Problem: Background: Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.
Context: Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.  In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.  After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.  An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.  The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Question: Is there anything else of note about his affiliation with the University of Pennsylvania in Philadelphia?
Answer: Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia.

Background: Born in Goulburn, New South Wales, Poidevin played rugby at St Patrick's College (now Trinity Catholic College) in New South Wales, and made the Australian Schoolboy side. Upon finishing school he played a season with the Goulburn Rugby Union Football Club and then, in 1978, he moved to Sydney to study at the University of New South Wales, from which he graduated in 1983 with a Bachelor of Science (Hons). He made his first grade debut with the university's rugby union team in 1978. In 1982 he moved clubs to Randwick, the famous Galloping Greens, home of the Ella brothers and many other Wallabies.
Context: Despite making himself unavailable for the 1988 Australia rugby union tour of England, Scotland and Italy, and further announcing his unavailability for state selection, Poidevin had hoped to achieve national selection for the Australian Test series against the British Lions. However, Scott Gourley was selected as Australia's blindside flanker, following a good tour to the UK in 1988. Instead, Poidevin played in the curtain raiser to the first Test, playing for Randwick in a game against Eastern Suburbs.  After Australia won the first Test against the British Lions, Poidevin did not achieve national selection for the second Test. However, after the Lions defeated Australia in a violent second Test, public calls were made for Poidevin to be included in the third and series-deciding Test to harden the Australian forward pack. These calls were ignored, Poidevin missed selection for the third Test, and Australia lost to the Lions in the third Test 18-19.  Following the 1989 British Lions series, Poidevin achieved national selection for the only time in 1989 for the one-off Bledisloe Cup Test against New Zealand to be played in Auckland. Australia fielded a relatively inexperienced side, and with Phil Kearns, Tim Horan and Tony Daly making their debut for the Wallabies, Poidevin assumed a senior role within the side. Poidevin would later describe the Test as "one of the best Test matches I'd experienced." Against an All Blacks side that had been undefeated since 1987, Australia trailed 6-3 at half-time, but went on to lose 24-12.  Following Australia's one-off Bledisloe Cup Test of 1989, Poidevin then made himself unavailable for the 1989 Australia rugby union tour of France.
Question: What did he do after the loss?
Answer:
Following Australia's one-off Bledisloe Cup Test of 1989, Poidevin then made himself unavailable for the 1989 Australia rugby union tour of France.