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Titubant dans le froid d'un monacal silence, épuisés par le labeur d'une seule nuit, finissent par s'envoler lutins, elfes et lucioles
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This montage is a representative selection of the ten themes, and contains at least one image per theme and at least one image per member. This particular canvas showcases 13 photos, selected from the 93 photos (a new record) entered by 10 members, 7 of whom completed all ten themes.
To view the complete challenge and entries, click Here.
Thanks Sharon for this brill Compositionally Challenged Group challenge.
THE ANCIENT LANGUAGE OF SOUNDS AND SIGNS
April 27th, 2010
@ Mobius
725 Harrison Avenue, Suite One
Boston MA 02118
Dancers:
Olivier Besson
Ellen Godena www.mobius.org/user/27
Liz Roncka www.myspace.com/realtimeperformance
Musicians:
Haggai Cohen Milo (bass) www.myspace.com/jatul
Amir Milstein (flute)
Jamey Haddad (percussion) www.jameyhaddadmusic.com
A very special evening of improvised music and dance featuring musicians Haggai Cohen Milo (bass) and Amir Milstein (flute) and movement artists Olivier Besson, Ellen Godena and Liz Roncka.
ARTIST BIOS
Olivier Besson - Movement Artist - is an improvisational movement artist who hails from France and is based in Boston. In the period from 1980 until the mid 90's, Olivier studied Contact Improvisation with Robin Feld, Nancy Stark Smith, Lisa Nelson and Andrew Harwood, and Improvisation / Real Time composition with Daniel Lepkoff and Julyen Hamilton. During that time, he also practiced and performed Bugaku (Court dance from Japan) with Arawana Hayashi. Other training includes Butoh with Maureen Feming and Action Theater with Ruth Zaporah.
Most notably, Olivier’s work has been presented: *in the US - at Dance Theatre Workshop (NYC), Judson Church (NYC), New York Improvisation festival, Walker Art Centre (Minneapolis), Boston Dance Umbrella, Florida Dance Festival, Dance Place (Washington DC), The Boston Conservatory, Boston University, Radford University (Virginia), *and internationally - at the National Institute of the Arts (Taipei, Taiwan), Die Pratze (Tokyo), Art of Movement Festival (Yaroslav, Russia), Micadanses (Paris) and with Compagnie Vertige (Nice, France). He has collaborated with many individuals including Chris Aiken, Lisa Schmidt, Debra Bluth, Ming-Shen Ku, Pamela Newell, Toshiko Oiwa and musicians/composers Mike Vargas, Peter Jones, Jane Wang and Grant Smith. Locally, he has guest danced for Dawn Kramer, Micki Taylor-Pinney and Diane Noya. His ongoing performance projects involve collaborations with Liz Roncka in Boston and Emmanuelle Pepin in Nice (France) .
Olivier is currently on faculty at The Boston Conservatory (dance division). He has been on faculty at Canal Danse (Paris), the French National Circus School (CNAC), Bates Dance Festival, Emerson College and the School of Fine Arts at Boston Universtity. He has taught residencies at the National Institute of the Arts (Taipei, Taiwan), Le Centre Choregraphique de Danse / Daniel Larieu (Tours, France), the University of Minnesota, and Radford University (Virginia). He has also taught masterclasses for teen / pre-teen programs at Walnut Hill, Cambridge School of Weston, Jeanette Neil Dance Studios, Brookline High and Cambridge Rindge and Latin.
Haggai Cohen Milo - At the young age of 25, bass player and composer Haggai Cohen Milo is already a known name in the international music scene. Mr. Cohen Milo, currently operating from Berkeley, CA, brings exotic flavors to his music from his native middle east country, Israel. In both his compositions and in his playing, there is a contemporary mix of sound between East and West. His group the Secret Music Project, that features his personal musical sound and vision, has performed in some of the most important festivals around the world including the Aspen Music Festival, the Atlantic Jazz Festival (Canada), Boston First Night and many more.
Mr. Cohen-Milo first gained international recognition when he won the First Prize in the International Ensemble Competition in Belgium 2006. In the same year, Cohen Milo was also awarded the DownBeat Magazine Music Awards and the grand prize at the Fish Middleton Jazz Soloist Competition held in Washington, DC.
As a Composer, Cohen Milo has composed the score for two full enough feature films, Intimate Enemies (2008), by the internationally known Mexican director Fernando Sariñana and SPAM (2009) by the director Charlie Gore. Cohen Milo released his debut album in January 2007 under the prestigious record label “Fresh Sound - New Talent”. The album received enthusiastic reviews in the US and in Europe. Cohen Milo also recorded with different artists for Warner Music, Sunnyside Records and more.
With a fast growing touring career, Cohen Milo has already performed on some of the most important stages around the world, including Carnegie Hall and Birdland (New York), Getxo International Jazz Festival (Spain), The Jazz Station (Belgium) and Rome Music Festival (Italy), to name a few.
Cohen Milo graduated in 2009 from the prestigious New England Conservatory of Music in Boston where he studied with such masters as Danilo Perez, Bob Moses, Jamey Hadad and Jerry Bergonzi.
