Podcast appearances and mentions of robert bloomfield

The Banks of Wye: A Poem

The first episode in some time(!) of the award-winning (!!) 'home-learning' inspired podcast series, Primrose and Terry: in the shed. Starring 9 year old Primrose Lee and her Dad, Terry. In the episode we talk about Primrose's 'new' school, her new friends and teachers & the food at lunchtime. We also review 'Worst. Holiday. Ever' by Charlie Higson. Featuring a very special guest - Prim's mate Savanna! Primrose and Terry: in the shed is produced by Primrose Lee, edited by Terry Lee, with music and imaging by Primrose Lee. Our artwork is by Stoo Elvin.

Paul Ford, online writer, publisher and programmer joins host Robert Bloomfield for a discussion about the direction our lives take us as we become increasingly digital.Metanomics

Daryl J. Bem, Social Psychologist Emeritus joins Robert Bloomfield to discuss the methods social psychologists use to conduct studies and analyze the statistical results. Dr Bem's illustrious career includes work in self-perception, personality theory, and ESP. More from Daryl Bem at: http://dbem.ws/index.html And on the Metanomics page: http://www.metanomics.net/show/ESP_Show/Metanomics

Robert Bloomfield welcomes Greg Lastowka, Professor of Law at Rutgers University and author of a new book: Virtual Justice, The New Laws of Online Worlds.Metanomics

Professor of linguistics at MIT, Noam Chomsky spends some time with Robert Bloomfield and the Second Life audience to share his thoughts on green technologies, US foreign policy, and intellectual history.Metanomics

Find out the latest outcomes after last month's Federal Consortium for Virtual Worlds with conference organizer Dr. Paulette Robinson in a conversation with Metanomics host Robert BloomfieldMetanomics

Another mixed reality meeting of minds spanning Second Life and Copenhagen Denmark in a great discussion led by Metanomics host Robert Bloomfield with guest panelists Tom Boellstorff, Edward Castronova and Robin TeiglandMetanomics

Jesse Schell, CEO of Schell games talks with host professor Robert Bloomfield about how games are increasingly going to be incorporated into our everyday livesMetanomics

Professor Joshua Fairfield joins Robert Bloomfield for a candid discussion on the newly revised Second Life terms of service and the legal implications of mixed reality.Metanomics

Tom Hale, Chief Product Officer for Linden Lab announces the latest step to make the new Second Life user experience a better one: Welcome Island and Discovery Island. Metanomics host Robert Bloomfield fields questions for Tom from the community.Metanomics

Espee and Amanda from Linden Lab join host Robert Bloomfield and Remedy's Dusan Writer for behind the scenes insight and Q&A about the new 2.0 Viewer. Metanomics

Professors and authors Tony O’Driscoll and Karl Kapp join host Robert Bloomfield to discuss their book "Learning in 3D: Adding a New Dimension to Enterprise Learning and Collaboration"Metanomics

Author Douglas Rushkoff spends some time with Robert Bloomfield and the Metanomics audience the week before his PBS Frontline documentary premiere, Digital Nation: Life on the Virtual Frontier Metanomics

Robert Bloomfield welcomes guests Jena Ball, Co-founder of the Virtual World Story Project, Christian Galanis, from the Southern Tier HealthLink NY, and Brent Ward of RTI International Metanomics

Robert Bloomfield leads a discussion with Dick Dillon, from Preferred Family Healthcare, Dr Dan Krawczyk and Dr Michelle Kandalaft, from the University of Texas at Dallas about how their organizations use virtual spaces and anonymity for counseling young people with substance abuse and social problems. Metanomics

Join host Robert Bloomfield as guest Dr. Leslie Jarmon, from the University of Texas at Austin shows us a Second Life project as big as Texas - transforming undergraduate education. Metanomics

Meet Robert Frank, professor, author, and New York Times columnist for a discussion with Robert Bloomfield about ethics, policy and government regulation.Metanomics

Adam Thierer, Senior Fellow at the Progress & Freedom Foundation, joins Robert Bloomfield for a great discussion about government involvement in regulating online activities Metanomics

Robert Bloomfield welcomes Chris Abraham, President and COO of Abraham Harrison who is giving Second Life another try with an appreciation of the strong social resident community. Metanomics

Watch this mixed reality version of Metanomics with host Robert Bloomfield live from Second Life and the Engage Expo in San Jose CA as he talks with guests Philip Rosedale and Tom Hale of Linden Lab plus Harper Beresford and Jeanie Tubbs, both resident content creatorsMetanomics

Robert Bloomfield is you host for another great discussion. Tony O'Driscoll is on the spot again with news of the upcoming 3DTLC Conference, followed by Margaret Regan, President & CEO of The FutureWork Institute. Metanomics

Robert Bloomfield talks with author of "Making Virtual Worlds: Linden Lab and Second Life", Thomas Malaby about his experience inside the lab, anthropology and the Whole Earth Catalog. On the Spot catches up with Bettina Tizzy and some creative artists using virtual spaces. Metanomics

Sterling Wright returns to Metanomics as the Washington Correspondent on the spot then host Robert Bloomfield welcomes Pillsbury attorney James Gatto to discuss IP law and how it relates to Virtual Worlds and gamesMetanomics

Metanomics host Robert Bloomfield introduces Sterling Wright as Washington Correspondent, then explores the risks and what is happening within the Federal Government and how virtual spaces are being used. Metanomics

