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From our backyard.
في المنزل وفي كل صيف نرى الرطب منذ بدايته حتى تحوله من اللون الأخضر إلى الأصفر أو الأحمر، طوال الصيف هناك أنواع من الرطب ولكل نوع له اسم، في رمضان نأكل من هذا الرطب ونوزع على من نعرف وعلى بعض الجيران.
Istoria / An Installation by Jay Walker
Dates: January 10th - March 2nd 2013
Hours: Wednesday- Saturday 12 - 6pm
Second Thursday Receptions: January 10th and February 14th 6 - 9pm
Location: The Big Hall
This installation will be constructed entirely of tape, laser cut vinyl, contact paper and veneers, then layered, shaped and formed to create the imagery throughout the Hall space along three sections. The installation is centered around Theotokos, by definition meaning Mother of God, typically used in the Eastern Orthodox Church as a title of the Virgin Mary. Walker traditionally has created this series on wood panels. This exhibition is his exploration into using walls as his surface of choice. Walker explains, “When people interact with this series I hear a multiplicity of identifications, all representing different cultures and ages, from druids to Buddhist monks to burqas to crusaders to Mary to Star Wars.”
You can't possibly find fresh dates in New York. And they're so cheap here. I bought a huge bag and had to toss most of them out a day later when ants got into them at the Kibbutz Ein Gedi guest house. :(
St. Paul’s Parish dates to 1692 when it was one of thirty parishes erected by the act establishing the Church of England as the state religion of the colony of Maryland. A frame church was constructed at the present site in 1696 but was soon rendered insufficient as the vestry contracted James Harris to construct a replacement in brick fifteen years later. In 1711, construction commenced on the present building, one of the first Georgian churches built in Maryland. The new St. Paul’s followed a similar plan to Old Trinity located further south on the Eastern Shore in Dorchester County, a rectangular nave to which a semi-circular apse was affixed to house the communion table. The revolutionary change between the two structures was the use of compass head windows and doors at St. Paul’s, unlike the small, square windows of leaded glass used in the Jacobean-styled Old Trinity. St. Paul’s was completed in 1713 at a cost of 70,000 pounds of tobacco. In 1766, a brick vestry house was constructed a few dozen yards from the west end of the church. This survives today as one only two eighteenth century vestry houses left in Maryland.
St. Paul’s weathered the tumultuous disestablishment of the Church of England in the colonies during the Revolution due to the staunch patriotism of its rector, Rev. Dr. William Smith. Rev. Smith was also instrumental in the reorganization of the Anglican Churches of the colonies into the Protestant Episcopal Church (now the Episcopal Church in the United States). However, the congregation waned in the early-nineteenth century as the influence of Methodists and Baptists increased in the state. A revival in the late-1840s saw a renovation of the historic church with the addition of new slip pews (replacing earlier box pews) and the realignment of the interior to face the apse where a chancel was erected. At this time, the original south door was bricked over, a change still evidenced in the exterior wall today. Following the renovations of 1841, St. Paul’s was consecrated on November 26, 1843 by the Right Reverend William Rollinson Whittingham, fourth Bishop of Maryland.
A few additions have been made to St. Paul’s since the mid-19th century, including a vesting room and a pipe organ. Stained glass windows have also been added in the apse and to the south of the chancel. The triptych inserted over the altar was installed in 1864 and features symbolism meant to unify a deeply-divided congregation during the American Civil War. In the gallery, early wooden benches survive, likely used by freed and enslaved African Americans in the Ante Bellum period of the parish’s history.
The Rev. Sewell S. Hepburn is recalled as a prolific pastor on the Eastern Shore who served at St. Paul’s from 1874 until 1881. His granddaughter was the actress Katherine Hepburn.
The large churchyard that surrounds St. Paul's Church contains graves dating back to the second quarter of the eighteenth century. One of the earliest is the stone of Daniel Coley, dated October 20, 1729.
Taken at the Berkeley Saturday Farmers' Market
sometime in Spring 2006
See where the photo was taken at maps.yuan.cc/.
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Suspended Animation Classic #896 First published February 26, 2006 (#9) (Dates are approximate)
Anthem
By Mark Allen
A few weeks ago, I was thrilled to see something on the spinner rack at a bookstore I hadn't expected to see; a comic written by Roy Thomas. For those who don't know, Roy is a highly-respected figure within the comics industry, having been writing and/or editing since the'60's. Not having penned a story in a number of years, however, Anthem #1 is fairly solid proof that there's no rust on that guy.