"... Haggai Cohen Milo revealed over a set of ridiculously infectious music that he's in the soul restoration business. Yessiree. He is!" (Graham Pilsworth, "The Coast", Canada)
Amir Milstein - Flutist and composer - is a graduate of the "Rubin Academy of Music" in Jerusalem (B.M. in jazz and classical flute), and the New England Conservatory (Masters degree in music performance, 2010) Amir established his career in the world-music scene founding acknowledged ensembles such as Bustan Abraham and Tucan Trio with which he has recorded and performed worldwide.
His musical background represents a variety of styles and cultures including classical, jazz, Mediterranean and Latin. He has collaborated with artists such as Zakir Hussein, Tito Puente, Ross Daly, Omar Farouk Tekbilek and Armando Macedo, among others and has participated in distinguished concert venues and festivals, both as a player and a composer.
He has collaborated with several choreographers, with whom he has composed for modern and flamenco dance groups and has composed and recorded several film scores. (His recent work on the documentary film "The Case for Israel- Democracy's Outpost" is currently presented at film festivals worldwide). Amir played in musical shows in the Israeli television and has collaborated and recorded numerous albums with Israel's leading artists, such as Matti Caspi, Shlomo Gronich, Gidi Gov, Miki Gavrielov, Leah Shabbat, and many others.
With over twenty years of experience teaching flute, recorders and music theory, Amir developed a unique musical education program and has instructed at the "Karev Music Educational Program" in Israel. He currently teaches at the New England Conservatory, Boston, and has lectured and presented workshops at music schools such as the Berklee College of music, Boston and Berkeley University, CA. Before moving to Boston, in 2004 Amir was also a faculty member at the "Hed College of Contemporary Music" in Tel Aviv, Israel. Amir presents an interactive workshop for schools and colleges called: "A World of Flutes"- Introducing the evolution of woodwinds through live music, stories, and a demonstration of over 80 musical instruments.
Ellen Godena - Movement Artist - is an experimental performer, choreographer, and Mobius Artists Group member. Her recent work has focused on the relationships between human, non-human (organic), and machine (non-organic) movement as a method for studying human development. Recent solo and collaborative works have been quests to define these relationships through the use of primitive, robotic entities in performance.
Ellen’s training, artistic influences and inspiration derive from the study of Japanese avant-garde movement and theater forms that have developed since the early 1960’s, primarily the butoh dances created by Japanese artists Kazuo Ohno and Tatsumi Hijikata, physical theater, and contemporary dance. Since 1998, she has performed solo, group, and ensemble work in Boston, Philadelphia, Providence, and New York City. She was a former dancer with the Boston-based Kitsune Dance Theater (2003-06) under the direction of Deborah Butler, and the NYC post-modern butoh troupe, the Vangeline Theater (2006-08) under the direction of Vangeline. She has performed with Master butoh artist Katsura Kan (Curious Fish, 2002, 2008), and has studied with internationally recognized artists such as Zack Fuller, Hiroko Tamano, Su-En, Diego Pinon, and Katsura Kan. Her primary, long-term training has been with American artists Deborah Butler, Vangeline, and Jennifer Hicks. Currently, Ellen is presenting solo robotics – movement projects in addition to performing regularly with Liz Roncka's Real-Time Performance Project in Boston, MA. She holds a Bachelor of Fine Arts degree from the Rhode Island School of Design in Studio Painting (1997), and a Master's degree in Human Development and Psychology from Harvard University (2005).
Liz Roncka - Movement Artist - is an avid practitioner of movement improvisation and contemporary dance. She is the director of lizroncka/Real-Time Performance Project,a Mobius Artists Group member and a collaborating artist with Emma Jupe, a Paris-based improvisation collective. Her work has been presented in Boston, NYC, San Francisco, Budapest and Paris.
Liz's early training was in the tradition of classical ballet at the School of the New Bedford Ballet. In college, Liz’s focus shifted toward contemporary dance and improvisation. She was a member of the Dance Collective of Boston from 1998-2005. Liz has had the pleasure of performing modern dance and improvisational work under the direction of: Ramelle Adams, Emily Beattie, Ruth Benson-Levin, Debra Bluth, Alissa Cardone, Sean Curran,Ellen Godena, Andrew Harwood, Michael Jahoda/White Box Project, Dawn Kramer, Light Motion, Karen Murphy-Fitch and Micki Taylor-Pinney.
Much of Liz's work is developed in deep collaboration with sound artists, most notably Jane Wang, Haggai Cohen Milo, Jessyka Luzzi, Sean Frenette and Akili Jamal Haynes. Current projects include an improvisational duo with Forbes Graham (trumpet) and an collaboration with Philippe Lejeune (visual artist) developing a movement piece within a glass installation exploring the intersection of reality and reflected images. For more information please see:
www.dailydanceproject.blogspot.com
| MUST!!!! | flickriver |
I made this in my coffee/cigarrette break... now back to study :P
I'm happy with how this shots turned out.... and now i'm hating so much more my stupid notebook screen... I'm going to scape with my sister's screen to a different continent
(8) Stratovarius - Destiny (8)
The last weekend of the month, and the first after pay day, which means I could order some socks. And at Tesco I could replenish the wine stocks with a box of 3l of te cheapest red.
