order to understand the practical aspects of fulfilling them in everyday life. ***** So, what does the centripetal duty, the mystical imperative, the inward turn demand of us? It requires that humans assimilate themselves to the One by moving toward the inner center of our being. This requires turning within, away from our life “here,” in order to break free of the confusing welter of the phenomenal world. Only in that way can we come to understand our true self and its true situation in the structure of reality. On the other hand, the centrifugal duty, the imperative for creating order, the outward turn is an imitation of Soul’s activity. It requires caring for this world and the beings within it by working to bring order to the confusion that runs rampant in phenomenal reality. The first issue to settle in the relationship between the two duties is the matter of priority. Are the inward and the outward turn coordinate or is there a subordination of one to the other? The answer to that question is pretty clear, at least on first approach. As embodied Souls, we are caught in the snares of matter and mistaken about the true structure of reality. Disordered Pastille, Double Duty 9 �ourselves, we are in no condition to bring order to the disorder around us. It would seem, in fact, that attempting to do so would only make things worse by injecting poor choices into the already discombobulated muddle, choices based on mistaken beliefs about the way things are. The inescapable conclusion seems to be that the centripetal duty is prior to the centrifugal one. We need to make the mystic turn first in order to clear up our mistaken thinking about the way things are. Only after finishing the journey to “there,” only after reuniting with the One, will we see clearly enough to care properly for the world in our lives “here.” This seems to be quite well expressed by Christ’s command, “first cast out the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother’s eye” (Matthew 7:5). ***** The best way to see how this works is to examine the life of the sage—the person who has ascended to the One and therefore has complete clarity about “there” and “here” and the relationship between them. Progress in the ascent toward the One takes place through dedicated and intense work on the self. This is the sculpting of the inner statue mentioned earlier, and it has the look of self-absorption. It begins with training in the so-called “civic virtues,” the four cardinal virtues mentioned by Socrates in the Republic, namely, courage, temperance, justice, and prudence. By mastering these virtues, the sage-in-training brings order to the external side of his existence. He eventually reaches the point when no external danger or temptation or injustice or foolishness can impede his choices. But this is hardly enough. The civic virtues can be inculcated without imparting an understanding of why they are good beyond their utility for living “here.” They make us steadier, less at the whims of our emotions and mindless reflexes. They create inner resourcefulness and flexibility. They increase the sense that we are competent to meet all contingencies that humans can possibly manage or withstand. But they do not turn us within sufficiently to start the journey upward toward the One. The sage-in-training must use the stability of life gained by exercising the civic virtues to turn attention toward the life of the mind, for it is there that Soul touches us directly. Here the injunction to philosophy comes forward. By turning inward to one’s thinking, by gaining skill in dialectical reasoning, the aspirant increases the ability to focus on immaterial being and becomes comfortable with the motions of Soul in its higher reaches, where it mingles with the forms that are at home in the Intellect. But this too is not enough. Dianoetic activity, the thinking through of the multiple forms that present themselves for inspection in Soul’s higher reaches, is pleasant work for those who have ascended that far. But the pleasantness is a stumbling block to further progress. Dianoia leaves us dispersed. Reasoning at this level is still discursive, still tainted by the successivity that we see in language—not only the distinction between grammatical subject and object, but also the directional separation between premise and conclusion or ground and inference. So, the sage-in-training has to push thought to the end of dianoetic activity at the upper surface of the overlapping area in the figure where Soul and Intellect commingle—and then leap up into pure Intellect, where the thinker takes up the thing thought as an immediacy. This is pure nous, which knows the Forms intimately and without dissection, in a way that is something like our wordless, face-to-face immersion in a burgeoning landscape or a complex artwork. Having arrived at this point, the aspirant finds only one more hurdle to jump. Intellect retains the final separation that must be overcome, the manifest gap between the subject, the thinker, and the object, the thing thought. Intellect sees the One but is aware that it is not itself the One, that it lacks the fulness of its source. How does the sage leap over that last chasm? Pastille, Double Duty 10 �This is the mystical core of the mystical turn. It is the “self-transcendence, simplification, and surrender” that Plotinus speaks about in the passage I quoted earlier. Is this final leap something done by the sage or something suffered by him at the hands of the One? I’m afraid that nothing can be said about this because the ultimate unification extinguishes the distinction between agent and patient. And this is