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"Happy he who has passed his whole life mid his own fields, he of whose birth and old age the same house is witness....For him the recurring seasons, not the consuls, mark the year; he knows autumn by his fruits and spring by her flowers." ~ Claudian, Carmina Minora (XX) The Roman calendar originally was determined by the cycles of the moon and the seasons of the agricultural year, and was said to be invented by Romulus, the first king of Rome, around 753 BCE. After several changes over the course of the centuries, the current formula was worked out. According to Livy (I.19), it was Numa Pompilius, the second king of Rome (715-673 BC), who divided the year into twelve lunar months. Later, in honor of his reform, the month of Sextilis was renamed Augustus. It was that month, says Macrobius (I.12), that Augustus first had been elected consul, Egypt had become part of the Roman empire, and the civil wars ended. August also was the eighth month and appropriate for someone who earlier had been named Octavian. Calendarium Perpetuum, or Perpetual Calendar in Latin, contains all the elements of the original calendar; i.e., Latin dies, nundinal letters, market days, and Roman Festivals and Ludi (Games). It also contains explanations on the Kalends, Nones, and Ides of the month, plus Moribus diérum, or Character of Days in the Calendar. From the modern perspective, the calendar lists modern and nundinal year conversion tables, current days, and has been designed for use year after year.

This catalogue documents the exhibition Perpetuum Mobile, by German artist Franz Erhard Walther (born 1939). A pioneer of participatory art, Walther lays out tactile sculptural pieces that invite both mental and physical engagement, whereby the exhibition is both the site and the result of transformative actions.

This catalogue documents the exhibition Perpetuum Mobile, by German artist Franz Erhard Walther (born 1939). A pioneer of participatory art, Walther lays out tactile sculptural pieces that invite both mental and physical engagement, whereby the exhibition is both the site and the result of transformative actions.

Composer: Franz Ries Perpetuum mobile, Op. 34 Violin and Piano Publisher: Schott Category: Solo Instrumental Series: String Format: Softcover...

Millions saw the amazing You Tube performance of Toto's Africa by the Slovenian choir Perpetuum Jazzille as they recreated the sounds of a rainstor...

In his study of the structure of Ovid's Metamorphoses, Professor Otis shows that the real unity of the poem is to be sought not in the linkage but in the order or succession of episodes, motifs and ideas. The poem is nothing less than what Ovid called it, a carmen perpetuum, a narrative poem with a real continuity achieved by a gradual shift of emotional emphasis through a long series of episodes arranged in an elaborate pattern. For this second edition of his study of the Metamorphoses, originally published in 1970, Professor Otis has written a new concluding chapter. He also takes account of the constructive reviews of the first edition and a number of important books that had been published in the years following its publication. Further, he has removed what had emerged as some ambiguities in his conclusions and made some correction of emphasis to his judgements.

Puzzles in perpetual motion—that’s what these are! Many of these bright brainteasers focus on ingenious, moving mechanisms, including an ancient Greek door-opening apparatus that featured one of the earliest uses of steam. Check out a perpetuum mobile invented by a famous American mathematician and see if you can successfully explain its theoretical principle of operation. A cartoon depicts a classic Lewis Carroll conundrum: there’s a monkey hanging on a tree holding one end of a rope while a bunch of bananas balance  the other end in a state of equilibrium. What will happen if the monkey starts to climb? Other problems deal with gears and levers, while still more shift to number, counting, and calculation challenges.

In his study of the structure of Ovid's Metamorphoses, Professor Otis shows that the real unity of the poem is to be sought not in the linkage but in the order or succession of episodes, motifs and ideas. The poem is nothing less than what Ovid called it, a carmen perpetuum, a narrative poem with a real continuity achieved by a gradual shift of emotional emphasis through a long series of episodes arranged in an elaborate pattern. For this second edition of his study of the Metamorphoses, originally published in 1970, Professor Otis has written a new concluding chapter. He also takes account of the constructive reviews of the first edition and a number of important books that had been published in the years following its publication. Further, he has removed what had emerged as some ambiguities in his conclusions and made some correction of emphasis to his judgements.