• Born: Stafford UK, 1943; Married, three children (aged 23, 24 & 25);
• 1965: BA First Class Hons (French Studies), University of Manchester;
• 1966: MA for "Quatremere de Quincy: A study of an Early Historian of Art", University of Manchester;
• 1968: PhD for "Renaissance Reconstructions of the Seven Wonders of the World", University of Manchester;
• 1968: appointed to Lectureship in the History of Art, University of Leicester;
• 1978: promoted Senior Lecturer;
• 1980-1987: Head of Department;
• 1987: took up appointment to The Sir William Dobell Foundation Chair of Art History at the Australian National University;
• 1994: Apppointed (with Professor Chris Bryant) Co-Director of UniServe Australia - the Network for Electronic Teaching & Learning Materials for the Australian University System (an initiative of the Committee for the Advancement of University Teaching); resigned, together with Professor Bryant, in 1996;

• The Classical Tradition in Art, London, Duckworth, 1978, 271pp;
• Art in its Context (Proceedings of an International Conference, Leicester 1976), (Joint editor with V. Megaw), London, Duckworth, 288pp;
• Donatello & his Sources, London, Duckworth, 1982, 226pp;
• Computing for Non-Scientific Applications (joint author with D. Andrews), Leicester, University Press, 1988, 346pp.;
• The Survival of Roman Antiquities in the Middle Ages, Messrs Duckworth, London 1989, 288 pp;
• What is Classicism?, Academy Editions, London 1990, 72 pp;
• Essential Art History, (Joint author with Dr P. Duro), Bloomsbury, London 1992, 311pp and paperback edition 1993; this book, in illustrated format, will soon be mounted on http://rubens.anu.edu.au;
• Contributions (with Dr P. Duro) totalling 50,000 words to The Guide to Human Thought, Bloomsbury, London 1992, 311pp;
• Consultant Editor to The Making of Art, edited by Alison Yarrington, and to be published later in 1997 by Routledge, London;

• 1984: "Ipsa Ruina Docet" in in S. Settis (editor), L'uso dell'antico durante il Medioevo (Memoria dell'Antico nell'arte Italiana I: L'Uso dei Classici, Einaudi, Turin 1984, 115-211;
• 1984: "Iconografia antica e sue trasformazioni durante il Medioevo" in S. Settis (editor), Memoria dell'Antico nell'art Italianai II; I Generi e i Temi Ritrovati, Einaudi, Turin 1985, 155-201;
• 1994: Various entries in J. Steer & A. White (editors), Atlas of Western Art History, Facts on File, New York, 1994, pp.142-7 & 166-9;
• 1996: "Quatremere de Quincy" in N. de Grummond (ed), An Encyclopaedia of the History of Classical Archaeology, 2 vols, Westport CT, 1996, 942-3;
• 1996: "Classicism" in The Macmillan Dictionary of Art, London 1996;

• 1987: "Conspectus of Database projects and Suitable Techniques for their Pressentation" in the Actes de la Table Ronde sur les Logiciels et l'Histoire de l'Art, Paris 1987, La Documentation Francaise, 121-36;
• 1988: Bernini and the City of Rome (6th Sir William Dobell Memorial Lecture), Sydney 1988, 38 pp;
• 1988: "Romanticism: a definition", in Art & Design: The New Romantics, IV.11/12, 1988, 20-35;
• 1988: Report on the "International Conference on Terminology for Museums", Cambridge September 1988, CHArt newsletter, Number 9, 1988, 7-10;
• 1989: "David's Marat Assassine and its Sources" in The Yearbook of English Studies 19 for 1989, 162-180;
• 1989: "Videodisks and their future in Art History", in Visual Resources, VI, 1989, 141-164;
• 1989: "Graphical data in Art History and the Humanities: their storage and display", in History & Computing, I.2, 1989, 121-34
• 1989: "Museum Databases, Help Systems and End-Users" in The International Journal of Museum Management and Curatorship, 8, 1989, 33-43;
• 1989: "Pc-File+", Chart Newsletter No. 10, Spring 1989, 21-26;
• 1990: "A user view of art databases', in Terminology for Museums (Proceedings of an International Conference, Cambridge 1988), Cambridge 1990, 526-32;
• 1990: "The discovery of Roman sculpture in the Middle Ages: Venice and Northern Italy", Venezia e l'Archeologia (Congress, 1988), Rivista di Archeologia, Suppl. 7, Rome 1990, 157-64;
• 1991: "An interactive text-and-image database for the general public implemented on a low-cost microcomputer for the Australian National Gallery", Computers & The History of Art 1.2, 1991, 21-38;
• 1991: "Images and Computers", Art Association of Australia Newsletter 34, November 1991, 7-8;
• 1991: "The computerisation of museum collections", in Ancient History: Resources for Teachers, XXI.1, 1991, 34-43;
• 1991: Entries for "Art History" in I. Lancashire (ed), The Humanities Computing Yearbook 1989-90, Oxford, Clarendon Press 1991, 9-17;
• 1992: "Analog and Digital in Image Databases: Two Compatible Technologies", in Le Medieviste et l'Ordinateur, Paris 1992-3, Nos 26-7, 43-6;
• "An interactive text & image database for the Australian National Gallery", in F. Bocchi & P. Denley (editors), Storia e Multimedia (Atti del 7mo Congresso Int. Association for History & Computing, Grafis, Bologna 1994, 616-628;
• 1994: "Imaging and the Internet", in International Journal of Computer and Engineering Management, 2.3, Sept-Dec 1994, 13-26;
• 1995: "Imaging in Bulk for the Internet", Real-Time Imaging, I, 1995, 33-47;
• 1995: "Setting up and exploiting Humanities resources on the World Wide Web", in Creative Investigations, ed. M. Stoljar, Canberra 1995, 69-86; reprinted with additions in Australian Academic & Research Libraries 27.2, June 1996, 95-106;

• "The Palace of Diocletian at Split", 13MB of text and images mounted on the Internet, on servers in the USA, Europe and Australia. including my own at http://rubens.anu.edu.au/split.xmosaic/split1.html;
• The Greek & Roman Cities of Western Turkey, 120,000 words, written 1993, mounted on my server in January 1994, at http://rubens.anu.edu.au/turkeybook/toc1.html; this attracts over 500 accesses per week;
• Electronic edition of Computers and the History of Art, with myself as Guest Editor, mounted at http://rubens.anu.edu.au/chart in August 1995;
• An electronic version of P. Duro & M. Greenhalgh Essential Art History (see above) has recently been provided with images, and will soon be made publicly available;

• 1992 (unpaid): In association with S. Bourne, developed FACcess, a computerised Amiga-based version of the Faculty of Arts' pages from the student handbook (and the first such forerunner to the Web at ANU!), located both in the Department of Art History and outside the Faculty Office;
• 1993ff (unpaid): setup for the digitising of images for use in the Department of Art History for use in lectures and seminars;

My Web server, (ArtServe: http://rubens.anu.edu.au) went live on 4th January 1994. Using monies brought in by research grants and consultancies (see below), I employed a variety of programmers to help develop software for the processing, manipulation and display of images and their associated data records. These include:

1. salami for slicing up a datafile, with images, into Web-sized "bites";
2. encyc re-orders textfiles into chunks suitable for Web exposition;
3. zoom allows users to examine and download sections of large images from their web browser;
4. thumbgif makes thumbnail GIFs of directories of large JPEG images;
5. grabsony is a Linux program which controls a Sony video camera via the SCSI chain, allowing large-format (1.6 megapixels) images to be written to disk by using the high-quality 3-CCD device on the DX930P camera;
6. Light-Table is a digital version of a "real" light table, allowing the user of a Web browser to retrieve images from a database, and order them for presentation (together with their data records) for lectures, seminars or printing to paper;
7. Image-Fix is a development of Light-Table (see above), allowing for the bulk image-processing of "defective" images;
8. The Electronic Image Revision System, quiz for short, allows a student to test knowledge of the materials in a particular database, and to set the parameters from "very easy" upwards, as well as choosing only sections of the database on which to be tested;
9. vipic is a version of the Unix "vi" editor which, when used in conjunction with a configuration file in the current directory (called ".vipic"), allows images and their associated records to be pasted into an HTML document
10. Laserdisk programs: sony grabs a specified range of frames from the Sony Recordable Laserdisk, digitizes them, and writes them to hard disk in JPEG or GIF formats; XLD allows frames stored on the laserdisk and referenced by thumbnail GIF images on the computer to be digitized "on the fly" and posted to the Web browser as orderd by the client;
11. A complete suite of programs for charging for web access, using a secure web server;
12. "Shopping" and CDROM programs: this suite allows users to select items for purchase; debits their account, allows downloading, and will write CDROMs if requested;