probably why this “experience”—though that is surely not even close to an adequate name for it—cannot be communicated by sages to other human beings. They can only point. It is up to others to travel in the direction of their outstretched fingers. Returning from the ascent to the One, the sage finds himself living in the phenomenal world “here.” But the sage is not like other human beings. The echo of self-disappearance in uniting with the One lives on in the sage, just as the echo of any life-altering experience may live on in regular humans. Those, for instance, who are shattered by experiences that shame them to their center and shock them out of their complacency may become different, more considerate people after their experience than they were before, even though the event may fade from their thoughts with time. For the sage, however, the event has effected a complete transformation—he has changed from a confused and dispersed dweller in the phenomenal world to a clear-sighted and fully integrated dweller in two worlds. The sage is a citizen of “there” and “here” who sees phenomenal reality in the light of eternal oneness. Such people, and only such people, are perfectly empowered to do the work of Soul in the midst of the phenomenal world. When they bring order, when they care for the world and all its beings, they bring the best order and care possible because they do not inject into the necessary disorder even more friction caused by erroneous beliefs about the nature of reality. Do such people actually exist? Perhaps Plotinus was one, or Christ, or Buddha. Or maybe they only exist in literature, like Diotima in Plato’s Symposium or Father Zosima in Dostoevsky’s The Brothers Karamazov. ***** Be that as it may, where does it leave the rest of humanity? Does the priority of the inward turn mean that everyone should be sculpting the inner statue unceasingly to the exclusion of all other activities except those that are absolutely necessary to sustain existence? Does everyone have to wait until they can achieve union with the One before taking the outward turn? Is it impossible to do Soul’s work of caring for the world without first becoming a full-fledged sage? I said just a moment ago that only sages are perfectly empowered to do the work of Soul. The structure of Plotinus’s reality makes that conclusion inescapable. But this does not mean that normal human beings cannot do the work of Soul as well. They just have to resign themselves to doing it imperfectly. They must understand that their efforts to care for the world and bring order to it will carry impurities owing to their ignorance. They must keep in mind that their very best efforts, and even their successes, will likely add some dissonance to the already dissonant phenomenal world— unless their efforts happen by chance to align with the true nature of reality. And such an alignment could only be by chance because regular humans don’t understand the true nature of reality. It would be like a Larissa-bound traveler journeying under a permanent eclipse of the sun who stumbles on the right road in the darkness and manages, despite the existence of many wrong turns, to stay on the main road all the way to town. In other words, it would be a rare, but not impossible, occurrence that would be all but unrepeatable because of the profound ignorance enveloping every move the traveler makes. An awareness of the dissonance attending the efforts of normal humans to care for the world is all the more important because the question I asked about waiting to become a sage before taking the outward turn is utterly contrafactual. The truth is that humans do not have the option of waiting for sagehood before they engage with the here-and-now. They are already and continually doing Soul’s work, whether they know it or not. Pastille, Double Duty 11 �As I said at the outset, we all act in accordance with our beliefs about how the world is. Every choice we make, every step we take in life is a co-creation of the matter-with-form around us and our beliefs about the nature of reality. In choosing to act one way or another, we invest phenomenal reality with the forms of our beliefs. Every human action brings form and order into phenomenal reality. Even abstaining from action is a choice based on one’s notion of reality. There is no waiting for sagehood before acting in the here-and-now. Waiting too is an act in the here-and-now. Given that humans do Soul’s work constantly, bringing order into the world in accordance with their understanding of reality, it makes all the difference whether they are aware of it. If they remain unaware, they will do the work badly, sowing disorder along with the flawed order they create. If, however, they become aware of what they are doing, they can begin to correct their views of reality, which in turn will result in less discord accompanying their engagements with the world. But this is to have already embarked on the inner journey. The first correction in one’s view of reality is the first chip at the inner statue. From this point on, the inward journey proceeds in a ratcheting motion. The improving person acts in the world and brings some order to it in accordance with his new view of reality. Then he turns inward to chip and polish his statue. Then he turns outward again to act, and it goes a bit better because his views are more aligned with reality. Then he turns within again for the next round of sculpting. And so on. So long as he never becomes complacent and never stops turning inward to work on his statue, his work in the world will be less disorderly and more in line with the care that