Anthem is the story of seven World War II superheroes who are awakened from a type of suspended animation during America's most desperate hour. A bit derivative, I'll admit, but not without its share of imagination. Thomas leaves lots of questions to be answered, peaking the reader's interest. Not to mention the state of the war; let's just say it's not a version you'll find in the history books. Thomas does a respectable job of pulling readers in, with some well-placed action at the beginning, some startling revelations in the middle, and a cliff-hanger ending.
Artist Daniel Acuna's work, despite appearing a bit "clunky" at times, with slightly rigid, sometimes awkward figures, reveals a great deal of insight into storytelling and characterization. His imaginative use of panels, along with his expressive characters make the book as nice to look at as it is to read. It would be interesting to watch his art develop, but, judging from the credits on a reproduction of the cover for the second issue, another artist will be replacing him. In my opinion, this is never a good thing for a book that's just starting out, as some level of consistency is necessary in order to keep readers' attention. But, I'm hoping Anthem can overcome that particular challenge.
Anthem #1 is a good start, and recommended for those who enjoy superhero action in the tradition of D.C.'s Justice Society of America and Marvel's Invaders. Look for it at comics shops, bookstores, or online retailers and auctions.
Dates: February 10-12, 2014
Location: Alerus Center, Grand Forks, ND
Photographer: Mike Hess Photography
the photo dates back to the late seventies if i remember correctly. apart from regularly supporting the good music in pretoria i took some pix for a local newspaper 'oggendblad' as a part time photographer during my school and varsity years. found these pix in a box a few weeks ago. glad to see the band still exists. rock on!
This gymnasium dates from the pre-Castro area and old the machines are still in use, only mecanics and no engines, all unchanged and maintained with love and care explained to me the manager of the place, someone of German descent.
Not so easy to communicate with him, unfortunately the German that I learnt at school is totally forgotten and as it was only the 2nd full day, I was still a bit struggling with all these Spanish terms but often similar to Italian or French fortunately.
Bridge 3
Prince William Henry Bridge.
Foleshill Road.
The Prince William Henry Bridge, built of blue engineering brick and dating from the late 19th or early 20th century. Cast-iron rubbing post next to the bridge
The Coventry Canal dates from the early pioneering days of canal building in Britain and was promoted by a group of local business men with the chief aim in enabling the export of coal from their mines in north Warwickshire. In 1767 the Coventry Canal Company committee engaged James Brindley, the foremost canal engineer of the day, to survey a 38.5 mile route from Fradley to Coventry via Tamworth, Atherstone, Nuneaton and Bedworth. The construction of the canal required an Act of Parliament, which received Royal Assent on the 29th January 1768. The canal company appointed Brindley as engineer and surveyor and work began in Foleshill Parish, probably at Longford, in May 1768. The work proceeded in both directions and within six months coal was being transported from Bedworth to Longford. The canal reached the Coventry Basin on the 10th August 1769 where according to the Coventry Mercury newspaper;
"two boats laden with coal were brought to this city from this side of Bedworth. Being the first ones, they were received with loud cheers by a number of people who had assembled to witness their arrival".
James Brindley was also the engineer and surveyor of the Oxford Canal which was under construction at that time; Brindley anticipated that both canals would join together near Coventry to create a canal linking the Thames to the Mersey. The site of the junction was intended to be at Gosford Green to the east of Coventry City Centre, but the Oxford Canal Company decided that they wanted a junction at Bedworth instead. This would have saved the Coventry Canal Company the expense of building a branch to Gosford Green, but would also have deprived them of several miles of toll revenues. The dispute between the two companies dragged on and resulted in the Coventry Canal Company dismissing Brindley in September 1769 for his perceived clash of interests. A compromise was eventually agreed whereby the junction was built at Longford in 1777 with the canals running parallel alongside one another for a mile from Hawkesbury.
The Coventry Canal had reached Atherstone in 1772 but financial problems resulted in a lengthy break in construction and the final link to the Trent and Mersey Canal at Fradley was not completed until 1790. The completion of the link enabled goods traffic to travel from northern England to the south through Longford and meant that the four and a half miles from Longford to Coventry effectively become a branch serving the city.
Suspended Animation Classic #1,037
First published November 2, 2008 (#44) (Dates are approximate)
The Ray Bradbury Chronicles - From 2001
by Mark Allen
Ray Bradbury. The very name will elicit memories of utter amazement and wonder for those who have thrilled to the words of his many fictional tales. To some, this man is science fiction, in all of its glory, and in all of the ways it is able to inspire, captivate, and completely absorb the reader. It's no wonder, then, that a three-volume set of graphic adaptations, or comic books, if you will, are at the top of this columnist's list of works that should be read by those infinitely familiar with the genre, as well as those who simply enjoy a good story.