Being the end of January, it is now getting light when we set off for Tesco, the neon lights of the retail park at Whitfield as daylight grows stronger. Somehow we had used double the fuel as last week, with only an half hour's drive to Stodmarsh last week being the extra driving we did.
Tesco has Valentine's cards, presents and also Easter eggs and other stuff celebrating days in the forthcoming months.
We had a list of stuff to get, not just beer and wine, and lots of vegetables as we are having Jen, Mike and his new girlfriend over for lunch on Sunday.
If I remember to get the chicken out of the freezer, of course.
That all done, and somehow, ten quid cheaper than last week even with wine and Belgian beer, we headed home for first breakfast, coffee, then bacon butties and more brews once we had put the shopping away.
At ten we went out, only for a warning light to come on as the engine turned over. It seems a bulb in the headlight had gone, but the car knew which one it was. On the way to Lyminge, there is a Halfords, now that the one on Dover closed over the pandemic, so we tootled along the A20, over the top of Shakespeare Down and into town.
Jools found the bulb and a nice young lady fitted it for us, getting access from the wheelarch via a small panel. All done in ten minutes for fifteen quid.
And road legal again.
Back onto the motorway for the one junction before taking the turning for the back road to Hythe, though we headed inland through Etchinghill to Lyminge. And I realised it was years since we had driven this road, as we have been coming to the orchid fields through Barham usually, not from Folkestone.
The road climbs and turns round the foot of the downs before levelling out as it approaches Lyminge.
We go through the village, past the rows of the parked cars, and the small library in the building of the village railway station once the line from Folkestone to Canterbury closed at the end of the 50s.
The village of Lyminge stretches along the main road and around the former station, but the church is situated a short way along Church Street (of course), on a low mound, from under which the largest winterbourne, The Nailbourne, rises. It has been a site of worship since Roman times, maybe even before then.
We were here because in 2019, major excavations revealed the remains of the 7th century chapel of Queen Ethelburga. It was uncovered under the path that now leads under the single flying buttress to the porch, and since the dig ended, the path relaid, but with the outline of the chapel clearly showing in different colour tarmac.
I photographed the stained glass, as the ongoing plan to revisit churches already done, but with the big lens as I always seem to find something new to do in them. This time the glass through the big glass of the zoom lens.
Before leaving we walk down to the Well to revisit the source of the Nailbourne, some twenty feet below the road, the clear and cold waters of the bourne come bubbling out of the ground before meandering across the verdant meadow.
Just up the valley is Elham itself, I have photographed it well in the past, but the plan is to redo with windows with the big lens and the fittings too.
The church sits to the south of a small square, one of the village pubs is opposite, though is currently closed for renovation. The church was unlocked, and the door ajar, so I went in.
The church is ancient, but most of what you notice is from work done in the first decade of the 20th century, giving it the feeling of being "high".
We set the sat nav for home, and it leads us down to the bottom of the valley and up the other side through Acris. The bed of the Nailbourne was already dry, despite it being just a mile from the source, because the water table isn't high enough, and the water seeps through the chalk bedrock instead.
We travel down lanes that got ever narrower, with grass growing between the wheeltracks. The road much less travelled for sure.
At Swingfield, we were greeted by the sweep of a hedge made of native dogwood, its new shoots showing starkly red in the sunshine against the clear blue sky. We stop to take shots.
We get home in time for a brew and a chocolate bar before the football was going to start. But I had other plans, as I made tagine for our early dinner. Which, we ate before four as it smelled so darned good bubbling away in the oven.
Some flavoured couscous to go with it, and a glass of red vin out of the box.
Lovely.
Scully and I sit on the sofa until half seven in the evening, either listening to the reports of the three o'clock games, or watching the evening kick off.
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The church stands in the village square removed from the main road. The flint rubble construction and severe restoration of the exterior does not look welcoming, but the interior is most appealing with plenty of light flooding through the clerestory windows. The rectangular piers of both north and south arcades with their pointed arches and boldly carved stops are of late twelfth-century date. Between them hang some eighteenth-century text boards. The character of the church is given in the main by late nineteenth- and early twentieth-century work. The high altar has four charmingly painted panels by John Ripley Wilmer in Pre-Raphaelite style, executed in 1907. At the opposite end of the church are the organ loft, font cover and baptistry, all designed by F.C. Eden, who restored the church in the early 1900s. He also designed the west window of the south aisle as part of a larger scheme which was not completed. In the south chancel wall are two windows of great curiosity. One contains a fifteenth-century figure of St Thomas Becket while the other shows figures of David and Saul. This dates from the nineteenth century and was painted by Frank Wodehouse who was the then vicar's brother. The face of David was based on that of Mme Carlotta Patti, the opera singer, while Gladstone and Disraeli can be identified hovering in the background! It is a shame that it has deteriorated badly.
www.kentchurches.info/church.asp?p=Elham
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ELEHAM,
OR, as it is as frequently written, Elham, lies the next parish south-eastward from Stelling. It was written in the time of the Saxons both Uleham and Æiham, in Domesday, Albam. Philipott says, it was antiently written Helham, denoting the situation of it to be a valley among the hills, whilst others suppose, but with little probability, that it took its name from the quantity of eels which the Nailbourn throws out when it begins to run. There are Seven boroughsin it, of Bladbean, Boyke, Canterwood, Lyminge, Eleham, Town, Sibton, and Hurst.
Eleham is said to be the largest parish in the eastern parts of this county, extending itself in length from north to south, through the Nailbourn valley, about three miles and an half; and in breadth five miles and a half, that is, from part of Stelling-minnis, within the bounds of it, across the valley to Eleham down and Winteridge, and the southern part of Swinfield-minnis, almost up to Hairn-forstal, in Uphill Folkestone. The village, or town of Eleham, as it is usually called, is situated in the above-mentioned valley, rather on a rise, on the side of the stream. It is both healthy and pleasant, the houses in it being mostly modern and wellbuilt, of brick and fashed. As an instance of the healthiness of this parish, there have been within these few years several inhabitants of it buried here, of the ages of 95, 97, and 99, and one of 105; the age of 40 years being esteemed that of a young person, in this parish. The church, with the vicarage on the side of the church-yard, is situated on the eastern side of it, and the court lodge at a small distance from it. This is now no more than a small mean cottage, thatched, of, I believe, only two rooms on a floor, and unsit for habitation. It appears to be the remains of a much larger edifice, and is built of quarry-stone, with small arched gothic windows and doors, the frames of which are of ashlar stone, and seemingly very antient indeed. It is still accounted a market-town, the market having been obtained to it by prince Edward, afterwards king Edward I. in his father's life-time, anno 35 Henry III. to be held on a Monday weekly, which, though disused for a regular constancy, is held in the market-house here once in five or six years, to keep up the claim to the right of it; besides which there are three markets regularly held, for the buying and selling of cattle, in every year, on Palm, Easter, and Whit Mondays, and one fair on Oct. 20th, by the alteration of the stile, being formerly held on the day of St. Dionis, Oct. 9, for toys and pedlary. The Nailbourn, as has been already mentioned before, in the description of Liminage, runs along this valley northward, entering this parish southward, by the hamlet of Ottinge, and running thence by the town of Eleham, and at half a mile's distance, by the hamlet of North Eleham, where there are several deep ponds, in which are from time to time quantities of eels, and so on to Brompton's Pot and Wingmere, at the northern extremity of this parish. The soil in the valley is mostly an unfertile red earth, mixed with many flints; but the hills on each side of it, which are very frequent and steep, extend to a wild romantic country, with frequent woods and uninclosed downs, where the soil consists mostly of chalk, excepting towards Stelling and Swinfield minnis's, where it partakes of a like quality to that of the valley, tance,by the hamlet of North Eleham, where there only still more poor and barren. At the north-west corner of the parish, on the hill, is Eleham park, being a large wood, belonging to the lord of Eleham manor.
Dr. Plot says, he was informed, that there was the custom of borough English prevailing over some copyhold lands in this parish, the general usage of which is, that the youngest son should inherit all the lands and tenements which his father had within the borough, &c. but I cannot find any here subject to it. On the contrary, the custom here is, to give the whole estate to the eldest son, who pays to the younger ones their proportions of it, as valued by the homage of the manor, in money.
At the time of taking the survey of Domesday, anno 1080, this place was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it:
In Honinberg hundred, the bishop of Baieux holds in demesne Alham. It was taxed at six sulins. The arable land is twenty-four carucates. In demesne there are five carucates and forty-one villeins, with eight borderers having eighteen carucates. There is a church, and eight servants, and two mills of six shillings, and twenty eight acres of meadow. Wood for the pannage of one hundred hogs. In the time of king Edward the Confessor, and afterwards, it was worth thirty pounds, now forty, and yet it yields fifty pounds. Ederic held this manor of king Edward.
Four years after the bishop was disgraced, and all his possessions were consiscated to the crown, whence this manor seems to have been granted to William de Albineto, or Albini, surnamed Pincerna, who had followed the Conqueror from Normandy in his expedition hither. He was succeeded by his son, of the same name, who was made Earl of Arundel anno 15 king Stephen, and Alida his daughter carried it in marriage to John, earl of Ewe, in Normandy, whose eldest son Henry, earl of Ewe, was slain at the siege of Ptolemais in 1217, leaving Alice his sole daughter and heir, who entitled her husband Ralph D'Issondon to the possession of this manor, as well as to the title of earl of Ewe. She died in the reign of king Henry III. possessed of this manor, with the advowson of the church, and sealed with Barry, a label of six points, as appears by a deed in the Surrenden library; after which it appears to have come into the possession of prince Edward, the king's eldest son, who in the 35th year of it obtained the grant of a market on a Monday, and a fair, at this manor, (fn. 1) and afterwards, in the 41st year of that reign, alienated it to archbishop Boniface, who, left he should still further inflame that enmity which this nation had conceived against him, among other foreigners and aliens, by thus increasing his possessions in it, passed this manor away to Roger de Leyborne, who died possessed of it in the 56th year of that reign, at which time it appears that there was a park here; (fn. 2) and in his name it continued till Juliana de Leyborne, daughter of Thomas, became the sole heir of their possessions, from the greatness of which she was usually called the Infanta of Kent. She was thrice married, yet she had no issue by either of her husbands, all of whom she survived, and died in the 41st year of king Edward III. upon which this manor, among the rest of her estates, escheated to the crown, there being no one who could make claim to them, by direct or even by collateral alliance. (fn. 3) Afterwards it continued in the crown till king Richard II. vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, in his palace of Westminster, which he had in his 22d year, completed and made collegiate, and had the year before granted to the dean and canons this manor, among others, in mortmain. (fn. 4) All which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 9th year, granted to them a fair in this parish yearly, on the Monday after Palm-Sunday, and on the Wednesday following, with all liberties, &c. In which situation it continued till the 1st year of king Edward VI. when this college was, with all its possessions, surrendered into the king's hands, where this manor did not continue long; for the king in his 5th year, granted it to Edward, lord Clinton and Saye, and he reconveyed it to the crown the same year. After which the king demised it, for the term of eighty years, to Sir Edward Wotton, one of his privy council, whose son Thomas Wotton, esq. sold his interest in it to Alexander Hamon, esq. of Acrise, who died in 1613, leaving two daughters his coheirs, the youngest of whom Catherine, married to Sir Robert Lewknor, entitled him to it; he was at his death succeeded by his son Hamon Lewknor, esq. but the reversion in see having been purchased of the crown some few years before the expiration of the above-mentioned term, which ended the last year of king James I.'s reign, to Sir Charles Herbert, master of the revels. He at the latter end of king Charles I.'s reign, alienated it to Mr. John Aelst, merchant, of London; after which, I find by the court rolls, that it was vested in Thomas Alderne, John Fisher, and Roger Jackson, esqrs. who in the year 1681 conveyed it to Sir John Williams, whose daughter and sole heir Penelope carried it in marriage to Thomas Symonds, esq. of Herefordshire, by the heirs of whose only surviving son Thomas Symonds Powell, esq. of Pengethley, in that county, it has been lately sold to Sir Henry Oxenden, bart. who is now entitled to it.
A court leet and court baron is held for this manor, which is very extensive. There is much copyhold land held of it. The demesnes of it are tithe-free. There is a yearly rent charge, payable for ever out of it, of 87l. 13s. 1d. to the ironmongers company, in London.
Shottlesfield is a manor, situated at the southeast boundary of this parish, the house standing partly in Liminge, at a small distance southward from the street or hamlet of the same name. It was, as early as the reign of king Edward II. the inheritance of a family called le Grubbe, some of whom had afterwards possessions about Yalding and Eythorne. Thomas le Grubbe was possessed of it in the 3d year of that reign, and wrote himself of Shottlesfeld, and from him it continued down by paternal descent to John Grubbe, who in the 2d year of king Richard III. conveyed it by sale to Thomas Brockman, of Liminge, (fn. 5) whose grandson Henry Brockman, in the 1st year of queen Mary, alienated it to George Fogge, esq. of Braborne, and he, in the beginning of queen Elizabeth's reign, sold it to Bing, who, before the end of that reign, passed it away to Mr. John Masters, of Sandwich, from whom it descended to Sir Edward Masters, of Canterbury, who at his decease, soon after the death of Charles I. gave it to his second son, then LL. D. from whose heirs it was alienated to Hetherington, whose last surviving son the Rev. William Hetherington, of North Cray place, died possessed of it unmarried in 1778, and by will devised it, among his other estates, to Thomas Coventry, esq. of London, who lately died possessed of it s. p. and the trustees of his will are now entitled to it.
The manor of Bowick, now called Boyke, is situated likewise in the eastern part of this parish, in the borough of its own name, which was in very antient times the residence of the Lads, who in several of their old evidences were written De Lad, by which name there is an antient farm, once reputed a manor, still known, as it has been for many ages before, in the adjoining parish of Acrise, which till the reign of queen Elizabeth, was in the tenure of this family. It is certain that they were resident here at Bowick in the beginning of king Henry VI.'s reign, and in the next of Edward IV. as appears by the registers of their wills in the office at Canterbury, they constantly stiled themselves of Eleham. Thomas Lade, of Bowick, died possessed of it in 1515, as did his descendant Vincent Lade in 1563, anno 6 Elizabeth. Soon after which it passed by purchase into the name of Nethersole, from whence it quickly afterwards was alienated to Aucher, and thence again to Wroth, who at the latter end of king Charles I.'s reign sold it to Elgar; whence, after some intermission, it was sold to Thomas Scott, esq. of Liminge, whose daughter and coheir Elizabeth, married to William Turner, esq. of the Friars, in Canterbury, at length, in her right, became possessed of it; his only surviving daughter and heir Bridget married David Papillon, esq. of Acrise, and entitled him to this manor, and his grandson Thomas Papillon, esq. of Acrise, is the present owner of it.