Soul intends to take of phenomenal reality. Even if he never becomes a sage and can never do Soul’s work perfectly, such a self-sculptor would have improved the world by his inner exertions, although less aware humans may charge him with self-absorption. In fact, as Plotinus points out, the appearance of self-absorption is a misapprehension on the part of confused people. [T]he whole world would not bear a grudge against the part that achieved greater worth by being better ordered. For it also makes the whole more beautiful when it has become embellished with a greater worth. For a thing acquires this character when it is made to be the same as the whole and is, in a way, permitted to be like and be aligned with it, that something in it might also shine forth in the region where a human being is, too, like the stars in divine heaven (Enneads 3.2.14.22-25; Gerson, 266). ***** So, after this long excursion, we are finally in a position to give a comprehensive answer the original question, What does Plotinus’s view of the world indicate about how human beings ought to live? The answer is that reality imposes two duties on human beings. The first duty is to make the inward turn, to take the mystic path back toward the One, the source of all Being. This is the prior injunction, although many never heed it. The second duty is to care of the world and bring order to it as perfectly as possible. This is the posterior injunction, although its activity begins in us unawares long before we make the inner turn. While the life of the sage may not be attainable for most human beings, in Plotinus’s cosmos, everyone lives his or her best life by doing double duty. Pastille, Double Duty 12 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Microsoft Word Page numeration Number of pages in the original item. 12 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Duty: How to Live in the Cosmos of Plotinus Description An account of the resource Typescript of a lecture delivered by Bill Pastille, Annapolis tutor, on November 20, 2020 as part of the Formal Lecture Series. Mr. Pastille describes his lecture: "We all act according to our conceptions of the world. Plotinus had an extraordinary conception of reality, namely, that the One generates the less unified Intellect, which in turn generates the even less unified Soul together with the phenomenal world. Plotinus often suggests that the task of human beings is to overcome our multiplicity, to turn away from the less unified and toward the more unified layers of reality. Yet he himself sometimes acted differently. For example, he taught, and he brought up children entrusted to his care, and he wrote—all actions that show a concern for the level of multiplicity on which we humans live. This lecture attempts to account for this apparent discrepancy in Plotinus’s ethics." Creator An entity primarily responsible for making the resource Pastille, William Alfred, 1954- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-20 Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Plotinus Soul Mysticism Wisdom Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Pastille_William_2020-11-20_Typescript Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7427" title="Audio">Audio</a><br /><a href="https://digitalarchives.sjc.edu/items/show/7355" title="Video">Video</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/aa576baadb7084e394ac78d911d4ceb8.mp4 de075e1bc636a0f5d343a28f7f4b260e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data live YouTube webcast Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Duty: How to Live in the Cosmos of Plotinus Description An account of the resource Video recording of a lecture delivered by Bill Pastille, Annapolis tutor on November 20, 2020 as part of the Formal Lecture Series. Mr. Pastille describes his lecture: "We all act according to our conceptions of the world. Plotinus had an extraordinary conception of reality, namely, that the One generates the less unified Intellect, which in turn generates the even less unified Soul together with the phenomenal world. Plotinus often suggests that the task of human beings is to overcome our multiplicity, to turn away from the less unified and toward the more unified layers of reality. Yet he himself sometimes acted differently. For example, he taught, and he brought up children entrusted to his care, and he wrote—all actions that show a concern for the level of multiplicity on which we humans live. This lecture attempts to account for this apparent discrepancy in Plotinus’s ethics." Creator An entity primarily responsible for making the resource Pastille, William Alfred, 1954- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-20 Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Plotinus Soul Mysticism Wisdom Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Pastille_William_2020-11-20 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7427" title="Audio">Audio</a><br /><a href="https://digitalarchives.sjc.edu/items/show/7354" title="Typescript">Typescript</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/23eb3675722e26220725fe45dd345ded.mp3 9b90224a9ee3cc40feb1c900284a90e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data live YouTube webcast Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:59:!4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Duty: How to Live in the Cosmos of Plotinus Description An account of the resource Audio track from the video recording of a lecture delivered by Bill Pastille, Annapolis tutor on November 20, 2020 as part of the Formal Lecture Series. Mr. Pastille describes his lecture: "We all act according