Metanomics is back with a new season of great (and great looking) shows looking at business and policy in Virtual Worlds. Robert Bloomfield talks with none other than Linden Lab CEO Mark Kingdon on this must see interview. Metanomics

This impressive painting is beautifully painted with jewel-like precision and shows Constable’s ability to capture the immediate sensations of light and atmosphere; it is one of Constable’s most natural depictions of the landscape around his home, reflecting his interest in portraying rural harmony. It is notable in the way the figures are more conspicuous and more particularised than in his other early landscapes. Although based on a number of sketchbook drawings, the work was probably painted in large part in front of the motif. The field depicted here is the same one seen in the right foreground of the The Stour Valley and Dedham Village 5 September 1814 . Constable depicted a traditional farming community harvesting wheat, with harvesters, gleaners, a boy with a dog and a distant ploughman. The woman and two girls in the foreground are poor, gleaning the ears of wheat missed by the reapers. The boy with the dog is guarding the workers’ food and drink, draped in discarded clothes to provide shade from the sun. Constable presented life before the changes that occurred in rural society with the enclosure of the common fields in 1816 – before the poor had been largely barred from taking part in their age-old practice of gleaning. Constable exhibited this painting at the Royal Academy in 1816 and at the British Institution the following year, when he included with the catalogue entry lines from Robert Bloomfield’s The Farmer’s Boy (1800): Nature herself invites the reapers forth; No rake takes here what heaven to all bestows: Children of want, for you the bounty flows! His inclusion of this text suggests that Constable too believed that the rural poor, in this instance the gleaners, were deserving of nature’s bounty. As Michael Rosenthal has noted, the Napoleonic wars saw an increase in rustic subjects at the main London exhibitions. Around the time Constable painted this scene a number of other British artists were painting similar subjects, such as Peter de Wint’s A cornfield c.1815 (Victoria and Albert Museum, London) and George Robert Lewis’s Harvest field with reapers, Haywood, Herefordshire 1815 (Tate, London). Such farming scenes portrayed the happy Britain, which invasion – or revolution – would have destroyed (Rosenthal 1983, p. 200).

Constable knew this scene well: the Stour Valley from just outside the grounds of Old Hall in East Bergholt, with the churches of Langham and Stratford St Mary villages in the distance. He depicted the ploughmen at work in a manner typical of Suffolk, using a swing plough, which was light and required only a single ploughman and two horses working side by side (rather than a team of four), considered to be an efficient, modern mode of ploughing, contributing to the productivity of the area (Rosenthal 1983, pp. 18–19). And he depicted a ‘summerland’, a field that was ploughed and harrowed in the spring, left fallow over the summer months as part of a two-year crop rotation system, ready for manuring in autumn and sowing in winter (ibid., p. 12). The contemporary farmer or countryman would have appreciated this image of agricultural life of Suffolk (Rosenthal, p. 21). Constable exhibited this first version of the subject at the Royal Academy in 1814 and at the British Institution in 1815, from where it was purchased by John Allnutt, a Clapham wine merchant and collector. As a result of this sale Constable was encouraged to pursue his career as a painter. Beckett has suggested that ‘in Constable’s memory such scenes were gilded with the light of eternal summer and the picture stood for a symbol’ (R.B. Beckett, ‘A Summerland by John Constable’, Art Quarterly, XXVII, summer 1964, p. 176). Constable certainly stressed the poetic aspect of the landscape, linking it to an established literary and pictorial tradition. In the 1814 Royal Academy catalogue, the entry for this work had an accompanying quotation from Robert Bloomfield’s The Farmer’s Boy – a long, 1500-line, four-part poem in heroic couplets composed between 1796–98 and published in 1800. This poem pointed to the solitary nature of the ploughman’s work: But, unassisted through each toilsome day, With smiling brow the Ploughman cleaves his way. In making this reference to poetry Constable implied that the image was not just of a particular place, but also expressed a more general mood and atmosphere, the ‘feel of nature’. Bloomfield was a ‘peasant poet’ of Suffolk, whose work appealed to Constable. He stressed the virtues of honest, hard farming life. Albert Boime has suggested that Bloomfield’s vision of farming life ‘appealed to the gentry, who identified themselves with his nostalgia for a bucolic past and his moralising posture on rural labour’ (A. Boime, Art in an Age of Bonapartism 1800–1815, Chicago: University of Chicago Press, 1990, p. 174). Commentators have questioned whether Constable was sympathetic to the ‘toilsome’ labour of the workers in the field, or whether he had a more conservative view and simply saw them as part of the scene. Certainly, he portrayed this scene from a high vantage point so that the ploughmen seem to merge into the natural elements, small figures within the landscape (Rosenthal 1983, pp. 71–82). In a letter to John Dunthorne senior of 22 February 1814, Constable wrote aboutthis painting: I have added some ploughmen to the landscape from the park pales which is a great help, but I must try and warm the picture a little more if I can. But it will be difficult as ’tis now all of a piece – it is bleak and looks as if there would be a shower of sleet, and that you know is too much the case with my things(Beckett I, p. 101). Constable based this view over the Stour Valley on drawings in his 1813 sketchbook. He also referred to his sketches of ploughmen in this sketchbook. With the inclusion of the figures of the ploughmen he not only added a point of interest but made the scene an agricultural landscape, celebrating country life. This version of A ploughing scene in Suffolk was used as the basis for the mezzotint A summerland engraved by David Lucas .Constable made a second painting of the subject, A ploughing scene in Suffolk (A summerland) c.1824.