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Friday, April 28, 2023
The Hofstra-Digital Remedy Venture Challenge is an annual entrepreneurship competition for Hofstra students administered by the Hofstra University Institute of Innovation and Entrepreneurship with total prizes valued at $$76,500, made possible through the donation of a Hofstra Board Trustee and CEO of Digital Remedy, Mike Seiman. The competition is in its eleventh year at Hofstra University.
We are looking for business ideas that demonstrate scalability, the identification of a unique problem, and has a qualified team in place to execute the idea. The Challenge offers a great experience and is a resume builder for any career path.
Contact Sharon Goldsmith with questions: sharon.n.goldsmith@hofstra.edu.
April 28, 11:15 am – 1:00 pm
Location: ideaHUb (103 Guthart Hall)
Finalists
1K Industries–
1k Industries aims to make personalized wheelchair accessories that help bling out people’s wheelchairs. We design a product all wheelchair users can personalize to fit their chair and personality. We then create a unique software that makes the personalized product from user inputs. This design is then uploaded to a 3D printer for creation.
Founder: Peyton Tansey, Computer Science, ‘23
BoJo –
BoJo is a platform for high-school students and high-school counselors. On our platform students create profiles where they answer questions about their college preferences and their academic results. Based on that information students are matched with universities. The counselors get access to the profiles and matches of their students. With that information in hand, they can better guide their journey of finding a college.
Founders: Jonathan Mahrt Guyou, Computer Science, ‘23 & Bo Cautaerts, Accounting, ‘24
Bubble Green –
Bubble Green addresses the problem of environmental harm and plastic waste in delivery packaging by turning an invasive plant species, water hyacinth, into sustainable zero-waste packaging filler, offering businesses an eco-friendly alternative to plastic bubble wrap. This approach can have a positive social impact by helping to protect the environment and natural resources for future generations while promoting sustainable business practices.
Founders: Benjarat Tirasirichai, MS Marketing, ‘23, Chris Zhang, MBA, ‘23
CMS Biotechnologies –
CMS Biotechnologies is developing a novel technology to purify pharmaceutical compounds that can reduce adverse side effects from medications.
Founder: Arielle Gabalski, Zucker School of Medicine PhD, ‘24
COTA-
COTA’s music-based program is for individuals on the autism spectrum who struggle with social, communication, and behavioral challenges. The program is intended to encourage communicative behavior and interaction through leveraging music as an intervention source.
Founder: Michael Ford, Entrepreneurship, ‘23
Cozy Clip-
The Cozy Clip is an innovative hair accessory that combines comfort and style into one unique design. Our reformed claw clip is designed to lay flat and bend when leaned against, eliminating discomfort, and providing a more comfortable experience for the user.
Founder: Elena DiStefano, Public Relations, ‘23
LacunaFocus –
LacunaFocus is a Gmail optimization app designed to enhance email management for staff, faculty, and students offering a unique intelligent sorting system, summarization, and the ability to optimize emails. We offer a unique product tailored to university needs, cheaper prices, seamless integration, and game-changing features through the application of AI.
Founders: Yulia Erdyv, Computer Science, ‘25, Mykola Izbor, Computer Science, ‘23
Love Overdose-
Love Overdose is a pre-revenue e-commerce fashion brand that delivers luxury womenswear to the modern-day girl. We provide quality clothing, inclusive sizing, and creative designs with feminine silhouettes to women of color in the luxury market, an underserved demographic. We celebrate women and promote radical self-confidence through our branding and messaging.
Founders: Tiye Bradley, Accepted Student, Dance ‘25
Our Bloom –
OurBloom is a company devoted to providing accessible education on women’s health, guides to living intuitively with your menstrual cycle, and natural solutions to menstrual symptoms. We place a heavy emphasis on researching the needs of Women of Color, who have been underrepresented in the medical field.
Founders: Priya Singh, Finance, ‘23, Aydan Smith, International Business, ‘25, Anjalee Laikhram, Computer Science, ‘22
SoCircle
SoCircle recognizes hospitalized, bed-ridden, and recently discharged patients are often deprived of meaningful social connections and depression rates are rampant in this group. We aspire to provide a platform that streamlines social connection, private support groups, friendly AI-based chat therapy, personalized journaling, and a safe and private community for these patients to minimize the likelihood of them developing depression and to optimize their mental health to aid their recovery.