to our conceptions of the world. Plotinus had an extraordinary conception of reality, namely, that the One generates the less unified Intellect, which in turn generates the even less unified Soul together with the phenomenal world. Plotinus often suggests that the task of human beings is to overcome our multiplicity, to turn away from the less unified and toward the more unified layers of reality. Yet he himself sometimes acted differently. For example, he taught, and he brought up children entrusted to his care, and he wrote—all actions that show a concern for the level of multiplicity on which we humans live. This lecture attempts to account for this apparent discrepancy in Plotinus’s ethics." Creator An entity primarily responsible for making the resource Pastille, William Alfred, 1954- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-20 Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Plotinus Soul Mysticism Wisdom Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Pastille_William_2020-11-20_Audio Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7354" title="Typescript">Typescript</a><br /><a href="https://digitalarchives.sjc.edu/items/show/7355" title="Video">Video</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/3e2ba1e235b55e224f10d4a765a5f433.pdf a464d66f79b1fa8ba529f689d39b96a9 PDF Text Text �l ( I Douglas Allanbrook HARPSICHORD CONCERT frM $t. Anne•s Churcli Church Circle, Annapolis, Maryland Sunday, March 4 , 1973 PROGRAM Sept i eme Ordre La Menetou Les Petit s Ages: 1. La MUse Naissante 2. L' Enfantine 3. L' Adolescent e 4. Les Deli ces Francois Couperin Dougl as Allanbrook Fantasy (1963) Quat orzieme Ordr c Le Ros s ignol en Amour Le Rossignol Va inqueur Francoi s Couperin Hui tiem Ordre e Passacaille INI'ERMISSION Sonata i n F Major I . Allegro Moderato II. Adagio III. Finale: pr esto Five Studies in Black and White Chromatic Fantasy and Fugue Joseph Haydn fuuglas All anbro0k J. C. Bach � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas Allanbrook Date A point or period of time associated with an event in the lifecycle of the resource 1973-03-04 Identifier An unambiguous reference to the resource within a given context Bx2-11 Description An account of the resource Program of the concert given by Douglas Allanbrook, harpsichord Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a07fd06f384d804ce753b4fdaf40d2cb.jpg 27b03cea51e649dbd329a1783ce4a105 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Physical Dimensions The actual physical size of the original image 13 x 9.5 cm. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0003 Title A name given to the resource Douglas Allanbrook Seated at Piano during Music Tutorial on Suspension, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1952-1959 [circa] Creator An entity primarily responsible for making the resource Unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Subject The topic of the resource St. John's College (Annapolis, Md.). -- Faculty. St. John's College (Annapolis, Md.). -- Music Tutorial. Music Teaching Classrooms Allanbrook, Douglas. Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1355577d95794db04918015113ccc727.jpg a4e1283afb4cb138684812cb8646f2ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 12.5 x 10 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0507 Title A name given to the resource Douglas Allanbrook Seated at Piano during Music Tutorial on Suspension, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1953-1930 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource St. John's College (Annapolis, Md.). -- Faculty. St. John's College (Annapolis, Md.). -- Music Tutorial. Music Teaching Classrooms Allanbrook, Douglas. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Honorary Alumni Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/f0b83b96e378c8d4486c33de2fe69149.jpg 8b31343922598c45c3a7f15a20e78a43 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9c241c195d1f8608cc370892f3661e1d.jpg f8e21fad80ae3d8a0c72589a809d8bc3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data black and white photograph Physical Dimensions The actual physical size of the original image image 22.5 x 16.5 cm, mount 25.5 x 20.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. James L. Whiteside's class of 1878, St. John's College, Annapolis, Maryland Description An account of the resource Photograph of the St. John's College class of 1878, taken circa 1875 or 1876. An inscription on the back of the photograph's mount reads: "Dr. J. L. Whiteside's class of 1878, St. John's College, Annapolis, Md. Back row: Wright, Gontrum, Martin, ?, Sprigg, (Judge) Stump, Harter (Pres. Del. Univ., Dover), Reed, ?, 2nd row: Krebs, J. L. Whiteside (roommates), Weagley, Leason, Batson, Andrews, Billingslea, Dashiel (in Navy), 4 men sitting: Comegys, (Judge) Harlan (Baltimore), Washington, Gorter, (From 1921 Pa. Ave. N.W.)" Whiteside's address listed in the Register of the Graduates and Alumni of St. John's College at Annapolis, Maryland (1908) was 1921 Pennsylvania Ave., Washington, D.C. Creator An entity primarily responsible for making the resource unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, Md. Date A point or period of time associated with an event in the lifecycle of the resource circa 1878 Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpg Subject The topic of the resource Male college students Whiteside, James L. Andrew, Lewis C. Batson, John R. Billingslea, James Dashiell, Robert B. Gontrum, John F. Gorter, James P. (James Polk), 1858-1939 Harlan, Henry D. (Henry David), 1858-1943 Harter, George Abram Krebs, J. Harry Leason, James