Mount and Bladbean are two manors, situated on the hills, on the opposite sides of this parish, the former near the eastern, and the latter near the western boundaries of it; the latter being antiently called Bladbean, alias Jacobs-court, a name now quite forgotten. Both these manors appear to have been in the reign of the Conqueror, part of the possessions of Anschitillus de Ros, who is mentioned in Domesday as holding much land in the western part of this county, their principal manor there being that of Horton, near Farningham. One of this family made a grant of it to the Cosentons, of Cosenton, in Aylesford, to hold of their barony of Ros, as of their manor of Horton before-mentioned, by knight's service. In the 7th year of Edward III. Sir Stephen de Cosenton obtained a charter of freewarren for his lands here. He was the son of Sir William de Cosenton, sheriff anno 35 Edward I. and was sometimes written of Cosenton, and sometimes of Mount, in Eleham. At length his descendant dying in the beginning of king Henry VIII.'s reign, without male issue, his three daughters, married to Duke, Wood, and Alexander Hamon, esq. became his coheirs, and shared a large inheritance between them, and upon their division of it, the manor of Bladbean, alias Jacobs-court, was allotted to Wood, and Mount to Alexander Hamon.
The manor of Bladbean, alias Jacobs-court, was afterwards alienated by the heirs of Wood to Thomas Stoughton, esq. of St. Martin's, near Canterbury, who by will in 1591 (fn. 6) gave this manor, with its rents and services, to Elizabeth his daughter and coheir, married to Thomas Wilde, esq. of St. Martin's, whose grandson Colonel Dudley Wilde, at his death in 1653, s. p. devised it to his widow, from whom it went by sale to Hills, and Mr. James Hills, in 1683, passed it away to Mr. Daniel Woollet, whose children divided this estate among them; a few years after which John Brice became, by purchase of it at different times, possessed of the whole of it, which he in 1729 conveyed by sale to Mr. Valentine Sayer, of Sandwich, who died possessed of it in 1766, and the heirs of his eldest son Mr. George Sayer, of Sandwich, are now entitled to it.
The manor of Mount, now called Mount court, which was allotted as above-mentioned, to Alexander Hamon, continued down to his grandson, of the same name, who died possessed of it in 1613, leaving two daughters his coheirs, the youngest of whom, Catherine, entitled her husband Sir Robert Lewknor, to it, in whose descendants it continued till Robert Lewknor, esq. his grandson, in 1666, alienated it, with other lands in this parish, to Thomas Papillon, esq. of Lubenham, in Leicestershire, whose descendant Thomas Papillon, esq. of Acrise, is the present proprietor of it.
Ladwood is another manor in this parish, lying at the eastern boundary of it, likewise on the hills next to Acrise. It was written in old evidences Ladswood, whence it may with probability be conjectured, that before its being converted into a farm of arable land, and the erecting of a habitation here, it was a wood belonging to the family of Lad, resident at Bowick; but since the latter end of king Edward III.'s reign, it continued uninterrupted in the family of Rolse till the reign of king Charles II. soon after which it was alienated to Williams, in which name it remained till Penelope, daughter of Sir John Williams, carried it in marriage to Thomas Symonds, esq. the heirs of whose only surviving son Thomas Symonds Powell, esq. sold it to David Papillon, esq. whose son Thomas Papillon, esq. now possesses it.
The manor of Canterwood, as appears by an old manuscript, seemingly of the time of Henry VIII. was formerly the estate of Thomas de Garwinton, of Welle, lying in the eastern part of the parish, and who lived in the reigns of Edward II. and III. whose greatgrandson William Garwinton, dying s. p. Joane his kinswoman, married to Richard Haut, was, in the 9th year of king Henry IV. found to be his heir, not only in this manor, but much other land in these parts, and their son Richard Haut having an only daughter and heir Margery, she carried this manor in marriage to William Isaak. After which, as appears from the court-rolls, which do not reach very high, that the family of Hales became possessed of it, in which it staid till the end of queen Elizabeth's reign, when it went by sale to Manwood, from which name it was alienated to Sir Robert Lewknor, whose grandson Robert Lewknor, esq. in 1666 sold it, with other lands in this parish already mentioned, to Thomas Papillon, esq. of Lu benham, in Leicestershire, whose descendant Thomas Papillon, esq. of Acrise, is the present owner of it.
Oxroad, now usually called Ostrude, is a manor, situated a little distance eastward from North Eleham. It had antiently owners of the same name; Andrew de Oxroad held it of the countess of Ewe, in the reign of king Edward I. by knight's service, as appears by the book of them in the king's remembrancer's office. In the 20th year of king Edward III. John, son of Simon atte Welle, held it of the earl of Ewe by the like service. After which the Hencles became possessed of it, from the reign of king Henry IV. to that of king Henry VIII. when Isabel, daughter of Tho. Hencle, marrying John Beane, entitled him to it, and in his descendants it continued till king Charles I.'s reign, when it was alienated to Mr. Daniel Shatterden, gent. of this parish, descended from those of Shatterden, in Great Chart, which place they had possessed for many generations. At length, after this manor had continued for some time in his descendants, it was sold to Adams, in which name it remained till the heirs of Randall Adams passed it away by sale to Papillon, in whose family it still continues, being now the property of Thomas Papillon, esq. of Acrise.
Hall, alias Wingmere, is a manor, situated in the valley at the northern boundary of this parish, next to Barham, in which some part of the demesne lands of it lie. It is held of the manor of Eleham, and had most probably once owners of the name of Wigmere, as it was originally spelt, of which name there was a family in East Kent, and in several antient evidences there is mention made of William de Wigmere and others of this name. However this be, the family of Brent appear to have been for several generations possessed of this manor, and continued so till Thomas Brent, of Wilsborough, dying in 1612,s. p. it passed into the family of Dering, of Surrenden; for in king James I.'s reign Edward Dering, gent. of Egerton, eldest son of John, the fourth son of John Dering, esq, of Surren den, who had married Thomas Brent's sister, was become possessed of it; and his only son and heir Thomas Dering, gent. in 1649, alienated it to William Codd, gent. (fn. 7) of Watringbury, who was succeeded in it by his son James Codd, esq. of Watringbury, who died s. p. in 1708, being then sheriff of this county, and being possessed at his death of this manor in fee, in gavelkind; upon which it came to the representatives of his two aunts, Jane, the wife of Boys Ore, and Anne, of Robert Wood, and they, in 1715, by fine levied, entitled Thomas Manley, and Elizabeth, his wife, to the possession of this manor for their lives, and afterwards to them in fee, in separate moieties. He died s. p. in 1716, and by will gave his moiety to John Pollard; on whose death s. p. it came, by the limitation in the above will, to Joshua Monger, whose only daughter and heir Rachael carried it in marriage to her husband Arthur Pryor, and they in 1750 joined in the sale of it to Mr. Richard Halford, gent. of Canterbury. The other moiety of this manor seems to have been devised by Elizabeth Manley above-mentioned, at her death, to her nephew Thomas Kirkby, whose sons Thomas, John, and Manley Kirkby, joined, in the above year, in the conveyance of it to Mr. Richard Halford above-mentioned, who then became possessed of the whole of it. He was third son of Richard Halford, clerk, rector of the adjoining parish of Liminge, descended from the Halfords, of Warwickshire, as appears by his will in the Prerogative-office, Canterbury, by which he devised to his several sons successively in tail, the estate in Warwickshire, which he was entitled to by the will of his kinsman William Halford, gent, of that county. They bear for their arms, Argent, a greybound passant, sable, on a chief of the second, three fleurs de lis, or. He died possessed of it in 1766, leaving by Mary his wife, daughter of Mr. Christopher Creed, of Canterbury, one son Richard Halford, gent. now of Canterbury; and two daughters, Mary married to Mr. John Peirce, surgeon, of Canterbury; and Sarah. In 1794, Mr. Peirce purchased the shares of Mr. Richard and Mrs. Sarah Halford, and he is now the present owner of this manor. He bears for his arms, Azure field, wavy bend, or, two unicorns heads, proper.
The manor OF Clavertigh is situated on the hills at the north-west boundary of this parish, next to Liminge, which antiently belonged to the abbey of Bradsole, or St. Radigund, near Dover, and it continued among the possessions of it till the 27th year of king Henry VIII. when by the act then passed, it was suppressed, as not having the clear yearly revenue of two hundred pounds, and was surrendered into the king's hands, who in his 29th year, granted the scite of this priory, with all its lands and possessions, among which this manor was included, with certain exceptions, however, mentioned in it, to archbishop Cranmer, who in the 38th year of that reign, conveyed this manor of Clavertigh, with lands called Monkenlands, late belonging to the same priory in this parish, back again to the king, who that same year granted all those premises to Sir James Hales, one of the justices of the common pleas, to hold in capite, (fn. 8) and he, in the beginning of king Edward VI.'s reign, passed them away to Peter Heyman, esq. one of the gentlemen of that prince's bedchamber who seems to have had a new grant of them from the crown, in the 2d year of that reign. He was succeeded by his eldest son, Ralph Heyman, esq. of Sellindge, whose descendant Sir Peter Heyman, bart. alienated the manor of Clavetigh to Sir Edward Honywood, of Evington, created a baronet in 1660, in whose descendants this manor has continued down to Sir John Honywood, bart. of Evington, who is the present possessor of it.
Charities.
Jonas Warley, D. D. gave by will in 1722, 50l. to be put out on good security, the produce to be given yearly in bread on every Sunday in the year, after divine service, to six poor widows, to each of them a two-penny loaf. The money is now vested in the vicar and churchwardens, and the produce of it being no more than 2l. 5s. per annum, only a three-halfpenny loaf is given to each widow.
Land in this parish, of the annual produce of 1l. was given by a person unknown, to be disposed of to the indigent. It is vested in the minister, churchwardens, and overseers.
Four small cottages were given to the parish, by a person unknown, and are now inhabited by poor persons. They are vested in the churchwardens and overseers.
Sir John Williams, by will in 1725, founded A CHARITY SCHOOL in this parish for six poor boys, legal inhabitants, and born in this parish, to be taught reading, writing, and accounts, to be cloathed once in two years; and one such boy to be bound out apprentice, as often as money sufficient could be raised for that use. The minister, churchwardens, and overseers to be trustees, who have power to nominate others to assist them in the management of it. The master has a house to live in, and the lands given to it are let by the trustees.
The poor constantly relieved are about seventy-five, casually fifty-five.
Eleham is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of its own name.
The church, which is dedicated to St. Mary, is large and handsome, consisting of three isles, the middle one having an upper range of windows, and one chancel, having a tower steeple, with a spire shast on it, at the west end, in which are eight bells, a clock, and chimes. Within the altar-rails is a memorial for John Somner, gent. son of the learned William Somner, of Canterbury, obt. 1695; arms, Ermine, a chevron voided. In the chancel a brass plate for Michael Pyx, of Folkestone, mayor and once high bailisf to Yarmouth, obt. 1601. Another for Nicholas Moore, gent. of Bettenham, in Cranbrooke; he died at Wingmer in 1577. In the middle isle a memorial for Captain William Symons, obt. 1674; arms, Parted per pale, and fess, three trefoils slipt. A brass plate for John Hill, dean and vicar of Eleham, obt. 1730. In this church was a lamp burning, called the light of Wyngmer, given before the year 1468, probably by one of the owners of that manor.
The church of Eleham was given by archbishop Boniface, lord of the manor of Eleham, and patron of this church appendant to it, at the instance of Walter de Merton, then canon of St. Paul's, and afterwards bishop of Rochester, to the college founded by the latter in 1263, at Maldon, in Surry. (fn. 9) After which the archbishop, in 1268, appropriated this church to the college, whenever it should become vacant by the death or cession of the rector of it, saving a reasonable vicarage of thirty marcs, to be endowed by him in it, to which the warden of the college should present to him and his successors, a fit vicar, as often as it should be vacant, to be nominated to the warden by the archbishop; otherwise the archbishop and his successors should freely from thence dispose of the vicarage for that turn. (fn. 10)
¶The year before this, Walter de Merton had begun a house in Oxford, whither some of the scholars were from time to time to resort for the advancement of their studies, to which the whole society of Maldon was, within a few years afterwards, removed, and both societies united at Oxford, under the name of the warden and fellows of Merton college. This portion of thirty marcs, which was a stated salary, and not tithes, &c. to that amount, was continued by a subsequent composition or decree of archbishop Warham, in 1532; but in 1559, the college, of their own accord, agreed to let the vicarial tithes, &c. to Thomas Carden, then vicar, at an easy rent, upon his discharging the college from the before-mentioned portion of thirty marcs: and this lease, with the like condition, has been renewed to every subsequent vicar ever since; and as an addition to their income, the vicars have for some time had another lease, of some wood grounds here, from the college. (fn. 11)
The appropriation or parsonage of this church is now held by lease from the warden and fellows, by the Rev. John Kenward Shaw Brooke, of Town-Malling. The archbishop nominates a clerk to the vicarage of it, whom the warden and fellows above-mentioned present to him for institution.
This vicarage is valued in the king's books at twenty pounds, (being the original endowment of thirty marcs), and the yearly tenths at two pounds, the clear yearly certified value of it being 59l. 15s. 2d. In 1640 it was valued at one hundred pounds per annum. Communicants six hundred. It is now of about the yearly value of one hundred and fifty pounds.
All the lands in this parish pay tithes to the rector or vicar, excepting Parkgate farm, Farthingsole farm, and Eleham-park wood, all belonging to the lord of Eleham manor, which claim a modus in lieu of tithes, of twenty shillings yearly paid to the vicar. The manor farm of Clavertigh, belonging to Sir John Honywood, bart and a parcel of lands called Mount Bottom, belonging to the Rev. Mr. Thomas Tournay, of Dover, claim a like modus in lieu of tithes.
Compositionally Challenged: Week 8 - fences.
120 pictures in 2020: 68. Lorries, trucks or tankers
I used one of my Lightroom presets. It has a lot of grain and seemed to suit this photo.
Decorative ceramic relief on the facade of Nørregade 1 in Copenhagen, by Olaf Stæhr-Nielsen (1896-1969). Set up in 1942, it was placed above the entrance of what was then the Alexandra cinema and it showed Pegasus riding a piece of celluloid fim above a stylized Copenhagen skyline.
Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
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A contact print with A4 size digital negative and hand coated Kallitype paper.
3 minutes exposed under the winter Sun.
デジタルネガに出力する段階で二枚の画像を合成している。 つまりネガとしては一枚。
硝酸銀をケチらず贅沢に塗ったら純黒が出た。 ＾＾
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