My friends, allow me to introduce you to The Ray Bradbury Chronicles.
Chronicles is an anthology series, in which the stories are as diverse as the artistic styles used to illustrate them. Some of the greatest graphic story illustrators in the business, such as Tim Truman, P. Craig Russell, Dave Gibbons, Al Williamson and Wally Wood, get to express their artistic impressions of some of Bradbury's most unusual, and memorable work.
It is not, however, all science fiction, as the man whom many consider to be one of the greatest fiction writers of all time penned stories that were as chilling and macabre, as others were brimming with images of rockets, robots, space-travel and aliens. In fact, there may be no better way to experience and appreciate the diversity of Bradbury's work than with graphic adaptations. From his stories of colorful, nearly utopian futuristic worlds, to those futures where mankind's love for war, as well as his most base characteristics lead to utter ruin, Bradbury's sheer imagination shines through the medium of sequential art.
Bad Dates, by Theresa Rebeck, directed by Eric Ting at the Long Wharf Theatre 2/18-3/22/09
Haviland Morris as Haley Walker
Lighting Design:Josh Epstein
Costume Design:Jessica Wegener
Scenic Design:Frank J. Alberino
© T Charles Erickson Photography
tcepix@comcast.net
View More Photos at My Photoshelter.com Page
The church dates from the 11th century onwards and was rebuilt and restored in the 19th century.
Certainly there was a church here in Saxon times and the lower part of the tower is probably Saxon, from around 1050.
There is a west tower, nave with clerestory and north and south aisles, north porch, vestry and chancel.
The tower is built in ironstone and dates from the mid-12th century. It is thought that the lower stage the tower could have been a Norman porch to the old church. The second stage is Early English and the top stage is Perpendicular. The tower has an embattled parapet with pinnacles and gargoyles. The tower arch has zigzag decoration.
There are eight bells.
The nave has four-bay arcades with octagonal piers and four clerestory windows either side.
The chancel arch is from the 13th century. It is thought that the church may have been intended as being a cruciform shape with a crossing, or it may indeed have once been like this.
The chancel was largely rebuilt in 1848 and restored in 1873. The reredos is from that date.
There are several effigies of Knights set into arched tombs in the wall.
There is a triple lancet east window, and stained glass from a variety of makers.
The organ is by Cousans, and was installed in 1885.
The rood beam is by Wilfrid Bond, erected in 1929.
Dates stuffed with roasted almonds; served with cold milk. Supposedly, signature Moroccan royal hospitality that was repeated upon our arrival at Fes.
Side note: dates and roasted almonds are a surreal combination; try it at home folks!
•Dates: February 25-27, 2019
•Where: Bonga, SNNPR, Ethiopia
•Purpose: Farmer to farmer experience sharing visit to Boka-Shuta Community based breeding program, Bonga with the objective of improving women participation in CBBP.
•Partners: ICARDA, Bonga Agricultural Research Center, Areka Agricultural Research Center, AbacusBio
Photo: G. Ambaw (CCAFS)
The hotel dates from 1855 and was purchased by the Highland Railway in 1879. Sandstone ashlar facade.
The silhouette supposedly dates from the Halifax Explosion and is said to resemble a founding member of the church.
Save the Dates - Created using AccuCut die #NC227 (then we rounded the corners on the kraft colored piece of paper).
Preston Farmer's Market turned out to be more of a Christmas Traders' market on the last two dates before Christmas ~ but it's still worth going to.
IT MIGHT BE WORTH LOOKING AT THIS IN THE ORIGINAL SIZE
AND SCROLLING LEFT TO RIGHT
October 19, 2011 - Product Recall - Consumer Alert - Undeclared Sulfites In Dried Dates. For additional information, please refer to the company issued press release available on FDA’s web site at www.fda.gov/Safety/Recalls/ucm276800.htm
The ceremony of Swan Upping takes place during the third week of July every year. Swan Upping dates from the twelfth century, when The Crown claimed ownership of all mute swans which were considered an important food source for banquets and feasts. Today The Crown retains the right of ownership of all unmarked mute swans in open water, but The Queen mainly exercises this right on certain stretches of the River Thames and its surrounding tributaries. This ownership is shared with the Vintners' and Dyers' Livery Companies who were granted rights of ownership by The Crown in the fifteenth century. The swans are counted but are no longer eaten.
The Queen's Swan Marker and the accompanying Swan Uppers of the Vintners' and Dyers' Livery Companies use six traditional Thames rowing skiffs in their five-day journey upstream to Abingdon. By tradition, scarlet uniforms are worn by The Queen's Swan Marker and Swan Uppers, and each boat flies the appropriate flag and pennant. Although Members of the Royal Family are not usually present during Swan Upping, The Queen travelled up the River Thames in 2009 to witness the historic ceremony.
It has always been the duty of the Sovereign’s Swan Marker to count the number of young cygnets each year and ensure that the swan population is maintained. The cygnets are weighed and measured to obtain estimates of growth rates and the birds are examined for any sign of injury, commonly caused by fishing hook and line. With the assistance of The Queen’s Swan Warden, Professor Christopher Perrins of the University of Oxford, the swans and young cygnets are also assessed for any signs of disease. The cygnets are ringed with individual identification numbers by The Queen's Swan Warden, whose role is scientific and non-ceremonial. The Queen's Swan Marker produces an annual report after Swan Upping detailing the number of swans, broods and cygnets counted during the week.
Apart from Swan Upping, The Queen's Swan Marker has other duties. He advises organisations throughout the country about swan welfare and incidents involving swans, gives talks to local schools and charities on the subject of swan welfare and Swan Upping, and monitors the health of the local swan population. The Queen’s Swan Marker works closely with swan rescue organisations, supervises the rescue of sick and injured swans and advises fishing and boating organisations about how to work with wildlife. He also co-ordinates the removal of swans from stretches of the River Thames used for summer rowing regattas.
The history of Chatai mats dates back to the 19th century and the practice of using chatai, or reed mats as they are often known as, has since then been widely prevalent in South East Asia and India. Traditionally, these chatai mats were made using reed, palm leaves, bamboo twigs etc. In India, the Chatai garnered a reputation of being the most efficient floor covering, especially due to our traditional practices like sitting on the floor while consuming meals, doing yoga etc. With the advent of technology and modern weaving methods, reed grass was replaced with polypropylene. This resulted in mass production of chatai mats and made them a common household item.
The legendary chatais were not only akin to members residing in the same household but were the central makeshift bedding when guests paid a visit to our homes. With passing time, rugs and carpets permeated within many traditional Indian households, influencing the rise of the boho style decor. Chatai came to be known as old-fashioned amongst many people due to its heavy traditional influence. Yet, the Chatai retained its status as an economical and durable alternative. Due to efficient machine production of meticulous designs and quality weaves, the Chatai adapted to the off-beat and modernist patterns, thus catapulting its comeback!
With sustainable products gaining necessary momentum, Sapana Carpet-Mats leads the way by producing soft and comfortable chatai mats from recycled polypropylene. Our Chatai mats are environment-friendly without compromising on the look and feel. All our chatai mats are recyclable too!
Here are some factors that are bolstering the Chatai’s comeback:
1. Pros associated with sleeping on the floor with the right mat:
Performing the Shavasana towards the end of a rigorous yoga session is proven to help you calm your digestive and immune system while also reducing stress within the central nervous system. Apart from this, sleeping on the floor leads to healthier back posture and a supple backbone. Physiological fitness is a burning need today when most of our productive hours are spent fixated on a desk and chair. With a durable Chatai to return home to, you can get the support your back has been craving for.
2. A decor adaptable to urban dust-prone living spaces:
A replaceable lightweight Chatai doesn’t simply serve as a support to the human body but also concomitantly amplifies the ambience of your home. The weave of polypropylene straws creates a matting suitable enough for resisting friction while pacing over them, thus making them a good addition as a substantial floor accessory. The Chatai can also be washed easily with a garden pipe or wiped with a wet cloth frequently to combat dust and surfactants found vehemently due to pollution and other sources. Since Sapana Carpet-Mats Chatais are of premium quality, one doesn’t need to fear about its wear and tear.
3. Blending contemporary with traditional looks for the home:
From sharp geometric motifs to mellifluous florid patterns, the Chatai’s aesthetic is miscellaneous and indomitable. For instance, the regality of a Chittagong Red Chatai or the enchanting Murano Midnight Blue & Gold chatai could conveniently accentuate the appeal of your floor’s appearance with its traditional and regional influence. In a similar fashion, the presence of Bohemian Hues of Pink chatai could add a pop of blush to an unconventional decor, and in a similar instance, The FL 10 monstera leaf mantled Chatai can transform a formal interior look with a touch of rain-forest vibes. It’s indeed crystal clear that having a Chatai does not denote a ‘simpleton lifestyle’ but rather connotes a trend resurgence of physiological necessity and economical luxury.
Let the Chatai make a comeback in your home, shop now from sapanaonline.com
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