A. Martin, George Thomas Reid, Magnus Sprigg, Alden Mant Stump, Henry Arthur, 1857-1934 Washington, Ernest Weagley, Charles C. W. Wright, Abram W. Comegys, Cornelius, 1858-1938 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SJC-P-2841 Alumni https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1925572a193ebc742af12a86dd628f51.jpg 60b161759c09d0223e95b624c6c1642e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 17.5 x 13 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1592 Title A name given to the resource Dr. Leon Kass and Robert S. Bart Talking after the 275th Anniversary Colloquium, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1971-10-13/15 Creator An entity primarily responsible for making the resource Rosenberg, Phil Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Deans Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1578c0a1f86a45c60ad60a0d856093d2.jpg 0bc715eff8e90918f182800df3590b46 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 17.5 x 13 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0763 Title A name given to the resource Dr. Nicholas Capozzoli, Alan Hornstein, Father Nicholas Ayo, Merle F. Maffei, and Reverend George H. Cochran Standing on a Porch of McDowell Hall, St. John's College, Annapolis, Maryland, September 1981 Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1981-09 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource St. John's College (Annapolis, Md.). -- Students. St. John's College (Annapolis, Md.). -- Faculty. Ayo, Nicholas Maffei, Merle F. Cochran, George Capozzoli, Nicholas. Hornstein, Alan Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/86017a061e77516f528741b3be6cdea9.pdf 26818a78ab50c80fd5a3dfcfe9d45a00 PDF Text Text Friday, March 10th, et 8pm F'SK Auditorium A dramatic reading of H~MltT by William Shakaapaars Hamlet • • • • • • • • • • • • • • • leu Elkins Clzudiua •••••.•• Hugh P. McGra th Gertrude ••••••••••• JoAnn Mal l in Polonius •••••••••• Cha r l~e f inch Lasrtes ··~···· Christopher Chasa Opt·H1lia , ••••••••••••• Jane Young Horatio ••••••••••••• • • Ro ge r H y a Roasncran t z • • • • ••• Pater Ar onson Guildanstern ••••••••• J im Jarvi a Mer c~llua ••••••• Edward Sti c kn ~ y Ghost ••••••••••••• Cra ig Mo or i ng Player Quaen ••.•• Jnanna M arring 1at Grava- diggar . Wlll ia m Kel le y forti nb ras ••••••••• Ha rr y K o s ni ~ 1a t Player ••• • ••• Dan~ Nethe r t on diracted by Alvin Arons on There will be a ten-minute intu r m asion i after Act III, Scans II, or jus t before the play within the play. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 1 page Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dramatic Reading of Shakespeare's Hamlet Date A point or period of time associated with an event in the lifecycle of the resource 1972-03-10 Identifier An unambiguous reference to the resource within a given context Bx2-06 Description An account of the resource Program/cast list of the performance Subject The topic of the resource Shakespeare, William, 1564-1616 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/3dc314536d084c7e40a1ba956b360d3f.mp3 b292ac9cf5e4c45d429dedd63eff3f23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:54:17 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Draupadī on the Walls of Troy: Reabduction Narratives in Two Indo-European Epics, the Iliad and the Mahābhārata Description An account of the resource Audio recording of a lecture given by Stephanie Jamison on April 21, 2023 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "A curious episode in Iliad, the Teikhoskopia (viewing from the wall), in which Helen is asked by her father-in-law Priam to identify the Greek warriors massed below the wall, is compared with another reabduction narrative in Indo-European epic, involving Draupadī, the wife of the five heroes of the Mahābhārata. The two episodes contain a remarkably similar network of incidents, which, furthermore, make sense within the larger Indic cultural paradigm. These close similarities shed light on the corresponding scene in the Iliad, which has long posed a problem in Homeric studies." Creator An entity primarily responsible for making the resource Jamison, Stephanie W. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2023-04-21 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Mahābhārata Homer. Iliad. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_JamisonS_Draupadi_On_The_Walls_Of_Troy_2023-04-21 Friday night lecture Rohrbach lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/597d92b32167bb4b17c32b78439aa6b3.jpg 69881025125bfdf8c155a3aec7c0fb0c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2105 Title A name given to the resource Drawing of Annapolis Maryland, 1797 Description An account of the resource 1 photographic copy of a drawing : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1797 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/af877fff364cf081dd7063ec1e221b5b.jpg 5db984be9698affa7aebc978fb208520 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 21.5 x 25.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1297 Title A name given to the resource Dress Parade on Back Campus, Annapolis, Maryland, from the 1904 Rat-Tat Description An account of the resource 1 copy from Rat-Tat 1917 : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1904 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/6b66f0ba4a07ddad048cbd0b9e07ed61.jpg 1a96662d3c504a1d54b379488c2b7a24 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2142 Title A name given to the resource Drill Practice with Soldiers in Military Uniform on Back Campus, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph.