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Dental Receptionist Resume Example are the occasions that we value you as a kind of perspective can not make everything a terrific resume and right. On the edge of a resume you need to install the parts and fact, as well as its ...
- Handmade 531ST Belgian Frame.
- Front and rear rack bosses.
- Sugino XD2 triple chainset
- Royce titanium BB
- 9 speed XTR M960 rear mech
- Ultegra fd6600 front mech
- Dura Ace bar end shifter mounted on Paul thumbies mounts
- XT M770 hubs on Mavic A719 rims
- Nitto Moustache bars
- Cinelli stem
- XT M740 headset
- Shimano R650 brakes
- Thomson in-line seatpost
- OYB custom saddle bag
- Brooks champion saddle and bar tape
This is the first Custom Parlee Trithlon bike that we built this year. It is one of the nicest examples of true craftsmanship we have ever seen.
Check out parleecycles.com for all the models. We can design a KGS Parlee that is perfectly matched to your body.
KGS Bikes Website - kgsbikes.com/
KGS Bikes Blog - blog.kgsbikes.com/
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Top Row:
1. Dallas Cowboys (Regina, 1996)
2. Dallas Cowboys (Shannon, 1996)
3. New York Knicks (Jessica, 2007)
4. Kansas City Chiefs (Haley, 2007)
5. Phoenix Suns (Sumer, 2009)
Bottom Row:
1. Tampa Bay Buccaneers (Timra, 2008)
2. Baltimore Ravens (Abbie, 2009)
3. Oklahoma City Thunder (Erica, 2009)
4. Oklahoma City Thunder (Alexis, 2009)
5. Buffalo Bills (Christina, 2008)
Example of a work in progress model, showing the development stages. The image is part of a tutorial which you can find here;
20250131 - Playground slips into darkness and nothingness - some of the last lights flash faintly on the screen
Some examples of projects using conductive thread and LEDs. More information at tinkering.exploratorium.edu/sewn-circuits
“The power of experience destroys the illusion of progress and gathers the past and present into the future.”
- Theodor Adorno
As Marcia recites poetry this string game device (for this example in the cradle mode, representing both the site used and alluding to the Oedipus Complex) acts to amplify the sense of mythological time created by the oral performance based on Ong’s ideas of literary time and oral time. The prosthesis is put together by Miss Blaine in accordance with the Spair-Whorf hypothesis and ideas of the erotic each time she uses it. It is intrinsically linked to her by her hands, which articulate the storytelling element of the performance of the poem above. The sliding of the fibres of the string – an interpretation of McTaggart – and the various hooked on fragments, produce a reaction relative to the surroundings. Thus the fragmented body of candles and mirrors is articulated through space, managing to disrupt Marcia’s Ego’s (Freud) image of itself to negate the mirror stage (Lacan). Thus her constructivist time based Superego and her primitive ID are brought into direct conversation. This relative clashing of timeframes is recorded by candles and headphones to give a tangential measurement of the entirely personal experience – much like a fox’s nose in the dark.
However since our perception of time is so strong and the body we see is fragmented by our visual perception, the psychological effect can never fully take over, and must always be used in conjunction with the poem. Thus Marcia can never completely escape time.
SBB Re 4/4 II 11309 heads west through Montreux with an afternoon freight. It was a shame the light was so poor for one of the few remaining green examples.
Lauderdale County, AL
Listed: 02/24/2000
The Forks of Cypress Cemetery is significant under criterion C for Art as it contains many fine examples of grave markers that represent the high end of antebellum funerary expressions in the western Tennessee River Valley in Alabama. Many fine obelisks and several tombstones illustrate the stone-carving skills of both local craftsmen and workshops from around the eastern United States. Limestone markers were more likely from local sources, as were the limestone bases of many of the marble markers. Among the marble markers are several that are signed by their makers or workshops. These include an obelisk by J. Sloan of Nashville, an obelisk by A. Gary of Boston, an obelisk by Hughes & Sharrod of Philadelphia, and an obelisk by L.H. and J.B. Fuller of St. Louis. A range of stylistic influences is evident in many of the markers, including Federal, Greek Revival, Gothic Revival, and Renaissance Revival motifs (as well as one twentieth century stone with some restrained Art Deco details). In addition to more geometric (and architectural) details, some of the stones feature fine representational and particularly floral relief sculpture.
The Forks of Cypress Cemetery is significant under criterion C for Architecture as the Jackson family cemetery wall is an exceptional example of the stonemason's art in early Alabama. The massive dimensions, stile, and sturdy dry-laid construction all characterize a structure which stands out among the walls around other family cemeteries in the Tennessee River Valley, which were more frequently of brick or less substantial stone construction. Only about six or so walls of similar sizable and dressed appearance are known to exist in northern Alabama.4 The wall displays both the skill of local craftsmen and the material predilections of a family whose patriarch was a first generation Irish immigrant and who perhaps opted for a wall which imitated or recalled the quintessential boundary markers of his homeland. Although the exact date of construction of the wall is unknown, location of early graves in relation to the wall indicates a probable date of before 1840 and a positive date of before 1865.
The Forks of Cypress Cemetery is significant under criterion A for Ethnic Heritage: Black as it contains one of the largest identified African American/slave cemeteries in northwest Alabama. With around 250 burials, slave cemetery was the final resting place for the Jackson family's substantial enslaved workforce. The burials, though unmarked, do reveal to some degree that a status hierarchy existed among the enslaved inhabitants of the Forks of Cypress and perhaps the Jacksons' other plantations. Traditionally slave jockeys were the only African Americans allowed to be buried within the walls of the family cemetery. A few depressions nearer the family cemetery probably mark the graves of treasured domestic servants. The majority of the field slaves and those without distinctive status within the household were buried on the bluff further away from the family cemetery. One headstone/footstone pairing in the center of the slave section of the cemetery shows at least one person who, while not important enough to be buried with the jockeys, had a high enough position to warrant a permanent stone marker. The slave cemetery has taken on somewhat mythical associations in recent years as it is almost certainly the interment place of African American author Alex Haley's great-grandmother, Ester or Queen Ester. Traditionally, James Jackson, Jr., (son and heir to James Jackson, the builder of the Forks), had at least one child with Queen Ester, who was the Jackson's cook. Their daughter, Queen, was Haley's grandmother and the subject of Haley's unfinished book Queenie. The depth and regularity of the depressions in the slave cemetery also indicate that it was highly probable that the slaves at least on this plantation were actually buried in coffins rather than simply interred in shrouds. This cemetery continued to be used by descendants of the Jackson slaves in the late-19th- and eariy-20th centuries.
The Forks of Cypress Cemetery is significant under criterion A for Social History as the placement of monuments and graves within both the family and slave sections illustrate social structures of an extended elite frontier planter family and its enslaved workforce. The cemetery also offers a temporal display of changing attitudes towards death and commemoration in the transition from conspicuous and showy markers to low-profile and plain markers over a period of 130 years. The monuments of James Jackson and his immediate and contemporary family serve as the focal points of the cemetery (both because of placement and because of scale). In spatial terms, the core of the cemetery, with many of the earlier monuments, form a line from east to west slightly south of the centerline of the rectangular plot created by the wall. The planter patriarch, James Jackson, and several of his siblings form this axis. James' brothers, John and Alexander, are buried near the center, with James' own grave near the front and his wife's grave to his south. The offspring of James Jackson's sister, Eleanora Jackson Kirkman (who herself is buried in New Orleans), are interred just to the north of his grave. Another of Jackson's sisters, Sarah Jackson Hanna, and many of her family members (including at least one daughter-in-law and one son-in-law) are buried to the west of the main axis formed by the older markers. Though within the family, there is not a great deal of differentiation as to burial place excepting the grouping of Sarah Jackson Manna's family to the west of James, most of his descendants and his other siblings, a distinction is made between the core of the extended family and more distant relations or social connections. The earlier burials along the back wall are burials of people with somewhat tenuous connections to the family. William O'Neal Perkins and Pocahontas Bowling Perkins, whose monuments are the most impressive on the western end of the cemetery, appear to be the parents of one of James Jackson's daughters-in- law. Alexander Larrimer, buried in the southwest corner, appears to have no familial connection whatsoever to the Jacksons. Two uninscribed slabs traditionally marking the burials of slave jockeys are on alignment with the old main axis of the cemetery but along the west wall. The social units in this extended planter family, therefore, come out in their burial locations-the planter patriarch, James Jackson, his offspring, and his siblings without or with few offspring are buried towards the front of the cemetery in an intermixed fashion. Jackson's sister Sarah Hanna had a large enough extended family of her own to warrant a contiguous section of burials in the southwest quarter of the cemetery. People with more tenuous connections with the family were buried along the rear (west) wall. In addition, the hierarchy of slave burials, mentioned above, reveals more aspects of the social organization of Jackson's plantation. Finally, the burials in the cemetery after the 1870s are consistently of James Jackson's direct descendants. Their attitudes towards commemoration varies drastically with that of their antebellum ancestors' conspicuous consumption via tall and elaborated monuments. Later monuments of the deceased are rather low to the ground and inscribed with little other than the descendants' names and vital dates. These burials are consistently in the northern half of the cemetery as well.
The Forks of Cypress Cemetery meets criterion exception D as it derives its primary importance both from distinctive design features and association with historic events.