1. December 1987: Site visits in Turkey, including Istanbul, Konya, and the South coast then back up to Izmir;
2. November 1988: libraries, museums and galleries in London, Rome, and Venice; conference in Venice, and then to Munich, for an interview with a candidate for a position in the Department (Munich);
3. November 1989: Visited Canada, France, W. Germany & Italy, as well as Thailand. Conference paper in Bordeaux, and seminars & lectures in British Columbia, where he was Lansdowne Visiting Professor at the University Of Victoria (November); archives and archaeological and artistic sites in France (November);
4. Jan-Feb 1990: West and South Coasts of Turkey, visiting archaeological sites and museums; plus Istanbul;
5. November 1990: Invited to Korea by the International Cultural Society, to lecture at various universities in Seoul, Chonjo, Kwangju, Chinju, Pusan, Kyongju, Taejon and Yusong;
6. November 1991: Visits to UK and Turkey for research into the re-use of antique materials in mediaeval monuments;
7. February 1992: California, to photograph modernist architecture for use in my Web-based lecture unit;
8. July 1992: Visit to Marburg, to consult with Prof. Heusinger on The Marburger Index to Art in Germany and the digitizing of its images;
9. August-October 1992: Second semester on OSP in England and France, especially in archives at the Service Historique de l'Armee de Terre; and, in England, consulting with co-editor (Dr. Yarrington) on work for The Making of Art; other research in the libraries of Rome and Vienna; includes four weeks spent at The British School at Rome, and invited participation (by the Austrian Academy of Sciences) in a Round Table on Digital Imaging in Art History; spent August on train travel to the galleries and museums of Germany;
10. July 1993: to Libya, Italy, Algeria, Tunisia and Spain, in association with re-use of antiquities; to Vincennes, for the archives of the Armee de Terre;
11. February 1994: The South Coast of Turkey, re. spolia;
12. July 1994: Greece, Cyprus, Turkey, Lebanon; second semester devoted half to OSP (research in libraries and archives in Germany (Berlin, Munich), France (Vincennes, Paris), Austria and Spain) And preparations for the CAUT Electronic Clearing House scheme, of which he was co-Director;
13. September 1994: Lectures at Assumption University, Bangkok, devoted to the Web in Teaching & learning;
14. July 1995: Cultural sites in Austria, Germany and California; Hoover Archives, Stanford, CA; and Archives de l'Armee de Terre, Vincennes;
15. July 1995: Visiting Professorship at the Central European University, Budapest, lecturing on Digital Imaging and Art History;
16. January 1996: archives in southern France (Lyon, Valence, Arles, Aix, Narbonne, Toulouse) for research into the re-use of spolia;
17. December 1996 - January 1997: British School at Rome, for research in the libraries and archives of Rome, including BSR, Hertziana, Casanatense, Archivio Centrale dello Stato, Biblioteca Militare Centrale, Ufficio Storico e Archivio dello Stato Maggiore dell'Esercito;

1. 1988: $8,200 from FRF for research on Islamic Attitudes to Classical Monuments, including travel and research assistance;
2. 1990: $3,000 from the FRF for a Computerised Database of Australian Art;
3. 1990: $20,000 Major Equipment Committee, to investigate cheap methods of digitising, storing and manipulating images;
4. 1990: $4,500 International Cultural Society of Korea Fellowship, for research and lecture visit to Korea;
5. 1991 $10,000 from the Faculties Research Fund: Canberra Architecture: this material is now available on the Web at http://rubens.anu.edu.au/DETAILS;
6. 1992: $11,000 from the Faculties Research Fund for research into the survival of antique motifs in mediaeval architecture. Part of this work available as an online book entitled The Greek & Roman Cities of Western Turkey at http://rubens.anu.edu.au/turkeybook/toc1.html; the rest in note form, and currently the subject of negotiations with Messrs Duckworth of London;
7. 1992: $8,000 from the ANU Large Equipment Committee for the provision of hard disk storage;
8. 1992: $2,000: DEET Consultancy (together with three other colleagues from ANU and CSIRO) on the establishment of Computerised Networks for Teaching and Learning to serve the Australian university community;
9. 1993: $20,000 from the Sir William Dobell Foundation for CDROM imaging technology;
10. 1993: $340,000: Appointed joint Director (with Professor Chris Bryant) of the Coordinating Centre for the CAUT Electronic Clearing House Scheme (UniServe, the bid for which was put together and driven by Michael Greenhalgh. This successful application brought this sum to the ANU over three years, to provide staffing and services;
11. 1993: $7,500: Consultancy to the "Better Cities Project" of the Federal Department of Housing;
12. 1994: $65,000 from the ANU Large Equipment Committee for imaging cameras and associated equipment;
13. 1994: $18,000 from the CAUT monies (see above) to allow employment of research assistance to support Michael Greenhalgh in his part-time work as Co-Director of the CAUT UniServe venture;
14. 1995: $85,000: Grant from the AVCC under the National Priority (Reserve) Fund Tier I(i): Information Service Provision for the provision of 10,000 images and associated tutorials: see http://rubens.anu.edu.au/imageserve;
15. 1996: $28,000: from the AVCC for the production, in associated with colleagues at Charles Sturt University, of an entirely Web-based package for the creation, management and interrogation of Electronic Journals;
16. 1996: $6,500 delayed contribution by Faculty of Arts to 1994 MEC grant;
17. 1996: $2,400 from CEDAM for Digital Imaging in the Teaching of Art History (in association with Drs Esau and Grishin);
18. 1996: $150 for advice on a Web-based image database of the collections of the Australian War Memorial;
19. 1997 (in prospect): $9,850 to produce a Virtual Exhibition for The National Museum of Australia;
20. 1997 (in prospect): Telstra! ...

1. Rome 1987: Antiquities in 12th Century Italy: Rome and the North (Rome: Tradition, Innovation & Renewal, Canadian International Art History Conference, 8-13 June. Paper read in my absence);
2. Cambridge 1988: Terminology for Museums (2nd Conference of the Museum Documentation Association): A user view of art databases, Proceedings, MDA Cambridge 1990, 526-532;
3. London 1988: Classicism in the 19th& 20th Centuries, invited paper presented to the symposium on The New Classicism, London, Tate Gallery, 9th July 1988;
4. The re-use of antique sculpture in the Middle Ages: Venice & Northern Italy, invited paper presented to the International Comngree on Venezia e l'Archeologia, University of Venice, 25-29th May 1988; and published as The Rediscovery of Roman Sculpture in the Middle Ages: Venice & Northern Italy, in Rivista di Archeologia, Supplementi 7, Rome 1989, 157-64;
5. Darwin 1988: Attitudes to "Primitive" art, 1600-1900, invited paper to the First Australian Rock Art Research Association Congress, Darwin, 29th August - 2nd September, 1988;
6. Bordeaux 1989: Graphical Data in Art History and the Humanities: their Storage and Display at the Fourth International Conference of the Association for History in Computing;
7. 1990: organised a whole-day conference and seminar in Canberra devoted to Database + Image: Recent Advances in Collection Management;
8. Berlin 1992: (Confederation Internationale de l'Histoire de l'Art, Meeting XXVIII): (a) invited paper on "Image Processing in Art History"; (b) Session Panel devoted to Computer Applications in Visual Resources Collections, Wwednesday 15th July 1992;
9. Krems 1992: (International Round Table on Image Processing in History, Austrian Academy of Sciences): discussion paper on image databases (unpublished);
10. London 1992: invited participant for The Getty Art History Information Program to The Census of Antique Works of Art Known to the Renaissance, Warburg Institute; no proceedings;
11. Tuebingen 1992: (Second International Conference on the Classical Tradition): chaired two sessions; discussion by me, but no presented paper;
12. Bologna 1992: (International Conference on History & Computing): paper on "Image Databases in Art History", and chaired two sessions in French, Italian and English;
13. Bangkok 1994: Imaging and the Internet (International Conference on Internet Technology and Applications, Assumption University, September 1994); published in International Journal of Computer and Engineering Management, 2.3, Sept-Dec 1994, 13-26;
14. Prague 1994: Mosaic, the World Wide Web and Networked Multimedia as a Learning Tool (INET/JENC Web Conference), published Reston VA, 1995, 121.1-121.6; keynote speaker;
15. Santa Barbara 1995: Art History & the Internet (Association for Literary & Linguistic Computing, Santa Barbara 1995, 39-43; invited speaker;
16. Bangkok 1995: Imaging and the Internet to the Third Meeting of the Pacific Neighbourhood Consortium, Bangkok;
17. Graz 1995: World Conference on Educational Multimedia and Hypermedia (no formal papers presented);
18. Melbourne 1996: ArtServe and the Teaching of Art History (AUUG/Web Conference, September 1996), Proceedings, Melbourne 1996, 172-184; as invited keynote speaker: Imaging in Bulk for the Internet, Proceedings, 159-171;
19. Academy of the Humanities, Canberra 1995: invited speaker: presentation published as "Setting up and exploiting Humanities resources on the World Wide Web", in Creative Investigations, ed. M. Stoljar, Canberra 1995, 69-86 ,and reprinted with additions in Australian Academic & Research Libraries 27.2, June 1996, 95-106;
20. Sydney 1997: invited speaker to Information Online and on Disc, Sydney 21-3 January 1997: ArtServe and the Teaching of Art History;

1. 1987: Lecture (unpublished) to The Dante Alighieri Society in Canberra on The Monuments of the City of Rome;
2. 1987: Lecture Series (4, unpublished) at The Australian National Gallery on The Architecture of Greece and Rome (devoted to temples; basilicas and baths; churches and baptisteries; palaces and villas);
3. 1989: lectures on An Approach to Quattrocento Art and Renaissance Architecture at the Canberra College of Advanced Education;
4. 1989: "Courbet, Millet and the 1848 Revolution" in our own series of Public lectures on the theme Art & revolution, to celebrate the Bicentenary of the French Revolution;
5. 1989: Visit to Thailand: lectures in Bangkok and Chang Mai; on Art during the French Revolution at Silpakorn University, Bangkok, and on David, Napoleon and the French Revolution at Chiang Mai;
6. 1989: Lectures on classical architecture at the Canberra College of Advanced Education;
7. 1989: Lecture at Canberra School of Art on The Classical Tradition;
8. 1990: Visit to Korea under International Cultural Society of Korea Fellowship, 1990: lectures at universities in Seoul, nd throughout the country (detials above in section on Research Travel;
9. 1991: The Politics of the Museum in Revolutionary France to The Art Association of Australia Conference, canberra;
10. 1992: Two tours of the Australian National Gallery exhibition devoted to Rubens and the Italian Renaissance;
11. 1992: Lecture on Rubens and the Classsical Tradition at the National Gallery;

1. J. Paul Getty Trust: 1982-4; 1990; 1992;
2. Warburg Institute, London: 1980-1987 (in connection with The Census of Antique Works of Art known to the Renaissance);
3. Museum of Victoria: 1994 to present;
4. Australian Federal Department of Housing: 1994-5 (paid);
5. Australian War Memorial: briefly, late 1996 (paid);
6. New Parliament House, Australia: under discussion 1997;
7. Universities of Padua & Glasgow: joint unpaid imaging project in 1993;
8. National Museum of Australia: consultancy in prospect for 1997;

• Advistory Board of The Humanities Computing Yearbook, 1989-90), Clarendon Press, Oxford, 1991, pp.701;
• Asked to advise on possible articles for Antiquity;
• Reviews invited for 1997 for Journal of the History of the Classical Tradition, and The American Journal of Archaeology;

WORK IN PROGRESS

1. Study of the display of classical sculpture in mediaeval structures, for a Web-based book;
2. Project commissioned by the British School at Rome for the digitising of J.M. Reynolds & J.B. Ward Perkins, The Inscriptions of Roman Tripolitania, Rome 1952; this includes large images, records and text. See preliminary trials at http://rubens.anu.edu.au/IRT, with the current 443Mb of data;
3. Implementation of a system for the design, setup, population, editing and mounting of electronic academic journals, using exclusively a Web interface (funded by the Australian Vice-Chancellors' Committee). This project is on a password-protected part of http://rubens.anu.edu.au, but can be demonstrated if so desired;
4. Implementation of a clearing house on graphics techniques & software, exemplified in 10 online tutorials and 10,000 images of Australian & European art (funded by the Australian Vice-Chancellors' Committee); the last elements of this, at http://rubens.anu.edu.au/imageserve, will be completed in 1997;
5. It is hoped that items 2-4 above will be prosecuted from a Web Research Centre, to be created in the course of 1997;
6. Digitising of the Faculty's London Collection of Ashanti Artefacts (cf. The Australian, 12th March 1997; cf. http://rubens.anu.edu.au/african/ashanti for the current 62Mb of data;
7. Digitising of the Faculty's Museum of Classical Art; cf. http://rubens.anu.edu.au/new/classics.museum for the current 355Mb of data;

AWARDS & STATISTICS for ArtServe (http://rubens.anu.edu.au)

• One of 12 winners of the 1994 "Best of the Net" awards for my server, ArtServe;
• Hailed by "Byte Magazine" (September 1995) as one of the "best 20 things on the Web;"
• By late October 1996, attracting over 55,000 hits every day from all over the world; and being accessed by some 16,000 discrete machines every week.

• 1988-91: University Library Committee;
• 1988-91: Computer Services Centre Users' Committee;
• 1988-90: Faculty Education Committee;
• 1989-91: University Library Committee;
• 1989-91: Consulting Editor, Art History, for The Humanities Computing Yearbook (published by OUP);

1. 1988:
   • 1988: Computer Applications in the Humanities: 48 students; 2 lectures, one laboratory per week;
   • 1988: Art & Architecture of the Italian Renaissance: 36 students; 2 lectures, three tutorials per week;
   • 1 PhD student; adviser to 2 others;
   • Head of Department;
2. 1989:
   • 1989: Computer Applications in the Humanities: 37 students; two lectures, three laboratories per week;
   • 1989: Art & Politics in European Art 1750-1850, Hons IV: 14 students; three seminar class-hours per week;
   • 1 PhD student; adviser to 2 others;
   • Head of Department;
3. 1990:
   • Computer Applications in the Humanities: 32 students: one lecture, and two hours of tutorials (mainly by tutor);
   • The Classical Traidition in Art: 35 students: tywo hours of lectures, and three hours of tutorials;
   • Database & Graphics in the Humanities 15: one lecture and one hour of laboratories;
   • Head of Department;
4. 1991:
   • Art & Architecture of the Italian Renaissance: 44: two lectures, and three hours of tutorials;
   • Art & its Context: 64 students (joint-taught with Dr. Moffatt): for my share, 13 lectures and 30 hours of tutorials in all;
   • Computer Applications in the Humanities: 49: one lecture, and three hours of laboratories (by tutor);
   • Database & Graphics in the Humanities 25 students: one lecture, and two hours of shared laboratories;
   • Head of Department;
5. 1992:
   • Computer Applications in the Humanities: 52 students: one lecture, four hours of shared laboratories;
   • Architecture in our Century: 41 students: two hours of lectures, and three hours of tutorials;
   • Head of Department;
6. 1993:
   • Revivals and Revivalism (Hons IV Seminar): 10 students: three seminar classes per week;
   • Computer Applications in the Humanities: 52 students: one lecture and three hours of laboratories (taken by tutor);
   • Database & Graphics in the Humanities: 27 students: one lecture and two hours of laboratories (shared with tutor);
   • The Art of the Print: 36 students (joint-taught with Dr. Grishin): for my share, 13 lectures and 19 hours of tutorials in all;
   • 1 MA student;
   • Head of Department;
7. 1994:
   • Computer Applications in the Humanities: 36 students: one lecture, three shared laboratory classes;
   • Rome: Portrait of a City (Hons IV Seminar): 14 students: three seminar-hours per week;
   • 1 MA student;
   • Head of Department;
8. 1995:
   • Computer Applications in the Humanities: 55 students: one hour lecture, four hours of laboratories (by tutor);
   • Database & Graphics in the Humanities: 35 students: one hour lecture, three laboratories (shared with tutor);
   • Art & Architecture of the Italian Renaissance: 28 students: two hours of lectures, two hours of tutorials (by tutor);
   • Head of Department;
9. 1996:
   • Computer Applications in the Humanities:48 students: one hour of lectures, 4 hours of laboratories (shared with tutor);
   • Publishing Humanities on the World Wide Web: 29 students: one hour of lectures, and two hours of laboratories (shared with tutor);
   • Architecture in our Century: 26 students: two hours of lectures, two hours of tutorials; (NB perhaps the first time a complete course of lectures has been delivered anywhere using only the facilities of the World Wide Web, drawing the images from our own databases);
   • 1 Hons IV student; 1 Hons IV student (shared);
   • Head of Department;
10. 1997:
    • World Wide Web Strategies: 44 students; 2 hours of lectures, three hours of laboratories;
    • 1 Hons IV student; 1 Hons IV student (shared); 1 MA student; 1 PhD student (application pending);