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I swear it had nothing to do with boredom. I was simply interested in the material that the Hilton could afford.
Material Circulante: Grua Uf Gy21 CP/Emef + 1 Us CP/Emef
Hora: 18:35
Data: 15/05/2014
Local: Luso (Linha da Beira Alta)
Serviço: Em socorro
Detail from Annunciation - Gabriel.
CHURCH OF ST JOHN THE BAPTIST, CHURCH STREET
Grade II* Listed
List Entry Number: 1334670
National Grid Reference: SK 43354 74869
Detail
827/1/1 CHURCH STREET 25-FEB-66 (North side) CHURCH OF ST JOHN THE BAPTIST
II* Parish church of C13-C15, C17 chapel and chancel clerestorey, restored and enlarged 1865-69 by Sir G.G. Scott.
MATERIALS: Coursed rubble to medieval parts, and coursed squared gritstone on a rock-faced plinth to C19 parts, York stone to upper stages of tower, slate roof.
PLAN: Aisled nave with south porch, lower chancel with south chancel aisle, west tower.
EXTERIOR: The 4-stage tower is the earliest section of the building, the lower 2 stages of which are C13. It has angle buttresses and clasping south-west buttress housing the stair turret. The west doorway has 2 orders of continuous roll moulding, above which is a restored lancet window and smaller lancet in the second stage. The short upper stages are C15 in pale grey York stone, with round clock face in the south wall and 2-light Perpendicular belfry openings. The crown was added in 1681, comprising an embattled parapet and small corner pinnacles. The south aisle is at least 2 phases externally. To the right of the porch are two 2-light square-headed windows, between which is a curious diagonal buttress, and further right is a 3-light square-headed window. To the left of the porch, and integral with it, is a westward extension or rebuilding of the aisle, with cusped west window. The porch has a moulded entrance arch and triple side lancets. The re-set aisle south doorway is c1200. It has nook shafts with tentative leaf capitals, and restored moulded round arch. The 7-bay north aisle is entirely C19, with gabled buttresses. It has 2-light Decorated windows, but the 2 easternmost bays are wider. It also has 3-light east and west windows. The chancel is of the same date and has similar detail: 3-light east window and 2-light north window. There is an embattled parapet on the north wall and, not visible externally, a C17 south clerestorey of 6 triple round-headed lights. The much-restored south chapel projects forward of the nave aisle and its external details are C17. It has an embattled parapet with pinnacles, 4-light square-headed windows with round-headed lights to the right and left, tripartite mullioned window right of centre, and round-headed doorway left of centre with ribbed and studded door incorporating `1696' in iron studs. The east window is 4-light with round-headed lights.
INTERIOR: The C13 tower arch has 3 orders of chamfer, the inner order on keeled shafts. The south aisle and chapel arcades are C14 and therefore earlier than external detail suggests. The 5-bay nave arcade and 2-bay chapel arcade both have octagonal piers with double-chamfered arches. The taller C19 north arcade has piers of quatrefoil section and moulded arches. The C19 chancel arch is on semi-circular responds. Roofs are C19: in the nave and north aisle are crown-post roofs with 4-way bracing, on corbelled brackets. The chancel has a closed polygonal roof with moulded ribs. Re-set in the north-aisle wall is a re-painted late-medieval Easter Sepulchre, which has a cusped ogee arch and pinnacles incorporating crude frontal figures. Walls are plastered. The floor is stone-paved with some grave slabs and black and red tiles in the chapel, and raised floorboards below pews.
PRINCIPAL FIXTURES: The c1200 font is much restored and probably altered. It has a round bowl with a single small head at the base of the bowl, on unusually thin detached shafts and round stem. Other furnishings are C19 and C20. Benches have shaped ends and moulded arm rests. The 1869 polygonal pulpit has quatrefoil panels, on a stone base with shafts and stiff-leaf frieze. The 1915 chancel screen, in late-medieval style with painted foliage cornice and brattishing, has 1960s rood by Ludwig Kuziarz. Choir stalls and priests' stalls are similar to but slightly more elaborate than nave benches. The painted stone reredos has high-relief representations of Christ in Glory, Crucifixion and Ascension. A painted wooden reredos in the south aisle was added in 1947, with the Virgin Mary and saints. There are several monuments to the Frecheville family. In the chancel a damaged brass effigy, on a tomb chest decorated with shields in quatrefoils, is to Peter Frecheville (d 1480). Next to it is a recess with small male and female brass effigies, to Piers (d 1503) and Maud Frecheville. An incised alabaster slab on the south side of the chancel is to John Frecheville (d 1510). In the south chapel is a wall monument to Christian Lady St John (d 1653 in childbirth) with reclining female figure nursing a baby. Also in the chapel is a sarcophagus with seated putti, to John Lord Frecheville (d 1682). Behind it is an armorial stained-glass window dated 1676, by Henry Gyles of York. C14 glass fragments are in the chapel east window. There are several other stained-glass windows of the late C19 and C20, including SS Peter, John, Francis and Paul by F.S. Eden (1937) and 2 north-aisle windows by H.J. Stammers of York (1956, 1965).
SUBSIDIARY FEATURES: Lych-gate with half-hipped graded-slate roof, by P.H. Currey, c1938.
HISTORY: The earliest surviving features of the church are the c1200 south doorway and possibly the font. The tower is C13. In the C14 the south aisle and a south chapel were added. The church was altered in the C15 by the heightening of the tower, and then by rebuilding the outer walls of the south aisle. In the latter half of the C17 the chapel walls were rebuilt (window dated 1676), chancel clerestorey was added, and the crown was added to the tower in 1681. The church was restored and enlarged in 1865-69 at a cost of over £6000. The architect was Sir George Gilbert Scott (1811-78), one of the most successful and prolific C19 church architects. Scott added in the north aisle in his favoured c1300 style, rebuilt the chancel in similar style, added the present porch and rebuilt the adjoining part of the south aisle.
SOURCES: Johnson, D., Visitors Guide, St John the Baptist Church (2008). Pevsner, N., (revised E. Williamson), The Buildings of England: Derbyshire (1978), 326-27.
REASONS FOR DESIGNATION: The church of St John the Baptist, Staveley, Derby, is designated at Grade II* for the following principal reasons:
*It is a substantial medieval village church with substantial early fabric, including c1200 doorway, C13-C15 tower, and C14-C17 aisle and chapel.
*It has medieval interior features of special interest, including the font and the rare (but re-sited) Easter Sepulchre.
*It has several notable features connected with the Frecheville family, especially the C15-C17 monuments and C17 armorial window.
*The church stands next to the early C17 former Staveley Hall, seat of the Frecheville family.
This site is the future home of the Florence Publix Grocer and a strip center to house a new BAM store.
Item #: 00058
Title: Sister Elizabeth Hill "Outstanding Community Leadership Award" (06/11/1999)
Description: Award presented by 88th Precinct Community and Youth Council
Date: [6/11/1999]
Type: Award plaque
Size (H x W x D) cm: 30 x 23 x 1.5
Location/Box: 204/B5
Repository: St. Joseph’s College McEntegart Hall Library Archives
Date of acquisition: [11/14/2012]
Donor(s): S. Elizabeth Hill
Subject: Saint Joseph’s College (Brooklyn, N.Y.). - History, Local - Collectibles.
Women’s colleges - New York (State) - New York - History.
Rights: It is the College policy that material in its collection be made available for research and scholarship. We ask that should material be reproduced or published in any way, that the College is given appropriate credit.
Call Number: 3D Objects
We were asked to design material for a conference held by the Ministry of Culture and Church Affairs and Norsk Form. The topic was Ny Norsk Arkitekturpolitikk (The New Politics of Architecture, Norway). Among the speakers were Tyler Brülé, John Thackara, Juan Herreros and Trond Giske (Norwegian Minister of Culture and Church Affairs).
We worked on the idea that architecture is about material and how people involve themselves in the environment around and in context to the buildings. Material produced included different paperstocks and we tried to find ways to make information available on more than one level. The goal was to inspire the viewer and make he/she think about why the different materials were used. As using one side can also have impact on how the opposite will end up, and the perception of how architecture affects our vision in relation the the tactile experience.
Among the things we designed were invitations, web material, documentfolders, nametags, screen visuals etc.
Beads, yarns, embellishments, rulers, etc. They're all stored beneath my work table in labeled bins.
“The material basis of media technologies – and books are only one example – is changing, for which historical perspectives might give not only comforting back-up (‘nothing is as permanent as change’) but also ideas to push the change forward.” (Jussi Parikka, 2012)
We can certainly talk about change; our present landscape is a space where the digital and physical have become synonymous, which many believe to be signaling the coming of an ontology-less future, through the accelerated disruption of cultural value. In this light old standards show their age and obsolescence in the face of the new, and with each new wave of informational overload we are further alienated by the system, that revolves around an economy of monetary circulation. All these factors come together to push a re-evaluation of identity and the human value. This brings to mind the genealogy of currency, articulated by Joseph Beuys during the discussion entitled What is money? : “Of course ‘Geld’ [‘money’] comes from ‘Gold’, same etymology. But it comes equally from ‘Geltung’ [‘validity’], meaning the value people fix based on their perception of a natural right. The word ‘Geltung’ is rooted in representations of a natural right, while the word ‘Gold’ is rooted in the economy of barter!” (Joseph Beuys, 2012).
In this light, Geltung [validity]: perception of a natural right brings together four artistic investigations that re-evaluate established methods of financial exchange bestowing new material values and identities to their subjects. In a landscape where monetary currency is pinnacle, the artists interrogate notions of personal and individual history, locality and its impact in identity and the framework that contains our cultural objects.
Diogo da Cruz’s work, WORDCOIN (2016 – Current), proposes the implementation of a new currency, that will give a literal value to each one’s speech. By creating The Bank for Argumentation, the costumer-museum-goer will have the opportunity to trust his or hers arguments to an institution that can save and trade them, giving the deserved and objective exposure to their ideas. Max Dovey presents Breath (BRH) (2017), a digital currency that is mined through human respiration. The installation combines breathing and micro-computers to mine, store and trade human breath as a virtual currency on the crypto-market(s). The market value of BRH is determined by the inflation created by respiratory miners who participate in the physical installation. Felicity Hammond’s artworks draws upon images from her own archive, using documents of the landscape and found images online; those of both existing and imagined future spaces. Hammond utilises particular motifs and structures that respond specifically to the digital representations found online of Dundee’s vast regeneration programme. For I keep forgetting I’ve been to Tokyo: GAIDEN (2017), Petra Szemán follows the virtual self through parallel and intersecting realities, along the departure-initiation-return structure of a hero’s journey. Drawing upon personal and/or constructed experiences, the work explores the idea of a non-localised identity that’s an archive of accumulated personal mythologies acquired from a multitude of realities.
An offline/online exhibition curated by Alejandro Ball and Inês Costa
Opening night: 27 October 2017, 7pm – 9pm
Performance part of NEoN Festival: 9 November 2017, 7pm – 8pm
Supported by Creative Scotland, University of Dundee and Leisure and Culture Dundee
urixblog.com/en/2015/04/13/me-exh-hdnkh-moscow-3d/ exhibition about the crimes of the Ukrainian army in Donbass
1x 30"x42" Batik Painting
1x Caulk Gun & Black Caulk
1x 25ft LED Light Rope
1x Black Paint
1x 27"x39" Poster Frame
2x 27"x39" Acrylic Sheets
1x 27"x39" Parchment Paper
15x 3/4" Eye Hooks
24x Wood Screws
2x 40.5" 1x3 Boards
2x 30.5" 1x3 Boards
1x 27"x39" "Corporate Wide" frame from FrameUSA
10x L-Brackets
the collage materials I received for my contribution to Super Duper Nova, an exhibition organised by a secret club www.schhh.org The collages will all be featured in a catalogue/zine that can be pre ordered here: www.bitly.com/schhhop
Ms. Tami's been collecting new items for the sensory table! Story Time participants LOVE this table because they get to scoop and pour and use their senses to explore. Lester Public Library, Two Rivers, Wisconsin
Locotrator a diesel da série "1150" que pertence à "EMEF" e se destina apenas a manobrar o material rebocado. Marca "Sentinel"
from theecho.com:
After selling out The Echo in April, Bambu began conceptualizing his next live set in Los Angeles with all new exclusive material along with the classics. On August 24th, The Echoplex will be hosting Bambu and a lineup of Cali up-and-coming noise makers that have already made their respective marks locally.
Still riding off the success of his last full-length album, ...one rifle per family., and finishing up his latest mixtape, Sun Of A Gun, Bambu has had a busy 2013. Ready to unveil the new material and some up-to-date reworks of his fan favorites, The Echoplex is sure to jump during this Soul Assassin's last Los Angeles headline show for 2013. There's been a lot to talk about this year, and if you've ever been to a Bambu show you know that nothing is off limits.
The new mixtape, Sun Of A Gun will also be available at the show, along with all Bambu albums, t-shirts and other merchandise. The mixtape boasts production and features from legendary DJ's Q-Bert, Rhettmatic, D-Styles, P-Trix... You get the point. They WILL ONLY BE AVAILABLE in limited quantities at live shows in select cities, and of course, Los Angeles is one of them.
The bill boasts some of Underground Hip Hop's best performers: Reverie (LA), Kixxie Siete & Artie McCraft (Hawthorne), Ruby Ibarra (Bay Area) and KB iMean (NY/LA).
As the co-host of In The Cut with DJ Revolution (Wake Up Show) and 1/2 of the rap super group Malcolm & Martin, KB iMean has worked with Hip Hop legends closely and his music is proof of that. With his effortless flow and critical perspective, KB's music translates into a great live set. Definitely not one to miss!
Ruby Ibarra has opened for the who's who of the Underground Hip Hop scene and has managed to create a very strong fanbase overseas. Her DJ Kay Slay hosted mixtape, Lost In Translation has circulated through the internet rapidly and to great review. She's sure to make you a fan with her live show, so make sure you get those tickets early!
The Yacht Klub's, Kixxie Siete, who helped sell out The Echo with Bambu last April, dropped his 7AM mixtape with producer Bambeeno and it quickly became a fan favorite. Artie McCraft has been strengthening the Yacht Klub's reach with his own brand of hard hitting lyrics and machine gun flow. Together, the Yacht Klub emcee's are releasing, Lo-Tide - a collaborative mixtape that will keep you good for the summer! "Y's" up for Kixxie and Artie as they add another bullet to their live show resume.
Reverie, the graffiti vandal from North East Los Angeles, has created an empire of fans across the West Coast and her internet buzz is a testament to her hard work. With a host of highly viewed YouTube videos and a live show resume that stretches across the nation, she is primed to go down in Los Angeles' Hip Hop scene as one of it's most prized artisans!
Do not miss this show! If April's show is any indication to what this show is going to be like, make sure you get your tickets EARLY!
Reverie
Watch
Links
Reverie
Reverie, the graffiti vandal from North East Los Angeles, has created an empire of fans across the West Coast and her internet buzz is a testament to her hard work. With a host of highly viewed YouTube videos and a live show resume that stretches across the nation, she is primed to go down in Los Angeles' Hip Hop scene as one of it's most prized artisans!
Kixxie Siete and Artie McCraft
Watch
Listen
Links
Kixxie Siete and Artie McCraft
The Yacht Klub's, Kixxie Siete, who helped sell out The Echo with Bambu last April, dropped his 7AM mixtape with producer Bambeeno and it quickly became a fan favorite. Artie McCraft has been strengthening the Yacht Klub's reach with his own brand of hard hitting lyrics and machine gun flow. Together, the Yacht Klub emcee's are releasing, Lo-Tide - a collaborative mixtape that will keep you good for the summer! "Y's" up for Kixxie and Artie as they add another bullet to their live show resume.
Ruby Ibarra
Links
Ruby Ibarra
Ruby Ibarra has opened for the who's who of the Underground Hip Hop scene and has managed to create a very strong fanbase overseas. Her DJ Kay Slay hosted mixtape, Lost In Translation has circulated through the internet rapidly and to great review. She's sure to make you a fan with her live show, so make sure you get those tickets early!
KB Imean
Links
KB Imean
As the co-host of In The Cut with DJ Revolution (Wake Up Show) and 1/2 of the rap super group Malcolm & Martin, KB iMean has worked with Hip Hop legends closely and his music is proof of that. With his effortless flow and critical perspective, KB's music translates into a great live set. Definitely not one to miss!
From indigenous materials to ancestral technologies, July’s Friday Late looked to the tradition of craftsmanship in Argentina and its continuing influence on the country’s contemporary art and design. It paid homage to the Argentinian landscape with a tapestry installation inspired by the grasslands, and hear about how current fashion designers are using traditional Munachi cult dolls to bring hand-weaving skills back to life.