The constructed landscape of the San Antonio River Walk serves a functional role as protection against flood, but it also creates a cultural identity.
However, the felicitous occasion of the APA meeting in San Antonio sheds some light on the visual and psychological effect of a river. Vopiscus’ villa does not remain today, and Statius’ description is of little use in reconstruction (Newlands, 1988, 95). Whether the Anio river or the straits of Euripus and Messina, the water that runs through the land paradoxically becomes integral to the landscape. Landscape thus offered Vopiscus the opportunity to experience the awe of nature in a highly controlled environment, an awe heightened by the invisibility of that control due to the seamless integration of the villa into a locus amoenus (Newlands, 2002, 130-2). Certain types of rivers are important to both landscape and poetic genre (Jones 54-64), and Statius is careful to emphasize the serenity of the river at this location, though it elsewhere rages on (20-3). Landscape is a means for the viewer to be assured his surroundings are “controlled and well ordered, productive and relaxed” (Cosgrove, 24). The banks upon which Vopiscus’ villa rest are viewed as united by the very river that formed them. The significance of the river may be better understood best not from poetic reference, but through emphasis on the visual effect of the landscape itself. As the landscape surrounding Vopiscus’ villa can be symbolic for the owner’s moral quality (Newmyer Newlands, 1988), this contrast of division and unity draws into question the programmatic nature of this poem and Statius’ other villa poems. A more moderate approach sees in this poem an emphasis on duality (Newlands, 2002, 147) or unity as elements from the four corners of the globe blend together in the landscape (Cancik, 124-7). Leo and Shackleton Bailey moved a step further and emended the text so that the comparison becomes a contrast. The emphasis on unity has brought Courtney (330-1) to note that Statius was less than careful in comparing it to dangerous seaways. Statius, however, takes great care to emphasize that the river has laid aside its madness, submitted to human control of its own accord, and connected - not disconnected-the scene. Furthermore, the novelty of the genre, especially in light of moral condemnation of extravagant villas by Horace and Cicero, brings some level of tension to Statius’ endeavor to celebrate the magnificence of this villa.
The villa, spanning both banks of the river, could be prone to floods and difficult to access. By considering the river as a feature that simultaneously divides and unites a landscape, we may better understand the role that the Anio plays in the aesthetic harmony of both the villa and the poem. Statius makes seemingly contradictory claims that the Anio river, which runs through the property, does not divide the scene (nec te mitissimus amnis / dividit, 24-25), and yet is similar to the dangerous Strait of Euripus. That way you can easily add custom logic to a particle during its lifetime.Statius’ description of his felicitous visit to the house of Manilius Vopiscus (Silvae 1.3) is the first extant Latin poem devoted exclusively to the description of a villa. You can listen for particle birth and death using Particle Playground's Event system. Therefore it's a good idea to make the trails have a separate following lifetime. However, a trail will need a bit of time slack to remain in the scene while a particle is recycled.
To make an object follow a particle is a quick task, you can either reach into the Playground Cache (the directly calculated values) or the Particle Cache (the synced live Shuriken particles). There's a preview of working with them in the release video and more info on the Playground Trail page. This is preferred in oppose to the standard trails as they will batch dynamically and run asynchronous. You can now since Particle Playground 3 use the Playground Trail component to draw trails after particles.
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