Founder: Bongseok Jung, Medicine, ‘25
Photo: Matteo Bracco
The Wonders of the Invisible World: Observations as Well Historical as Theological, upon the Nature, the Number, and the Operations of the Devils [1693] by Cotton Mather
"Accompany‘d with, I. Some Accounts of the Grievous Molestations, by DÆ-
MONS and WITCHCR AFTS, which have lately
annoy’d the Countrey; and the Trials of some eminent
Malefactors Executed upon occasion thereof; with several
Remarkable Curiosities therein occurring.
II. Some Counsils, Directing a due Improvement of the ter- rible things, lately done, by the Unusual & Amazing Range of EVIL SPIRITS, in Our Neighbourhood: & the methods to prevent the Wrongs which those Evil Angels may intend against all sorts of people among us; especially in Accusations of the Innocent.
III. Some Conjectures upon the great EVENTS, likely to befall, the WOR LD in General, and NEW-ENGLAND
in Particular; as also upon the Advances of the TIME, when we shall see BETTER DAYES.
IV. A short Narrative of a late Outrage committed by a
knot of WITCHES in Swedeland, very much Resembling,
and so far Explaining, That under which our parts
of America have laboured!
V. THE DEVIL DISCOVERED: In a Brief Discourse upon the TEMPTATIONS, which are the more Ordinary Devices
of the Wicked One.
by Cotton Mather
Boston Printed, and sold by Benjamin Harris. 1693."
"PUblished by the Special Command of His EX- CELLENCY, the Governour
of the Province of
the Massachusetts-Bay in
New-England.
The Authors Defence.
‘TIs as I Remember, the Learned Scribonius, who Reports, that One of his Acquaintance, devoutly
making his Prayers on the behalf of a Person molested by
Evil Spirits, received from those Evil Spirits an horrible blow
over the Face: And I may my self Expect not few or small
Buffetings from Evil Spirits, for the Endeavours wherewith I
am now going to Encounter them. I am far from Insensible,
That at this Extraordinary Time of the Devils Coming down in
Great Wrath upon us, there are too many Tongues and Hearts
thereby Set on Fire of Hell; that the various Opinions about
the Witchcrafts which of Later Time have Troubled us, are
maintained by some with so much Cloudy Fury, as if they
could never be sufficiently Stated, unless written in the Liquor
wherewith Witches use to write their Covenants; and
that he who becomes an Author at such a Time, had need
be, Fenced with Iron, and the Staff of a Spear. The unaccountable
Frowardness, Asperity, Untreatableness, and Inconsistency
of many persons, every Day gives a Visible Exposition
of that passage, An Evil Spirit from the Lord came upon Saul;
and Illustration of that Story, There met him two Possessed with
Devils, exceeding Fierce, so that no man might pass by that way. To
send abroad a Book, among such Readers, were a very unadvised
Thing if a man had not such Reasons to give as I can
bring, for such a Undertaking. Briefly, I hope it cannot be
said, They are all so: No, I hope the Body of this People, are
yet in such a Temper, as to be capable of Applying their
Thoughts, to make a Right Use, of the Stupendous and prodigious
Things that are happening among us: and because I
was concern’d, when I saw that no Abler Hand Emitted any
Essayes to Engage the Minds of this People in such Holy, Pious,
Fruitful Improvements, as God would have to be made
of His Amazing Dispensations now upon us, THEREFORE
it is that One of the Least among the Children of
New-England, has here done, what is done. None, but, The
Father who sees in Secret, knows the Heart-breaking Exercises,
wherewith I have Composed what is now going to be
Exposed; Lest I should in any One Thing, miss of Doing my
Designed Service for His Glory, and for His People; But
I
am now somewhat comfortably Assured of His favourable
Acceptance; and, I will not Fear; what can a Satan do unto me !
Having Performed, Something of what God Required, in labouring
to suit His Words unto his Works, at this Day among
us, and therewithal handled a Theme that has been sometimes
counted not unworthy the Pen, even of a King, it will easily
be perceived, that some, subordinate Ends have been considered
in these Endeavours.
I have indeed set my self to Countermine the whole
PLOT of the Devil, against New-England, in every Branch of
it, as far as one of my Darkness, can comprehend such a Work of
Darkness. I may add, that I have herein also aimed at the Information
and Satisfaction of Good men in another Country,
a Thousand Leagues off, where I have, it may be, More,
or however, more Considerable, Friends, than in My Own; And
I do what I can to have that Countrey, now, as well as alwayes,
in the best Terms with, My Own. But while I am doing
these things, I have been driven a little to do something likewise,
for My self; I mean, by taking off the false Reports and
hard Censures about my Opinion in these matters, the Par-
ters Portion, which my pursuit of Peace, has procured me among the Keen. My hitherto Unvaried Thoughts are here Published; and I believe, they will be owned by most, of the Ministers of God in these Colonies: nor can amends be well made me, for the wrong done me, by other sorts of Representations. In fine, For the Dogmatical part of my Discourse, I want no Defence; for the Historical part of it, I have a very Great One. The Lievtenant Governour of New-England, having pe- rused it, has done me the Honour of giving me a Shield under the Umbrage whereof I now dare to walk Abroad."
...
"A
Discourse:
O N
The Wonders of the Invisible World.
Uttered ( in part ) on Aug. 4. 1692.
E Cclesiastical History has Reported it unto us, That a Renowned Martyr at the Stake, seeing the Book of
THE R EVELATION thrown by his no less Profane than
Bloody Persecutors, to be Burn’d in the same Fire with himself,
he cry’d out, O Beata Apocalypsis; quam bene mecum agitur,
qui tecum Comburar ! BLESSED R EVELATION! Said he;
How blessed am I in this Fire, while I have Thee to bear me Company.
As for our selves this Day, ‘tis a Fire of sore Affliction and
Confusion, wherein we are Embroiled; but it is no Inconsiderable
Advantage unto us, that we have the Company of this
Glorious and Sacred Book, THE REVELATION, to assist
us in our Exercises. From that Book, there is one Text, which
I would single out, at this Time, to lay before you; ‘tis that in
Rev. XII. 12.
Wo to the Inhabitants of the Earth, and of the Sea; for the Devil is come down unto you, having great Wrath; because he knoweth, that he hath but a short time."
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Could've executed it better, light trails include wobbles and a bus, but at least the concept's new for me.
This morning (Thursday 15 January 2026), officers executed an arrest warrant at an address on Brooklands Avenue, Chadderton, resulting in three arrests.
A 26-year-old man was arrested on suspicion of possession with intent to supply Class A, B, and C drugs, as well as possession of offensive weapons. A man aged 62, and a woman aged 61, were also arrested on suspicion of being concerned in the supply of drugs.
The warrant was the culmination of a thorough investigation by Chadderton’s Neighbourhood Team, who remain committed to tackling drug supply and misuse across the borough.
Acting on intelligence provided by the local community, officers identified the address as a suspected hub for drug activity. Police Sergeant Tom Layton and PC Aleks Gornisiewicz led the investigation, securing sufficient evidence to obtain today’s warrant.
Upon entry, officers located a man in an attic bedroom. Officers were able to seize drugs located in the bedroom.
Inside the property, officers discovered a variety of Class A, B, and C drugs, including suspected cocaine, nitrous oxide, and cannabis. Several bladed weapons—such as axes, machetes, and zombie knives were also seized, along with multiple mobile phones and luxury items.
The three suspects currently remain in custody for further questioning and all seized drugs will be transported to our labs for testing.
PS Tom Layton from the Chadderton Neighbourhood team said: "Today’s warrant was a great success, made possible thanks to vital intelligence from our community.
“I want residents to know that we are here to listen and act on your concerns. As a Neighbourhood Sergeant, my priority is keeping our community safe.
“Greater Manchester Police is relentless in tackling the supply and use of drugs across the force, and I am deeply committed to that mission here in Oldham.
“We have zero tolerance for offensive weapons and removing them from our streets remains an absolute priority.
“I urge anyone with information about criminal activity to come forward. Today’s warrant demonstrates just how crucial community intelligence is and how we act on it to protect you."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
A glass pillow by Brian Catling marks the approximate spot where people were executed inside the walls of the Tower of London.
MSC Sinfonia executing a right-angled manouevre to depart Ibiza town port. For timetables for cruise ships visiting Ibiza see www.cruisetimetables.com/cruisesvisitingibizaspain.html. MSC Sinfonia and larger ships utilize this outer pier, whereas as small ships such as the Louis Coral dock in the inner harbor, for more convenient access to the popular quayside bars, restaurants, boutique shops, and stallls area under the old town.
20th #CBRNE #Soldiers from the 184th Explosive Ordnance Disposal Battalion (EOD) prepare and execute training to improve #EOD core competencies and enhance #CBRN readiness skills for future combat operations Monday at Fort Campbell, Ky.
Une superbe création exécutée par 400 personnes avec plus d'une tonne et demi de matériaux divers sur 620 m2.... Esprits créatifs nécessaire et qui n'ont pas manqué !!!
Naturel, créatif, juste une superbe ;)
Je vous invite à découvrir la meneuse de cette oeuvre Barbara (Bloss68), qui fait de superbes photos ! Première rencontre d'une Flickernaute, moment agréable mais bien trop rapide. Mais le contact est établi, il n'y a plus qu'a organiser une petite sortie photo !
www.flickr.com/photos/40704472@N06/
77 - Seine & Marne
--------------------------------------------------------------------------------------------------------------------------
Please don't use this image on websites, blogs or other media without my explicit permission.
Ne pas exploiter cette photo sur un site, blog ou tout autre média sans ma permission.
Copyright : All right reserved © pgauti
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Executed by the United Nations Development Programme - Transition Recovery Programme
Photo: Avindi Perera/December 2013/UNDPSriLanka
Ampara, Sri Lanka.
From left, Adam Brown, Jack Holt, Dan Greenfield, Sally Falkow, Paul Gillin, Will Morrison, Alan Cattier and Katie Paine at the wrap-up Day 1 Q&A at the Executing Social Media Conference, Atlanta, Nov 14-16, 2007
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
FORT IRWIN, Calif. -- U.S. Army Soldiers supporting 1st Battalion, 36th Infantry Regiment, 1st Stryker Brigade Combat Team, 1st Armored Division, execute a smoke screen mission during Decisive Action Rotation 15-08 at the National Training Center here Jun. 1, 2015. Decisive Action Rotations create a realistic training environment that tests the capabilities of Brigade Combat Teams preparing them to face similarly equipped opposing forces. (U.S. Army photo by Spc. Randis Monroe, Operations Group, National Training Center)
Ronny executes a Batterie over Kurt Thomas.
Final score: 114-106 (no tacos!)
I love the new Lights Out vibe at Staples but couldn't quite make the right camera adjustments to compensate, which was disappointing.
(A friendly reminder, folks: It's considered good form to wait until the ball is not in play if you need to leave or return to your seats!)
OhioHealth recruiting advertising banners in parking lot at Polaris Town Center mall in Columbus, Ohio.
Polaris Town Center Mall in Delaware County, Ohio is the largest regional mall in the Columbus, Ohio market with such anchors as Saks Fifth Avenue, Von Maur, and The Great Indoors--as well as dozens of specialty restauarants like Brio, Eddie Merlot's, and Benihana.
OhioHealth has executed an integrated advertising campaign at Polaris Fashion Place promoting its facilities as not only the leading health care institutions in Columbus, but also as the health care employer of choice.
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
Beatrice Rangel: Venezuela - Anschluss Executed!
"The takeover of political parties by the Venezuelan regime is the sign that a complex process of phagocytosis has ended and thus we have in front of us a new and different political entity that does not correspond to the definition of nation state or colony," concludes former Venezuelan Minister of Ministers Beatrice Rangel. "Venezuela has become a deviant state that has lost its defining properties to alien entities that have penetrated its body, sucked out its spirit and filled the cocoon with an organism that pursues other interests and sustains other values."
The painting was executed for Sigismondo de' Conti in 1511-12. It represents the Madonna in Glory but it is usually called the Madonna of Foligno.
Raphael's pictorial research had been enriched by his solutions regarding the use of light in the Expulsion of Heliodorus and the Liberation of St Peter. These pictorial devices reappear in the Madonna of Foligno, now in the Vatican Museum. The Madonna and Child, borne by a cloud of angels and framed by an orange disk, dominate the group of saints below them, among whom is the donor. This group includes - from left to right - St John the Baptist, St Francis, Sigismondo de' Conti and St Jerome. A small angel at the centre of the composition holds a 'small plaque which was originally intended to carry the dedicatory inscription.
The painting was commissioned to commemorate a miracle in which the donor's house in Foligno was struck by lightning or - according to another version - was struck by a projectile during the siege of Foligno, although it was not damaged. The stormy atmosphere of the landscape background and the flash of lightning (or explosion) which strikes the Chigi Palace (visible at left) illustrate the legend. The strong characterization of the figures, the volumetric fullness of the putti and the refined chiaroscuro distinguish the panel (which was taken as loot by Napoleon's army in 1799 and returned in 1815) as a work of the mature artist.
This morning (Thursday 29 May 2025), our Challenger Team in Bolton executed four simultaneous warrants as the crackdown on drugs and anti-social behaviour continues.
Officers from our Specialist Operation department such as the Tactical Aid Unit, Drone Unit and the Stolen Vehicle Examination Unit joined district Neighbourhood officers as they descended on addresses in the New Bury area.
Strikes were conducted at properties on Fairfield Road, Moorside Avenue, Parkfield Avenue and St Gregory’s, with three people – two men in their 50s and 30s, and a female in her 40s - being arrested on suspicion of drugs offences.
While searching these locations, we recovered a quantity of Class A, B and C drugs, a number of stolen vehicles and multiple electronic bikes.
Challenger is Greater Manchester’s partnership response to serious and organised crime. It is made up of a variety of agencies that work together to disrupt and dismantle individuals and networks from committing serious crime.
This includes those who run drug lines, exploit people for financial gain, those who buy and use firearms, and launder money they make from their criminality.
PC Gregory from the Bolton Challenger Team said: “This morning our officers executed four warrants at separate addresses across Bolton as part of our ongoing commitment to tackling drugs and anti-social behaviour in our communities. These coordinated operations demonstrate our continued determination to disrupt criminal activity and send a clear message to those involved in the drug trade.
“We take drug dealing extremely seriously because we see firsthand the devastating effects these substances have - not only on individual users and their families, but on the wider Bolton community and Greater Manchester as a whole.
“We will pursue every line of enquiry vigorously and relentlessly, our message to drug dealers and those involved in related criminal activity is clear: we will not stop until we get these offenders off our streets and into our custody cells where they belong."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Closely associated with Georges Danton, Camille Desmoulins was a journalist and politician aligned with the Girondins. Arrested on the orders of Robespierre, Camille Desmoulins was executed on the same day he learned of the arrest of his beloved wife, Lucile Duplessis. She was killed on April 13, 1794.
“Rolling Thunder is in effect,” repeated Col. Rene Horton, the group commander, as she called each one of her company and battalion commanders from the Emergency Operations Center (EOC) in Roseville. “A major earthquake has hit the Bay Area. This could be a tragic event but we have been training for this and we have a job to do. Roll out and do great things. Do you understand your orders commander?” “Yes ma’am,” came the reply. “Then execute,” said Horton.
California Army National Guard leaders from the 115th Regional Support Group begin the mission one minute after midnight, Jan. 6, 2012, during the RSGs Emergency Deployment Readiness Exercise, which had 60 vehicles and 217 troops moving their wheeled assets around the state in response to a earthquake scenario. This is the first training that solely focuses on moving the vehicle specialists and their hauling machines into position to respond to a state emergency. (Army National Guard photo/Master Sgt. Paul Wade)
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Executing a practice diversion, going around (I preferred overshooting!) at ABZ, mid 90s. Not into the Mil quite as much, but believe it's a Jag. RAF over the years have carried out countless approaches at Aberdeen/Dyce.
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
On December 12, ImprovAZ executed the mp3 Experiment. Participants downloaded an audio file which told them what to do for roughly 20 mins. at 2p in Tempe, AZ. Participants met, skipped, drew their bows, died, blew bubbles, and high fived through Tempe's Mill Ave. Roughly 100 "agents" participated.
MSC Sinfonia executing a right-angled manouevre to depart Ibiza town port. For timetables for cruise ships visiting Ibiza see www.cruisetimetables.com/cruisesvisitingibizaspain.html. MSC Sinfonia and larger ships utilize this outer pier, whereas as small ships such as the Louis Coral dock in the inner harbor, for more convenient access to the popular quayside bars, restaurants, boutique shops, and stallls area under the old town.
Boy Hero of the Confederacy was executed at this spot in Pulaski, TN on Nov 27, 1863. A small museum was erected near this spot
Executed in patinated 18kt white gold, the leaves are ombré pavé set with multi colored sapphires, green tourmalines, and brown and white diamonds. The acorn nuts are of sculpted amber colored citrine with brown diamond details.18kt yellow gold case.
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.
Today (Friday 10 November), Operation Vulcan executed warrants at premises on Bury New Road, shutting down and seizing half a million of pounds worth of counterfeit items.
Police warnings seem to have fallen on deaf ears for some counterfeit operations in the area. Attempts to re-open and profit from the Christmas sales however continue to be detected and swiftly shut down.
Thanks to intelligence from the Cheetham Hill Neighbourhood Team (who remain in the area with the Vulcan team and conduct daily patrols in the community), Operation Vulcan were able to execute these warrants just days after witnessing customers walking down Bury New Road with bags of fake goods.
Detective Sergeant Matt Donnelly, one of Operation Vulcan’s specialist officers, said: “These results today demonstrate just how important it is that Operation Vulcan remain in the area. The criminals operating here are so brazen, the minute they think they spot an opening, they’re back up and running as though it’s business as usual. We’re here to show them that this isn’t the case, and we will not stop until these illegitimate shops are eradicated and those responsible are locked up.
“I hope this is a warning that no matter how many times you try to reopen, we will continue to seize your belongings and profits, making sure none of this money can make its way back into the criminal market.
Councillor Luthfur Rahman, Deputy Leader of Manchester City Council said: "Over the past 12 months we have achieved a great deal through Operation Vulcan. Through our partnership with GMP gangs have been run out of Cheetham Hill and people have been allowed to feel safe in their own neighbourhoods.
"But the work will go on. We know these gangs are tenacious and that criminals will always find ways to circumvent the law. The Council's Trading Standards will remain vigilant throughout the Christmas period to make sure that dangerous or harmful goods do not make their way in the hands of the public."
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Exécutée par le sculpteur François Girardon sur un dessin de Le Brun, la Pyramide, au centre de son bassin, demanda trois ans de travail. Elle est composée de quatre vasques de plomb superposées, supportées par des tritons, des dauphins et des écrevisses en plomb.
www.chateauversailles.fr/decouvrir-domaine/jardins/la-nat...
Nihonga are typically executed on washi (Japanese paper) or eginu(silk), using brushes. The paintings can be either monochrome or polychrome. If monochrome, typically sumi (Chinese ink) made from soot mixed with a glue from fishbone or animal hide is used. If polychrome, the pigments are derived from natural ingredients: minerals, shells, corals, and even semi-precious stones like malachite, azurite or cinnabar. The raw materials are powdered into 16 gradations from fine to sand grain textures. Hide glue is used as a binder for these powdered pigments. In both cases, water is used; hence Nihonga is by definition a sub-genre of watercolor painting.
Initially, Nihonga were produced for hanging scrolls (kakemono), hand scrolls (emakimono) or folding screens (byōbu). However, most are now produced on paper stretched onto wood panels, suitable for framing. Nihonga paintings do not need to be put under glass. They are archival for thousands of years.
Back in 2005, Stanley "Tookie" Williams was executed by the State of California. In 1971 he co-founded the Crips street gang and by 1979, he was found guilty of multiple murders. While in prison, Tookie changed his ways. He became an anti-gang activist and apologized for founding the Crips. He also met a journalist named Barbara Becnel and asked her to help him write children's books. Tookie's work gained attention and praise from around the world. He was nominated for the Nobel Peace Prize four times. In 2004 a movie was made about him called 'Redemption.' A year later, efforts to stop his execution grew. Celebrities like Jamie Foxx, Danny Glover, and Sean Penn appealed to governor Arnold Schwarzenegger to spare Tookie's life. The governor refused. Williams' execution went ahead in December 2005. Barbara Becnel was there and she's made a documentary about his life. Barbara is on a mission to vindicate Tookie, end the death penalty and reform the criminal justice system.
Check out her interview with George here - www.cbc.ca/thehour/videos.html?id=1009520413
LS Katie Porter makes a touch.
Women's Team Sabre, Canada vs. China
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Le Mat 1 Katie Porter execute une touche.
Sabre par équipes femmes, Canada c. Chine
Photo: CFMWS Imagery | Services d'imagerie des SBMFC
The Republic of South Korea is hosting the 6th Military World Games from 2-11 October 2015. Titled “Friendship together, peace forever”, the Military World Games bring together 7,300 military delegates/athletes from 103 countries to compete in 24 military and traditional sports. The Games are the third largest sporting event in the world. The Games provide to more than 125 Canadian Armed Forces athletes the opportunity to compete and win against some of the world’s best and provide CAF leadership with another unique platform to recognize the exceptional level of fitness and athleticism within the CAF.
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La Corée du Sud est l’hôte des 6es Jeux Mondiaux Militaires qui ont lieu du 2 au 11 octobre 2015. Sous le thème « Paix et amitié... ensemble et pour toujours », cet événement réunit 7 300 délégués et athlètes militaires provenant de 103 pays qui compétitionnent dans 24 sports militaires et traditionnels. Les Jeux Mondiaux Militaires sont la troisième manifestation sportive en importance à l’échelle mondiale. Ces Jeux permettent à nos 125 athlètes des Forces armées canadiennes (FAC) de se mesurer à certains des meilleurs athlètes au monde pour remporter la victoire. De plus, ils offrent aux dirigeants des FAC une autre plateforme unique pour mettre en valeur la forme physique et les qualités athlétiques exceptionnelles au sein des FAC.
This morning, officers executed four arrest warrants at addresses on Derbyshire Avenue in Stretford, resulting in five arrests.
At the first address, a 16‑year‑old boy was arrested on suspicion of possession with intent to supply Class B drugs, as well as an unrelated robbery offence.
At the second address, a 39‑year‑old man was arrested on suspicion of possession with intent to supply Class B drugs.
At the third address, two men, aged 28 and 61and a 59‑year‑old woman were arrested on suspicion of possession with intent to supply Class A and Class B drugs.
No drugs were located at the fourth address; however, a mobile phone was seized as part of the ongoing investigation.
These warrants were executed following a proactive investigation led by Trafford North’s Neighbourhood Team into drug supply linked to Derbyshire Avenue.
The team remains committed to tackling drug dealing and associated criminality across the Trafford area.
Intelligence from the local community played a vital role. Based on this information, officers believed the four addresses were connected to the supply of controlled substances.
Collaboration was key to the success of this operation. The Neighbourhood Team worked alongside the Tactical Dog Unit, the Drone Unit, our Challenger Team, and the Regional Organised Crime Unit, ensuring a coordinated and robust approach.
upon entry, officers recovered cannabis at three properties, secured multiple arrests, and seized a quantity of white powder - believed to be cocaine - which has been sent for forensic testing.
All five suspects remain in custody for further questioning.
Inspector Jamie Jeffries, from the Trafford North Neighbourhood Team said: “Executing four warrants at the same time on the same street is a significant undertaking and reflects the seriousness of the intelligence we received.
“This level of coordinated action demands careful planning and considerable resources, and it shows our determination to disrupt drug networks operating in Trafford.
“Thanks to crucial information from the public, our Trafford North Neighbourhood Team was able to act decisively against addresses suspected of working together in drug supply.
“Conducting multiple warrants in one operation sends a clear message: if you choose to deal drugs, we will gather the evidence and take robust, swift action.
“We remain firmly committed to keeping Trafford safe, and I encourage anyone with concerns to keep coming forward — community intelligence directly drives operations like today’s.
Anyone with information about criminal activity is urged to contact police on 101, Live Chat or report anonymously via Crimestoppers on 0800 555 111.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk