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This image presents two striking pieces of what appears to be contemporary AI-generated art within a gallery setting, highlighting a fascinating dialogue between digital aesthetics and physical sculpture. On the left, a vibrant, three-dimensional sculpture depicts a bird-like or creature-like form composed entirely of sharp, geometric polygons in a spectrum of colors. Its "low-poly" aesthetic - a style popularized in early 3D computer graphics and video games - gives it a retro-futuristic look, contrasting with the smooth, traditional surfaces of the gallery. This style deliberately rejects photorealism in favor of abstraction through geometry, making the digital roots of the artwork its central feature.
The geometric sculpture can be interpreted as a commentary on the intersection of nature and technology in the digital age. The creature, a traditionally organic form, is rendered in an inherently artificial, segmented, and mathematical way. The vibrant, almost pixelated color palette, combined with the hard-edged geometric abstraction, suggests a new kind of "life" or "creature" that is born not of biology, but of algorithms and data. Its presentation on a pristine white pedestal emphasizes its importance as an object of art, while its polygonal construction constantly reminds the viewer of the underlying code that brought it into existence. This piece challenges traditional notions of a sculptor's hand by showcasing the precise, calculated aesthetics of machine generation.
Complementing the sculpture is a large, square abstract painting hanging on the far wall, also exhibiting characteristics often associated with generative AI art. The canvas is filled with sweeping, gestural strokes and blurred bands of highly saturated color, reminiscent of Abstract Expressionism but with a hyper-smooth, luminous quality. This painting seems to explore the visual "hallucinations" or "dreams" of a neural network, where recognizable forms begin to dissolve into pure, emotional color and light. The rich texture, though possibly simulated, speaks to a desire to translate the seamlessness of digital processing back into a physical, textured form.
In its overall interpretation, the exhibition juxtaposes the discrete (the hard, countable polygons of the sculpture) with the continuous (the fluid, seamless colors of the painting) as two modes of AI expression. Both pieces, through their distinctly non-human execution, invite a reflection on authorship and the limits of creativity. Are these mere reproductions of learned styles, or are they genuine new forms born from the machine's unique capacity for pattern-matching and synthesis? They stand as tangible proof of how AI is not just creating art, but actively exploring the visual language of abstraction across different media - from the structured logic of low-poly modeling to the limitless potential of color fields and gesture.
This segment of road had been under construction for several months. The area where I took this photograph was where all the construction equipment was stored during the construction period. One Friday while driving home from work, I noticed that all of the construction equipment was gone, leaving just a bare field and a little gravel road leading to this spot. Two days later, I drove here and took this picture.
I knew I probably wasn't supposed to be here, but there was no "keep out" sign, and the area was totally open. I'm usually pretty shy about trespassing, but I've found that a camera often strengthens my willingness to push boundaries. So I parked near the entrance and walked in a ways to get this shot.
I'm glad I did. Just a few days later, someone came along and erected a fence to keep people out of this area. Unless someone is even more bold than I was, this is the only shot we will get from this patch of land, which is a shame, because it's quite a lovely spot to relax and think about life.
Pentax K-S2, SMC Pentax-M 200/4
For the Single in March 2016 Challenge, my last entry before joyfully dropping out for the last three days of March! ^_^ Done with 200mm!
Fantasia 1985 Press Release Kit . Fantasia 45th Anniversary . The press kit cover is in good shape some wrinkles and creases . The press kit itself inside is in like new condition .
About Fantasia:
Fantasia is a 1940 American animated film produced by Walt Disney and released by Walt Disney Productions. With story direction by Joe Grant and Dick Huemer, and production supervision by Ben Sharpsteen, it is the third feature in the Disney animated features canon. The film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies, providing a live-action introduction to each animated segment.
Disney settled on the film's concept as work neared completion on The Sorcerer's Apprentice, an elaborate Silly Symphonies short designed as a comeback role for Mickey Mouse, who had declined in popularity. As production costs grew higher than what it could earn, he decided to include the short in a feature-length film with other segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in stereophonic sound.
Fantasia was first released in theatrical roadshow engagements held in thirteen U.S. cities from November 13, 1940. It received mixed critical reaction and was unable to make a profit due to World War II cutting off the profitable European market, the film's high production costs, and the expense of leasing theatres and installing the Fantasound equipment for the roadshow presentations. The film was subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each version. As of 2012, Fantasia has grossed $76.4 million in domestic revenue and is the 22nd highest-grossing film of all time in the U.S. when adjusted for inflation. Fantasia, as a franchise, has grown to include video games, Disneyland attractions, a live concert, and a theatrically released sequel (Fantasia 2000) co-produced by Walt's nephew Roy E. Disney in 1999. Fantasia is widely acclaimed, and in 1998 the American Film Institute ranked it as the 58th greatest American film in their 100 Years...100 Movies and the fifth greatest animated film in their 10 Top 10 list.
In 1936, Walt Disney felt that the Disney studio's star character Mickey Mouse needed a boost in popularity. He decided to feature the mouse in The Sorcerer's Apprentice, a deluxe cartoon short based on the poem written by Johann Wolfgang von Goethe and set to the orchestral piece by Paul Dukas inspired by the original tale. The concept of matching animation to classical music was used as early as 1928 in Disney's cartoon series, the Silly Symphonies, but he wanted to go beyond the usual slapstick, and produce shorts where "sheer fantasy unfolds ... action controlled by a musical pattern has great charm in the realm of unreality." Upon receiving the rights to use the music by the end of July 1937, Disney considered using a well-known conductor to record the music for added prestige. He happened to meet Leopold Stokowski, conductor of the Philadelphia Orchestra since 1912, at Chasen's restaurant in Hollywood, and talked about his plans for the short. Stokowski recalled that he did "like the music"; was happy to collaborate on the project, and offered to conduct the piece at no cost.
Following their meeting, Disney's New York representative ran into Stokowski on a train headed for the East Coast. In writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium". In his excited response dated October 26, 1937, Disney wrote that he felt "all steamed up over the idea of Stokowski working with us ... The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation." He had already begun working on a story outline, and wished to use "the finest men ... from color ... down to animators" on the short. The Sorcerer's Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse cartoon series.
Deems Taylor was the film's Master of Ceremonies, who introduced each segment in live action interstitial scenes.An agreement signed by Disney and Stokowski on December 16, 1937, allowed the conductor to "select and employ a complete symphony orchestra" for the recording.Disney hired a stage at the Culver Studios in California for the session. It began at midnight on January 9, 1938, and lasted for three hours using eighty-five Hollywood musicians. As production costs of The Sorcerer's Apprentice climbed to $125,000, it became clearer to Disney and his brother Roy, who managed the studio's finances, that the short could never earn such a sum back on its own. Roy wanted his brother to keep any additional costs on the film to a minimum. He said, "because of its very experimental and unprecedented nature ... we have no idea what can be expected from such a production." Ben Sharpsteen, a production supervisor on Fantasia, noted that its budget was three to four times greater than the usual Silly Symphony, but Disney "saw this trouble in the form of an opportunity. This was the birth of a new concept, a group of separate numbers—regardless of their running time—put together in a single presentation. It turned out to be a concert—something novel and of high quality."
For the 1982 and 1985 releases Disney presented Fantasia with a completely new soundtrack recorded in Dolby Stereo. First released on April 2, 1982, this version of the film marked the first time a film's soundtrack had been digitally re-recorded in its entirety. To replace Stokowski's recordings, the noted film conductor Irwin Kostal was engaged. He directed a 121-piece orchestra and 50-voice choir for the recording that took place over eighteen sessions and cost $1 million. To maintain continuity with the animation Kostal based his performance on the tempos and pacing of the Stokowski recordings, including the cuts and revisions to The Rite of Spring. However, for Night on Bald Mountain he used Mussorgsky's original orchestration instead of Leopold Stokowski's own edition that was part of the original soundtrack. The new recording also corrected a two-frame lag in projection caused by the old recording techniques used in the 1930s. Deems Taylor's scenes were deleted and a much briefer voiceover narration was recorded by Hugh Douglas as the studio felt the modern audience "is more sophisticated and knowledgeable about music." This version returned to around 400 theaters in 1985, this time with actor Tim Matheson providing the narration.
About the Book
Dejan Stojanović, Sunce sebe gleda, Književna reč, Beograd, 1999
By statement: Dejan Stojanović.
Series: Biblioteka Pismo
Source records: Library MARC record
Library MARC record
Language: Serbian
Dimensions: 21 cm.
Pagination: 157 p. ;
LCCN: 00279202
LC: PG1419.29.T587 S86 1999
Subject: Poetry
THE SUN WATCHES ITSELF
The second collection of Dejan Stojanovic's verse, "The Sun is Watching Itself," is covered by a metaphysical and philosophical veil. Eleven segments are connected by these two abstract approaches and by such key images as a circle, suggesting infinity, and silence, reflecting space and eternity. The circle serves as a powerful symbol and a device of the perpetual in this poetry: "the end without endlessness is only a new beginning," claims the poet. Thus, one of the poems bears the title "God and Circle," symbolizing the perennial search for an exit and the eventual finding of one, which only leads into another circle and to continuous evolution. This prompts Stojanovic to pose the question "Is God himself a Circle?"--implying that God is endless and ever present.
Although concise, the poems convey in a powerful and specific manner messages from the triad circle-God-eternity, connected by man's destiny and the poet's concept of human life and origins, and of the universe itself. In other words, microcosmic observations lead to macrocosmic revelations and didactic conclusions. The poems seem to teach us what is obvious in the context of common sense, often surprisingly remote to the modern man.
In terms of style and format, the author has a coextensional approach; he uses relatively simple expressions and words in an interplay of brilliant meanings that bring about highly complex but easily readable structures. If elegance is represented by simplicity, then these are some of the most elegant verses imaginable; unadorned verses that are a source of beauty and wisdom.
Stojanovic's perceptions of light and darkness, of fantasy and reality, of truth and falsehood present us with a circular format of infinity and resurrection.
The format has its logical beginning and end. "The Sun is Watching Itself" begins with poems dedicated to God and the universe, then descends from the metaphysical to the philosophical, focusing on more ordinary such us the symbolic meaning of a stone, a game, a place, silence, hopelessness, and the question "Is it possible to write a poem?" Stojanovic's collection might well serve as an affirmative answer to this question. The poet has taken us on a long journey from God and universe to our everyday world. We all seem to be a part of a circle, says the author, searching for the eternal in the universe, only to realize the finality of life on earth. The poet's message is doubly effective for its extraordinary, soul-searching content and its reflective, powerful language.
-Branko Mikasinovich, Washington, D.C.
WLT World Literature Today, A Literary Quarterly of the University of Oklahoma, Norman, Oklahoma
Volume 74, Number 2, Page 442, Spring 2000
SOLARNI KRUG ISTINE
Već sa prvom zbirkom ("Krugovanje") Dejan Stojanović je kvalitativno značajno postulirao svoj poetički credo i simbolički kompleks tako da uz pomoć njega može uspešno da se prati obimno koncipirana celina, kontinuitet i preokupacije, drama pesničkog stvaranja u borbi za istinu i traženje smisaonosti kroz kreaciju u zbirci "Sunce sebe gleda." Kroz poetičku prizmu narečenih zbirki jasno se sagledava i poetsko "vjeruju" Dejana Stojanovića koje bi bilo najbliže Nastasijevićevoj misli da bi trebalo prožeti se poezijom, a ne samo dodirnuti je. Pesnik sa prvom zbirkom prihvata izazov, koji još bolje značenjski produbljuje u drugoj; odricanje od moderne koja je sama sebi svrha, opredeljujući se da pesničkim simbolima iskaže univerzalnu dramatičnost.
Pesnik, i kada je osećanje slobode u njemu jedna od osnovnih dominanti osećanja sveta, ne može se oteti utisku da je još samo jedna karika u lancu potvrđivanja i nastavljanja volje onih spodoba koje iz dubina nebića izlaze na svetlo dana, zauzimajući sebi svojstvena i primerena mesta u hipokriziji, oportunizmu i egocentričnom konformizmu naših dana. Otuda je u poeziji Dejana Stojanovića put ka suštini i istini poetički i smisleno lociran "s druge strane vida" ("Krugovanje") dok se formalno poigravanje smislom reči—koje na planu metafizičkog usložnjavanja povlači razgranato poigravanje značenjem—prepliće sa nepomućenom verom u pročišćujuću ulogu reči. Profetska uloga poezije u prizivanju i ovekovečavanju kataklizme totalitarnog sveta daruje ontološki pečat postojanja svemu; u rekombinacijama i specifičnim međuodnosima i višnjoj harmoniji između stvari iz fundusa očiglednosti. Osluškivanje pulsacija bića izjednačeno je sa osluškivanjem večnosti koja vaskrsava u poetskoj matrici saznanja o nepreglednosti i, u isto vreme, uniženosti bića u odnosu na apsolut, ciji je pečat jasno utisnut u svakodnevnu pojavnost. Samim tim kategorije vanljudskog počivaju u metaforama i slikama sveta koji se atomizira u supstancijalni praelement smisla; u prapočelo, odakle se ponovo vaspostavlja pod blagotvornim utiskom i oblikom pesme.
Poniranje u nemušte i tajinske zone bica, osetljivost i pažljivost u građenju lirskog subjekta, imaginativni spojevi prepuni duhovne osetljivosti, od velike većine pesama zbirke "Sunce sebe gleda" stvaraju univerzalne simbole poetski rafinovane imaginacije, fantazijskih obasjanja i pazljivo odabranih folklornih rudimenata pamćenja izniklih iz našeg tla. Jezički senzibil uvodi nova značenja u poznate relacije; svetlo i tama—oportuna simbolika sna, pretvaraju se u okolnosti stvaranja, tišina prerasta u dinamično stanje unutrašnje molitve, a istina, kroz potrage za njenim ontološkim parametrima—preispitivanjem nutrine, postaje samosvojno stanje izopštenih i jurodivih umova. Upravo takvo posedovanje istine, kao unutrašnjeg osećanja i kao istupa iz sebe, u poetskom ludensu Dejana Stojanovića povlači irinijske i sarkastične linije pevanja; asketskog izrugivanja svetu materije, hipokrizije i prosečnosti, suprotstavljanja istine jedinke (bića) "istini" mase (kolektivnog zla utemeljenog u ne-bicu). Pozicija čoveka samca jeste pozicija pesnika u odnosu na, do obezličenja multiplikovan, organon vaskolikog sveta.
Stišani tonovi gradacije simbola, stvaranje specifične hijerarhije, traženje sebe u drugima i drugih u sebi, elementarizuju u ovoj zbirci jedinstvo kruga kao alegorični pečat apsoluta i istraživanja beskonačnosti i konačnosti zemaljskih dana. Između reči i glasova, katalizatora duhovnog i uzvišenog, apsoluta i smisla postojanja, sugestivno i simbolički redukovanih stihova, do širokog narativnog zamaha, utkana je čitava ova zbirka. Ova poezija je sva u jeziku i sva od jezika. Put Nojeve barke jezika jeste njeno apsolutno znanje kojim plovi kroz žamor i bure nerazumevanja, neshvatanja i reči iz kojih je iscureo smisao kao pesak iz klepsidre sveta čije dane prepune iskušenja intenzivno proživljavamo.
-Petar V. Arbutina, 1999.
PESNIK PRED OTVORENIM VRATIMA
Dejan Stojanović, u poslednje dve godine načinio je pravi podvig: objavio je šest knjiga. Osim jedne, sve knjige pesama.
Stojanović je pesnik koji traga za savršenim pesničkim oblikom jer istovremeno traga i za apsolutnim smislom čovekovog postojanja.
"Krugovanje" (1993) je naznačilo Stojanovićev pesnički put, a nove knjige—"Sunce sebe gleda", "Znak i njegova deca", "Tvoritelj", Oblik, uz treće, dopunjeno izdanje "Krugovanja", zaokruzile su njegovo dosadašnje pesničko delo. U "Razgovorima," Dejan Stojanović je sabrao intervjue koje je početkom devedesetih godina vodio sa veoma istaknutim srpskim i stranim stvaraocima, u Beogradu, Parizu i Čikagu, a objavljivao ih je tih godina (1990-1992) u magazinu "Pogledi". Nije mala stvar naći se oči u oči sa piscima kakvi su Alek Vukadinović, Momo Kapor, Nikola Milosević, Žak Klod Vilar, Sol Belou, Stiv Tešić, Branko Mikašinović, Čarls Simić i Nadja Tesić, ili sa slikarima Petrom Omčikusom, Ljubom Popovićem, Milošem Šobajićem, Savom Rakočevićem. Umeti sa njima razgovarati na visokom, dakle njihovom nivou, postavljati im odgovarajuća, za svakog od njih dobro promišljena i pronađena pitanja, koja otključavaju brave i njihovih dela i njihovih ličnosti, to je posao koji zahteva veliko i veoma rznovrsno znanje. Nije, onda, čudo što je za ovu knjigu Dejan Stojanović dobio nagradu Matice iseljenika i Udruženja književnika Srbije za intelektualni angažman.
Knjiga pesama "Krugovanje" bila je objavljena prvi put 1993. godine, a zatim je doživela još dva izdanja, 1998 i 2000. Pesnika iz Čikaga srpska javnost je doskora poznavala samo po toj knjizi. Poznavala i cenila, što se može zaključiti iz sažete ocene Aleka Vukadinovića: "Specifičan, iznenađujuće originalan, izvan tokova kolektivno negovanih senzibiliteta i pomodnih trendova. "
I poznati američki pesnik, Čarls Simić, ima laskavo misljenje o prvoj Stojanovićevoj knjizi.: "'Krugovanje' je knjiga u kojoj sam u potpunosti uživao. Obilje lepih kratkih pesničkih formi." Ne iznenađuje ovakva Simićeva ocena, jer on kao stvaralac i prevodilac Nastasijevića i Pope zna šta je lepota kratke pesničke forme. Zato je i važno to priznanje kada ono baš od njega dolazi, a pogotovo što se odnosi na nešto sto je bitna karakteristika Stojanovića kao pesnika: za njega su reči sakralni znaci, pa se on prema njima i odnosi sa krajnjim poštovanjem, odgovornošću, uzdržanošću, koja je na samoj granici straha:
Kada bismo utvrdili
Koliko je važno da se nešto kaže
Mozda nijednu reč ne bismo napisali
("Isto")
Ali strah ne sputava pesnika. Razmišljajuci o svojoj poetici , Stojanović se prisetio majstora nad majstorima, Betovena:
"Samo praznina kad gleda / Uvek isto vidi". Praznina može da vidi samo prazninu. A čovek kada gleda vidi čoveka—mada ni njega nije lako videti, pogotovo sagledati. Pesnik, međutim, gleda kroz čoveka i vidi ono što vide pravi stvaraoci, umetnici i duhovnici—tajnu. Stojanović je, pored ostalih, napisao i dve lepe pesme o tajni. Prva "Tajna" kao da je od ovoga, čovekovog i prirodnog sveta:
Bogata i daleka
Ti nemo čekas
Gde se kriješ
Daj znak
Primi u goste
Morem opasana
Nehajna—sebi dovoljna
Nećeš da otvoriš vrata
A druga tajna, u pesmi "Tajna i istina", kao da je ona koja je u vezi, pored drugih, sa jednom, najvišom istinom, istinom nad istinama, u vezi sa samim izvorom života i postojanja, sa istinom Tvoritelja:
Ima mnogo tajni
Nemoj ih sve rešavati
Ima mnogo istina
Samo ka jednoj teži
Sve istine iz jedne dolaze
U pesmi "Blago izvora", iz tog istog ciklusa "Betoven i smrt", u knjizi "Sunce sebe gleda", Stojanović se ponovo vraća sličnoj slici početka svih početaka, ishodištu svih ishodišta, izvoru svih izvora:
Ne propusti da vidiš
Kako se cveće Suncu
Galeb vodi raduje
Primi ih u sebe
Gledaj kroz mrak
Sanjaj kroz svetlost
Ka jezgru
Iz kog si na put krenuo
Pored apsolutnih, svemirskih "vrata", Stojanović ne zaboravlja ni čovekova vrata, na kojima se, ranije ili kasnije, ugleda smrt. I ta se pesma, "Betoven i smrt" odlično uklapa u ovaj ciklus u kojem se ukrštaju simboli izlazaka i ulazaka:
Smrt je na vratima
Kaže Betoven
Da li da mu verujemo
Možda se i nije šalio
Možda je stvarno video smrt
Oči im se srele
Njemu nije imao ko da kaže
Da zaključa vrata
I da mu je rekao, Betoven ih ne bi zaključao. Nije ih zaključao ni Stojanović. Srećom po sebe i poeziju koju piše drži ih i on širom otvorena.
Sreću mu se oči sa smrću, ali i sa svetlošću.
-Aleksandar Petrov
Amerikanski Srbobran, Književni dodatak, decembar 2000.
Table of contents:
NEBOKRET
Prva Tišina, 7
Vrh i dno, 8
Omeđen beskrajem, 9
Vetrenjača, 10
Sveti plam, 11
Tačka, 12
Vasiona, 13
Cvet svemira, 14
Jesi li ili nisi 15
BOG I KRUG
Dan svemira, 19
Nebo i krug, 20
Istina kruga, 21
Bog i krug, 22
NEBOHOD
Kiša apsoluta, 25
Oblak I, 26
Oblak II, 27
Svetlost i mrak, 28
Obmana, 29
Mladi starac, 30
Večnost i trajanje, 31
Večnost i večnost, 32
Nula, 33
Brzina, 34
Beskraj i kraj, 35
MESTO ZABORAVLJENO
Ognjište, 39
Bajka i kraj, 40
Paradoks, 41
Božji šegrt, 42
Varka, 43
Čvsrta zemlja, 44
Bog je zauzet, 45
Zvezda u travi, 46
Slovo njegovo, 47
Mesto zaboravljeno, 48
Vatra, 49
Povratak, 50
KAMEN I REČ
Gde prestaje pesma, 53
Reč, 54
Prva reč, 55
Kaman i reč, 56
Slaganje reči, 57
Skrivene reči, 58
Reči nekazane, 59
Priče, 60
Hipnoza reči, 61
Nekoliko reči, 62
Ista priča, 63
Misao II, 64
Laž, 65
Istina i laž, 66
Sokrat, 67
Umor, 68
Nova reč, 69
ŠTA POSLE
Nemost, 73
Ili, 74
Pitomi zvuk, 75
Tamo i ovde I, 76
Ništa, 77
Svetiljka, 78
Ovako i onako, 79
Šta posle, 80
Vitez, 81
Vitezovi, 82
IGRE
Ne, 85
Rat, 86
Stvari, 87
Prevara, 88
Cirkus, 89
Visočanstvo, 90
Patuljak, 92
Virus duše, 93
Vrednost i promašaj, 94
Produži dan, 95
Igra I, 96
Igra II, 97
Igra III, 98
Razmišljanje naljućenog, 100
MOŽE LI SE NAPISATI PESMA
Da li postoji Bog, 103
Uvreda I, 104
Božji sin, 105
Hrist, 106
Glava, 107
Život, 108
Blesak tišine, 109
Dobrotvori, 110
Može li se napisati pesma, 111
Predah, 112
BEZIZLAZ
Oduzetost, 115
Nasamo sa sobom, 116
Ako, 117
Tamo i ovde II, 118
Apsurd, 119
Uvreda II, 120
Podvala, 121
Misao o nama, 122
Pitanje suncu, 123
Seansa, 124
Stara klupa, 125
Vrt , 126
ZVUK TIŠINE
Šapni mi svoju tajnu, 129
Mera borbe, 130
Jednostavnost, 131
Empatija, 132
Put, 133
Pakao i raj, 134
Miris polja, 135
Lek, 136
Zrak, 137
Dan, 138
BETOVEN I SMRT
Izlaz, 141
Tajna, 142
Tajna i istina, 143
Blago izvora, 144
Možda, 145
Betoven i smrt, 146
Isto, 147
EPILOG
Pakao, 151
DODATAK
Solarni krug istine, Petar V. Arbutina, 155
Beleška o piscu, 158
By statement: Dejan Stojanović.
Series: Biblioteka Pismo
Source records: Library MARC record
Library MARC record
Language: Serbian
Dimensions: 21 cm.
Pagination: 157 p. ;
LCCN: 00279202
LC: PG1419.29.T587 S86 1999
Subject: Poetry
I've loved doing the segmented cookie sets the past year (Santa last Christmas, then the Easter Bunnies). So - here's Rudolph! With Some Magic Reindeer food to sprinkle on your lawn on Christmas Eve! Borrowed some of Myri's (Chapix Cookies) little detail magic for the heads! This was the first (draft) -- I suspect the next ones will be tweaked a little!
Looking across the valley below at farms and hills and the western front off in the distance. I like how the sunlight spotlights segments of the farmland through out the shot.
The Evergreen Line celebrated a milestone on March 3, 2015 with the installation of the last segment of its elevated guideway on Pinetree Way in the City of Coquitlam. Since construction began on the elevated guideway, 1,005 segments have been installed, including 618 along Clarke Road and North Road and 387 along Pinetree Way.
Segments 2 & 3 of the Colorado Trail - Rolling Creek to South Platte River Trailhead. 24 miles. June 2016.
Mingle Media TV and Red Carpet Report host Keetin Marchi were invited to come out to cover Doris Bergman's 7th Annual Style Lounge & Party in Celebration of Emmy® Season at Fig & Olive on Melrose in Hollywood benefiting Wednesday’s Child.
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About Bergman PR’s 7th Annual Style Lounge & Party in Celebration of Emmy® Season
This highly anticipated invitation-only event, hosted by Ein Drink and presented by Dioo Audio, featured the latest in electronics and mobile applications from across the Globe, an incredible array of fashion for him and her including couture gowns, bespoke tuxedos & suits, the finest in beauty, skin & hair care, stunning jewelry collections, gorgeous accessories, sexy lingerie, fabulous fragrance, gourmet cuisine, unique spirits, delectable sweets and much more!
In the spirit of giving back, Wednesday’s Child is our official charity and will be on-site collecting new, unwrappedgifts – clothing, accessories, electronics, sporting equipment, monetary donations, etc., for a Pre-Holiday Gift Drive. All guests were encouraged to donate at least one item for teens in foster care aged 13-18.
In the spirit of giving back, guests & sponsors donated unwrapped gifts for young adults (ages 13-18) for a Pre-Holiday Gift Drive benefitting ‘Wednesday’s Child’ -- a weekly segment airing on KTTV FOX 11 News, Los Angeles, with Anchor Christine Devine. ‘Wednesday’s Child’ highlights ‘harder to place’ children in the LA County foster care system who are in need of adoptive families. “In Los Angeles County, alone, there are over 35,000 children receiving child welfare services,” says social worker, Professor William Wong. Bergman always invites 2 foster children to join in on the festivities and experience what it feels like to be treated as a VIP. www.foxla.com/wednesdays-child
For more info, please visit Bergman PR's website to find out more: www.bergmanpr.com or like on Facebook www.facebook.com/bergmanpr
Celebs Attending this year’s event
Primetime Emmy Winner, Patrika Darbo, Best Actress Short Form (“Acting Dead), Primetime Emmy Nominees, Jane Lynch (“Hollywood Game Night”), Ariel D. King (“People vs. O.J. Simpson”), Jeffrey Bower Chapman (“UnREAL”), Marsai Martin (“Black-ish”), Tye White (“People vs. O.J. Simpson”) joined Damien Whitewood, Edyta Sliwinska & Alan Bersten (“Dancing With The Stars”), Naomi Grossman & Jamie Brewer (“American Horror Story”), Jason Ritter (“Another Period”), Kimberly Elise (“Hit The Floor”), Dot Marie Jones (“Glee”), Hollywood Icon Diedre Hall, Lydia Cornell, Areva Martin (TV Legal Analyst), Tony Denison (“Major Crimes”), Tasha Smith (“Empire”), Stephen Kramer Glickman (“Big Time Rush”), Michael Campion & Soni Bragas (Choice Teen Comedy/FOX Teen Choice Awards “Fuller House”), Charlie Koontz (“CSI: CYBER”), Darius McCrary (“Transformers”), John Savage, Kelsey Scott (“12 Years A Slave”), Eric Millegan (“Bones”) & Lucy Butler (“The Last Ship”), to name a few, were among the cadre of celebrities and industry VIPS who were treated to the best of the best!
Sponsors of this year’s event
Ein Drink, Dioo Audio, The Coffee Chef, Royal Elite Vodka, The FootMate System by Gordon Brush, Nu Bra, Personal Touch Lingerie, Rekorderlig Cider, Andrea Gutierrez Jewelry, Fibrum Virtual Reality Headsets, Skin Tech Studios, True Love Skin Care, Pretty Places, Twisted Silver, My Saint My Hero, Arbonne, Spongelle, Art Lewin Bespoke, Couture Gowns & Fragrance by Sue Wong, Hint, Single Dress, Kaya Di Koko, Single Underwear for Men, Shear Wear, Purad’or Hair Care, FulHum Water, Cultures for Health, Josh Cellars Wine, Madame Fleur, Shahnaz Husain Ayurvedic Beauty Products, Hair By Lance Lanza and exquisite VIP Gift Bags provided by MD Sun Skin Care
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Follow our host Keetin on Twitter at twitter.com/KeetinMarchi
Thursday morning, and all I had to do was get back to Kent. Hopefully before five so I could hand the hire car back, but getting back safe and sound would do, really.
I woke at six so I could be dressed for breakfast at half six when it started, and as usual when in a hotel, I had fruit followed by sausage and bacon sarnies. And lots of coffee.
Outside it had snowed. OK, it might only be an inch of the stuff, but that's more than an inch needed to cause chaos on the roads.
Back to the room to pack, one last look round and back to reception to check out, then out into the dawn to find that about a quarter of the cars were having snow and ice cleared off them before being able to be driven.
I joined them, scraping the soft snow then the ice. Bracing stuff at seven in the morning.
Now able to see out, I inched out of the car park and out to the exit and onto the untreated roads.
It was a picturesque scene, but not one I wanted to stop to snap. My first road south had only been gritted on one side, thankfully the side I was travelling down, but was still just compacted snow.
After negotiating two roundabouts, I was on the on ramp to the M6, and a 60 mile or so drive south. The motorway was clear of snow, but huge amounts of spray was thrown up, and the traffic was only doing 45mph, or the inside lane was, and that was quite fast and safe enough for me.
More snow fell as I neared Stoke, just to add to the danger of the journey, and then the rising sun glinted off the road, something which I had most of the drive home.
I went down the toll road, it costs eight quid, but is quick and easy. And safe too with so little traffic on it. I think for the first time, I didn't stop at the services, as it was only about half nine, and only three hours since breakfast.
And by the time I was on the old M6, there was just about no snow on the ground, and the road was beginning to dry out.
My phone played the tunes from my apple music store. Loudly. So the miles slipped by.
After posting some shots from Fotheringhay online, a friend, Simon, suggested others nearby that were worth a visit, and I also realised that I hadn't taken wide angle shots looking east and west, so I could drop in there, then go to the others suggested.
And stopping here was about the half way point in the journey so was a good break in the drive, and by then the clouds had thinned and a weak sin shone down.
Fotheringhay is as wonderful as always, it really is a fine church, easy to stop there first, where I had it to myself, and this time even climbed into the richly decorated pulpit to snap the details.
A short drive away was Apethorpe, where there was no monkey business. The village was built of all the same buttery yellow sandstone, looking fine in the weak sunshine.
Churches in this part of Northamptonshire are always open, Simon said.
Not at Apethorpe. So I made do with snapping the church and the village stocks and whipping post opposite.
A short drive up the hill was King's Cliffe. Another buttery yellow village and a fine church, which I guessed would be open.
Though it took some finding, as driving up the narrow high street I failed to find the church. I checked the sat nav and I had driven right past it, but being down a short lane it was partially hidden behind a row of houses.
The church was open, and was surrounded by hundreds of fine stone gravestones, some of designs I have not seen before, but it was the huge numbers of them that was impressive.
Inside the church was fine, if cold. I record what I could, but my compact camera's batter had died the day before, and I had no charger, so just with the nifty fifty and the wide angle, still did a good job of recording it.
There was time for one more church. Just.
For those of us who remember the seventies, Warmington means Dad's Army, or rather Warmington on Sea did. THat there is a real Warmington was a surprise to me, and it lay just a couple of miles the other side of Fotheringhay.
The church is large, mostly Victorian after it fell out of use and became derelict, if the leaflet I read inside was accurate. But the renovation was excellent, none more so than the wooden vaulted roof with bosses dating to either the 15th or 16th centuries.
Another stunning item was the pulpit, which looks as though it is decorated with panels taken from the Rood Screen. Very effective.
Back to the car, I program the sat nav for home, and set off back to Fotheringhay and the A14 beyond.
No messing around now, just press on trying to make good time so to be home before dark, and time to go home, drop my bags, feed the cats before returning the car.
No real pleasure, but I made good time, despite encountering several bad drivers, who were clearly out only to ruin my mood.
Even the M25 was clear, I raced to the bridge, over the river and into Kent.
Nearly home.
I drive back down the A2, stopping at Medway services for a sandwich and a huge coffee on the company's credit card.
And that was that, just a blast down to Faversham, round onto the A2 and past Canterbury and to home, getting back at just after three, time to fill up the bird feeders, feed the cats, unpack and have a brew before going out at just gone four to return the car.
Jools would rescue me from the White Horse on her way home, so after being told the car was fine, walked to the pub and ordered two pints of Harvey's Best.
There was a guy from Essex and his American girlfriend, who were asking about all sorts of questions about Dover's history, and I was the right person to answer them.
I was told by a guide from the Castle I did a good job.
Yay me.
Jools arrived, so I went out and she took me home. Where the cats insisted they had not been fed.
Lies, all lies.
Dinner was teriyaki coated salmon, roasted sprouts and back, defrosted from before Christmas, and noodles.
Yummy.
Not much else to tell, just lighting the fire, so Scully and I would be toast warm watch the exciting Citeh v Spurs game, where Spurs were very Spursy indeed.
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I was exploring the churches of north-east Northamptonshire, and on my way back to Peterborough station how could I resist a visit to lovely Warmington church? The village is rather a suburban one but, the solid little entirely Early English church sits at its heart. Entirely a Huntingdonshire church in style, with a stubby spire and big dormer-style lucarnes.
I had previously visited almost exactly a year ago, and as before I left my bike in the Early English porch, which is vaulted in blocks of stone, handsome yet familiar. I remembered in 2015 stepping into what turned out to be then the most interesting interior of the day, although rather overshadowed by Apethorpe and Blatherwycke on my current trip. The most striking feature, and rather a surprising one, is that the roof of the nave is vaulted in wood. This was done in the 13th Century, and the bosses survive from that time - even more surprising, they all depict green men, nine of them. Why was this not done elsewhere?
The rood screen is one of the best in the area, and the medieval pulpit appears to be constructed of rood screen panels (can that be right? Did they come from the rood loft? Surely it is pre-Reformation, in which case perhaps they came from somewhere else). Lots to think about. A good church, it would be considered so in any county.
So I got back on my bike and headed on towards Peterborough, but not without a memory of the last time I had done the same thing, because in 2015, as I was about to leave the church, three young women came in. They were walking the Nene Way, and were attired as you might expect attractive young women to be on such a sunny day. I didn't want them to be made nervous by the presence of a middle-aged man with a camera, so I nodded a greeting as I left, but in the event they engaged me in conversation, asking me where I'd come from, telling me what they were doing, where they were going, and so on.
In the end I had to make my apologies and leave as they didn't seem to want to let me go, not an experience I have very often these days, I can tell you. It rather put me in mind of the Sirens episode in the Odyssey.
And so I headed on, wary now of any wandering rocks and one-eyed giants.
www.flickr.com/photos/norfolkodyssey/27033140016/in/photo...
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St Michael’s Parish Church, Warmington
Warmington was already an established farming community when its assets were recorded in Domesday Book. Shortly afterwards, its Norman owner, the Earl of Warwick, gave the manor of Warmington to the Benedictine Abbey which his father had endowed in Normandy, St.Peter’s at Preaux. Warmington was to remain in monastic hands, with one short break, for about 450 years. Monks were sent over from Preaux who built a small Priory. Its foundations were discovered when houses were built in Court Close in the 1950s. The Priory has disappeared, but the splendid church built under the monks’ supervision, mainly in the early medieval period, remains.
The church stands high above the village, close to the summit of Warmington Hill. Tradition tells us that the stone for building it was dug close by, in the area known as Catpits, or Churchpits. The stone for the tower was brought from a field known as Turpits, or Towerpits, a quarter of a mile away along the Hornton road. The churchyard is entered either by the lych-gate from the main road, or from the village by two long flights of steps. A diagonal line of pine trees marks the former boundary of the churchyard which was extended in the 1850s. In the older part, and especially near the south porch, are gravestones of exceptionally fine workmanship dating from the 17th and 18th centuries. About eighty of these are ‘listed’ by the Department of the Environment. All the inscribed memorials were recorded in 1981.
An admirable and detailed architectural description of the church is available in the Victoria County History. These notes are intended rather as a ‘layman’s conducted tour’. The church was purpose-built and used for the first half of its long life for forms of worship very different from our own. It was also the village meeting place for many secular purposes The church comprises north and south porches, nave with north and south aisles, a west tower and chancel with two-storey vestry adjoining.
As you enter the church by the south porch you walk forward into the nave. This area, with the first three pillars on each side, is where Warmington people have met and worshipped since the twelfth century. The area was extended by the addition of the aisles a century later. Today the overwhelming impression is a sense of simplicity, of space and of strength. Imagine the scene in the medieval period: no pews but white-washed walls covered with paintings, images of the saints in stone, on wood and painted cloths, the whole lit by the sunlight through stained glass and by candles and lamps burning before every image. On Sundays before Mass, at special festivals and for some fifty saints’ days in the year, a procession would form, with banners and hand bells, winding its way around the church and churchyard, and stopping at various points for particular acts of worship. The north and west doors, so rarely used today, had significance in these processions.
Before leaving this area of the church, notice the variety of windows, almost all of early date, but now mostly with clear glass. The ones at the east ends of the aisles, where the stone plate is pierced with roundels and a five-pointed star, are unusual. Considerable work has been undertaken in recent years in renewing the stone mullions, worn by the weather over time. The early Norman tub font of simple design is large enough for infant immersion. The aisles both taper by a foot, one to the east, and one to the west. The nave and chancel are slightly out of alignment, perhaps symbolic of Christ’s drooping head on the cross.
Before stepping down into the chancel, run your hand along the wooden screen under the chancel arch. This is all that remains of the great rood-screen which would have dominated the medieval church. The screen was hacked through quite roughly when the church was stripped of its ‘idolatrous’ treasures at the Reformation. Just to the right of the chancel arch is the doorway and stair which used to lead to the rood-screen loft.
The stained glass and memorial tablets in the chancel all commemorate the family of the Victorian rector during whose incumbency the church was restored. On the south wall are a richly decorated triple sedilia and piscina, dating from the fifteenth century when Warmington manor had newly passed to the Carthusian monks of Wytham in Somerset.
A door from the chancel leads into the vestry, built about 1340. The lower room was a chapel, dedicated to St Thomas. The stone altar shows four of its five original crosses cut in the top. An altar would have a piscina nearby for washing the vessels used at Mass. The piscina here has a trefoiled ogee-head and quartrefoil basin. On the opposite wall is a blocked fireplace.
The oak doors and stairway are delightful and a testament to the skills of local carpenters, smiths and masons. The upper room was the priest’s home complete with windows, commanding extensive views, fireplace, lavatory and a shuttered opening for keeping watch over the main alter. The exterior walls of the vestry are extraordinarily thick. One Warmington tradition was that it was used as a prison for recalcitrant monks!
A more credible and interesting suggestion is that the walls were so constructed to carry the weight of a tower. If this was indeed the plan, it was quickly abandoned, for soon after the vestry was built work started on the tower in the usual Warwickshire position at the west end of the nave.
The slightly different stonework on the exterior indicates the stages of its building. The tower is recessed slightly into the nave, presumably to accommodate it in the very limited land there was available for extending the church at the west end. A stair within the thickness of the wall gives access to the bell chamber and the roof. The flight is steep and the treads are worn down to the bottom of the risers. The present bells are dated 1602, 1613 and 1811.
There are many interesting gravestones in the churchyard, which were recorded by members of Warmington WI in a 1981 survey.
VICTORIA COUNTY HISTORY
WARMINGTON
This extract from the Victoria County History gives a very detailed description of the parish church.
The church stands directly on the east side of the main road from Banbury to Warwick at the top of a steep gradient and the village lies mostly to the northeast of it at a lower level. The parish church of ST. MICHAEL, or ST. NICHOLAS, consists of a chancel, north chapel with a priest’s chamber above it, nave, north and south aisles and porches and a west tower.
The nave dates from the 12th century; no detail is left to indicate its original date but it was of the proportion of two squares, common in the early 12th century. A north aisle was added first, about the middle of the 12th century, with an arcade of three bays; a south aisle followed, near the end of the 12th century, also with a three-bay arcade. After about a century a considerable enlargement was begun and continued over a period of half a century or more; the nave was lengthened eastwards about 10 ft. and a new chancel built. The extra length of the side walls added to the nave perhaps remained unpierced at first.
Although there is a general sameness in the Hornton stone ashlar walling throughout, all the various parts—chancel, chapel, aisles, and tower—have different plinths, &c., and there is a great variation in the elevations and details of the windows, showing constant changes from the 14th century, when there was much activity, onwards, probably because of decay and need for repair caused by the church’s exposed position on the brow of a hill.
The south aisle was widened to its present limits about 1290, on the evidence of the wide splays and other details of its windows; but an early-13th-century doorway was re-used. It is possible that the east part of the north aisle followed soon afterwards, c. 1300, as a kind of transeptal chapel, on the evidence of its east window, which differs from the other aisle windows. From c. 1330–40 much was done. The chancel arch was widened, new bays to match were inserted in the east lengths of the nave walls, making both arcades now of four bays, the widening of the whole of the north aisle was completed with the addition of the north porch. The 12th-century north arcade, which seems to have lost its inner order, was probably rebuilt. There is a curious distortion about both aisles, perhaps only explained by the widenings being made in more than one period; the north aisle tapers from west to east and the south aisle tapers from east to west, about a foot each, as compared with the lines of the arcades. The south porch was probably added about 1330.
About 1340 came also the addition of the chapel with the priest’s chamber above it. The north wall of the chancel, probably of the 13th century and thinner than any of the other walls, was kept to form the south wall of the chapel, but the other walls were made unusually thick, as though it was at first intended to raise a higher superstructure than was actually carried out, perhaps even a tower. If such was the intention it was quickly abandoned and the west tower was begun about 1340–5 and carried up to some two-thirds of its present height. There was not much room above the road-side and it had to encroach 2 or 3 ft. into the west end of the nave. The top stage was added or completed in the 15th century.
With the addition of the chapel, alterations were made to the chancel windows, but its south wall had to be rebuilt in the 15th century, when new and larger windows were inserted and the piscina and sedilia constructed.
There have been many repairs and renovations, notably in 1867 to the chancel and 1871 for the rest of the church, and others since then. The roofs have been entirely renewed, though probably more or less of the original forms of the 14th or 15th centuries.
The chancel (about 30½ft. by 16½ft.) has an east window of four trefoiled pointed lights and modern tracery of 14th-century character in a two-centred head with an external hood-mould having head-stops. The jambs and arch, of two moulded orders, and the hood-mould are early-14th-century. In the north wall is a 14th-century doorway into the chapel with jambs and ogee head of three moulded orders and a hoodmould with head-stops, the eastern a cowled man’s, the western a woman’s. It contains an ancient oak door, with stout diagonal framing at the back and hung with plain strap-hinges. At the west end of the wall are two windows close together; the eastern, of c. 1340, of two trefoiled ogee-headed lights and cusped piercings in a square head with an external label having decayed head-stops. It has a shouldered internal lintel which is carved with grotesque faces. The western is a narrower and earlier 14th-century window of two trefoiled ogee-headed lights and a quatrefoil, &c., in a square head with an external label.
The window at the west end of the south wall is similar. The other two are 15th-century insertions, each of two wide cinquefoiled three-centred lights under a square head with head-stops, one a cowled human head, the other beast-heads. The jambs and lintel of two sunk-chamfered orders are old, the rest restored. The rear lintel is also sunk-chamfered and is supported in the middle by a shaped stone bracket from the mullion.
The 14th-century priest’s doorway has jambs and two-centred ogee head of two ovolo-moulded orders and a cambered internal lintel; it has no hood-mould.
Below the south-east window is a 15th-century piscina with small side pilasters that have embattled heads, and a trefoiled ogee head enriched with crockets. The sill, which projects partly as a moulded corbel, has a round basin. West of it are three sedilia of the same character with cinquefoiled ogee heads also crocketed and with finials. At the springing level are carved human-head corbels: the cusp-points are variously carved, an acorn, a snake’s head, a skull, and foliage. The two outer are surmounted by crocketed and finialled gables and all are flanked and divided by pilasters with embattled heads and crocketed pinnacles.
The east wall is built of yellow-grey ashlar with a projecting splayed plinth; the gable-head has been rebuilt. At the south-east angle is a pair of square buttresses of two stages, probably later additions, as the plinth is not carried round them. Another at the former north-east angle has been restored. The south wall is of yellow ashlar but has a moulded plinth of the 15th century. The eaves have a hollow-moulded course with which the uprights of the 15th-century window-labels are mitred.
The 14th-century chancel arch has responds and pointed head of two ovolo-moulded orders interrupted at the springing line by the abacus.
The roof with arched trusses is modern and is covered with tiles.
The north chapel (about 12 ft. east to west by 17 ft. deep) is now used as the vestry, and dates from c. 1340. In its south wall, the thin north wall of the chancel, is a straight joint 3¼ft. from the east wall probably marking the east jamb of a former 13th-century window, and below it is the remnant of an early stringcourse that is chamfered on its upper edge. The east wall is 3 ft. 10 in. thick and the north wall 4 ft. 6 in. In the middle of each is a rectangular one-light window with moulded jambs and head of two orders and an external label; the internal reveals are half splayed and part squared at the inner edges and have a flat stone lintel. The lights were probably cusped originally. In the west wall is a filled-in square-headed fire-place, perhaps original. Partly in the recess of the east window and partly projecting is an ancient thick stone altarslab showing four of the original five crosses cut in the top. It has a hollow-chamfered lower edge and is supported by moulded stone corbels. South of it in the east wall is a piscina with a trefoiled ogee-head and hood-mould and a quatrefoil basin.
The stair-vice that leads up to the story above is in the south-west angle, its doorway being splayed westwards to avoid the doorway to the chancel. In it is an ancient oak door with one-way diagonal framing on the back. The turret projects externally to the west in the angle with the chancel wall; it is square in the lower part but higher is broadened northwards with a splay that is corbelled out below in three courses, the lowest corbel having a trefoiled ogee or blind arch cut in it. The top is tabled back up to the eaves of the chapel west wall. A moulded string-course passes round the projection and there is another half-way up the tabling. The doorway at the top of the spiral stair leading into the upper chamber has an ancient oak door hung with three strap-hinges.
The upper priest’s chamber has an east window of two plain square-headed lights, probably altered. In the north wall is a rectangular window that was of two lights but has lost its mullion. Outside it has a false pointed head of two trefoiled ogee-headed lights and leaf tracery, all of it blank, and a hood-mould with human-head stops, one cowled. Apparently this treatment was purely for decorative purposes, like the square-headed windows at Shotteswell and elsewhere. The south wall is pierced by a watching-hole into the chancel, which is fitted with an iron grill and oak shutter: it has been reduced from a larger opening that had an ogee head and hood-mould. There is a square-headed fire-place in the west wall and in the splayed north-west angle is the entrance to a garderobe or latrine, which is lighted by a north loop.
The walls are of yellow ashlar and have a plinth of two courses, the upper moulded, a moulded stringcourse at first-floor level, and moulded eaves-courses at the sides. The north wall is gabled and has a parapet with string-course and coping. At the angles are diagonal buttresses of two stages; the lower stage is 2½ft. broad up to the first-floor level, above this the upper stage is reduced to about half the breadth. They support square diagonal pinnacles with restored crocketed finials. The west wall is unpierced but above it is a plain square chimney-shaft with an open-side hood on top. Internally the walls are faced with whitish-brown ashlar. The gabled roof is modern and of two bays.
The nave (about 41½ft. by 16½ft.) has north and south arcades of four bays. The easternmost bay on each side, with the first pillar, is of the same detail and date as the chancel arch. They vary in span, the north being about 9 ft. and the south about 10 ft., and in both cases the span is less than those of the older bays. Those on the north side are of 11–12 ft. span and date from the middle of the 12th century. The pillars are circular, the west respond a half-circle, with scalloped capitals, 6 in. high and square in the deep-browed upper part and with a 4½in. grooved and hollowchamfered abacus. The bases are chamfered and stand on square sub-bases. The arches are pointed and of one square order with a plain square hood-mould, The voussoirs are small. The middle parts of the soffits are plastered between the flush inner ends of the voussoirs, suggesting a former inner order, abolished perhaps in a rebuilding of the heads.
The same three bays of the south side are of 11 ft. span and of late-12th-century date. The round pillars are rather more slender than the northern, and the capitals are taller, 12 in. high, with long and shallow scallops, and have 4 in. abaci like the northern. The bases are taller and moulded in forms approaching those of the 13th century, on chamfered square sub-bases.
The pointed arches are of one chamfered order and their hood-moulds are now flush with the plastered wall-faces above.
The half-round west responds of both arcades have been overlapped on the nave side by the east wall of the tower.
High above the 14th-century south-east respond is a 15th-century four-centred doorway to the former rood-loft. The stair-vice leading up to it is entered by a four-centred doorway in the east wall of the south aisle.
The north aisle (11½ft. wide at the east end and 12½ft. at the west) has an uncommon east window of c. 1300. It is of three plain-pointed rather narrow lights; above the middle light, which has a shorter pointed head than the others, is a circle enclosing a pierced five-pointed star, all in a two-centred head with an external hood-mould having defaced head-stops, and with a chamfered rear-arch.
Set fairly close together at the east end of the north wall are two tall windows of c. 1340, each of two trefoiled round-headed lights and foiled leaf-tracery below a segmental-pointed head with an ogee apex, the tracery coming well below the arch. The jambs are of two orders, the outer sunk-chamfered. The lights are wider and the splays of ashlar are more acute than those of the east window.
The third window near the west end is narrower and shorter and of two plain-pointed lights and an uncusped spandrel in a two-centred head: it is of much the same date as the east window. The jambs and head are of two hollow-chamfered orders and the fairly obtuse plastered splays have old angle-dressings. The segmental-pointed rear-arch is chamfered.
The north doorway, also of c. 1340, has jambs and two-centred head without a hood-mould; the segmental rear-arch is of square section. In it is an 18th-century oak door.
The three-light window in the west wall has jambs and splays like those of the north-west but its head has been altered; it is now of three trefoiled ogee-headed lights below a four-centred arch. The chamfered reararch is elliptical.
The walls are yellow ashlar with a chamfered plinth and parapets with moulded string-courses and copings that are continued over the east and west gables. Below the sills of the two north-east windows is a plain stringcourse. At the east angle is a pair of shallow square buttresses and a diagonal buttress at the west, all ancient. White ashlar facing is exposed inside between the two north-east windows only, the remainder being plastered. The gabled roof of trussed-rafter type is modern and covered with tiles.
The south aisle (13 ft. wide at the east end and 12 ft. at the west) has an east window of three plain-pointed lights, and three plain circles in plate tracery form, in a two-centred head with an external hood-mould having mask stops. The yellow stone jambs and head of two chamfered orders and the wide ashlar splays are probably of the late 13th century; the grey stone mullions and tracery are apparently old restorations but are probably reproductions of the original forms.
There are two south windows: the eastern is of two wide cinquefoiled elliptical-headed lights under a square main head with an external label with return stops. The jambs are of two moulded orders, the inner (and the mullion) with small roll-moulds, probably of the 13th century re-used when the window was refashioned in the 15th century. The wide splays are of rubble-work and there is a chamfered segmental reararch. The western is a narrower opening of two trefoiled-pointed lights, with the early form of soffit cusping, and early-14th-century tracery in a twocentred head: the jambs are of two chamfered orders and the wide splays are plastered, with ashlar dressings: the chamfered rear-arch is segmental pointed.
The reset south doorway has jambs and pointed head of two moulded orders with filleted rolls and undercut hollows of the early 13th century, divided by a three-quarter hollow more typical of a later period, and all are stopped on a single splayed base. The hoodmould has defaced shield-shaped head-stops. There are four steps down into the church through this doorway.
The window in the west wall is like that in the east but the three lights are trefoiled and the three circles in the two-centred head are quatrefoiled: the head is all restored work. The jambs are ancient and precisely like those of the square-headed south window, and the wide splays are of rubble-work.
The walls are of yellow fine-jointed ashlar and have plinths of two splayed courses, the upper projecting like that of the east chancel-wall, and plain parapets with restored copings. At the angles are old and rather shallow diagonal buttresses. There are three scratched sundials on the south wall, one, a complete circle, being on a west jambstone of the south-east window.
The gabled roof is modern like that of the north aisle.
The south porch is built of ashlar like that of the aisle but the courses do not tally and it has a different plinth, a plain hollow-chamfer. The gabled south wall has a parapet with a restored coping. The pointed entrance is of two orders, the inner ovolo-moulded, the outer hollow-chamfered, and has a hood-mould of 13thcentury form. There are side benches. The roof is modern but on the wall of the aisle are cemented lines marking the position of an earlier high-pitched roof at a lower level than the present one.
The north porch is of shallower projection. It has a gabled front with diagonal buttresses and coped parapet and a pointed entrance with jambs and head of two chamfered orders, the inner hollow, and a hood-mould with head-stops.
The west tower (about 9½ft. square) is of three stages divided by projecting splayed string-courses: it has a high plinth, with a moulded upper member and chamfered lower course, and a plain parapet. The walls are of yellow ashlar, that of the two upper stages being of rather rougher facing and in smaller courses than the lowest stage. At the west angles are diagonal buttresses reaching to the top of the second stage. There are no east buttresses but in the angle of the north wall with the end of the nave is a shallow buttress against the nave-wall. In the south-west angle, but not projecting, is a stair-vice with a pointed doorway in a splay, and lighted by a west loop. The archway to the nave has a two-centred head of two chamfered orders, the inner dying on the reveals, the outer mitring with the single chamfered order of the responds. It has large voussoirs. The wall on either side of the archway is of squared rough-tooled ashlar.
The 14th-century west doorway has jambs and pointed head of two wave-moulded orders divided by a three-quarter hollow, and a hood-mould with return stops. The head of the tall and narrow 14th-century west window is carried up into the second stage, its hood-mould springing from the string-course. It is of two trefoiled ogee-headed lights and a quatrefoil in a two-centred head: the jambs are of two chamfered orders.
There are no piercings in the second stage, but on the north side is a modern clock face.
The bell-chamber has 15th-century windows, each of two lights with depressed trefoiled ogee heads and uncusped tracery in which the mullion line is continued up to the apex of the two-centred head. The jambs are of two chamfered orders and there is no hood-mould.
The font is circular and dates probably from the 13th century. It has a plain tapering bowl, a short stem with a comparatively large 13th-century moulding at the top: a short base is also moulded.
In the vestry is an ancient iron-bound chest.
There are three bells, the first of 1811, the second of 1616, and the tenor of 1602 by Edward Newcombe.
The registers begin in 1636.
Advowson
The church was valued at £8 6s. 8d. in 1291, and at £16 3s. 10d., in addition to a pension of 13s. 4d. payable to Witham Priory, in 1535. The advowson passed with the manor until 1602, when the patron was Richard Cooper. In 1628 William Hall and Edward Wotton, by concession of — Hill, the patron, presented Richard Wotton, who at the time of his wife’s death in 1637 was ‘rector and patron, of the church’. In 1681 and 1694 presentations were made by Thomas Farrer, and from 1726 till his death in 1764 the patronage was held by his son Thomas Farrer. His widow Alice held it in 1766, but by 1773 it had been divided between their two daughters, Mary wife of John Adams, and Elizabeth Farrer (1782) who afterwards married Hamlyn Harris. In 1802 Henry Bagshaw Harrison was patron and rector. He died in 1830, and by 1850 the advowson had been acquired by Hulme’s Trustees, in whose hands it has continued, so that they now present on two out of three turns to the combined living of Warmington and Shotteswell, which was annexed to it in 1927.
For a list of rectors and clergy of Warmington see the ‘trades and occupations’ section of the site.
www.warmingtonheritage.com/village-history/significant-bu....
it's totally amazing to know that this is MY OWN BLOOD and in it, there's such a damn cool cell my bone marrow produced. wee!
Neutrophils are the most abundant type of white blood cells in mammals and form an essential part of the innate immune system. They are the predominant cells in pus, accounting for its whitish/yellowish appearance.
panelists landscape
Multi-Stakeholder Segment, Working session - Emerging Risks
13:00 - 14:30
Technological Hazards: From Risk Reduction to Recovery
Organizer(s): WCDRR
Venue: Sendai International Centre Room N°: Main Hall
Photos: Tetsuro Chiharada
The Ponte Vecchio ("Old Bridge") is a Medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.
The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345, Giorgio Vasari recorded the tradition in his day, that attributed its design to Taddeo Gaddi,besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate.Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento.[The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.
The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.
It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.
It is said that the economic concept of bankruptcy originated here: when a money-changer could not pay his debts, the table on which he sold his wares (the "banco") was physically broken ("rotto") by soldiers, and this practice was called "bancorotto" (broken table; possibly it can come from "banca rotta" which means "broken bank"). Not having a table anymore, the merchant was not able to sell anything.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat of August 4, 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler.Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.
To enforce the prestige of the bridge, in 1593 the Medici Grand Dukes prohibited butchers from selling there; their place was immediately taken by several gold merchants. The corporative association of butchers had monopolised the shops on the bridge since 1442. A stone with an inscription from Dante (Paradiso xvi. 140-7) records the spot at the entrance to the bridge where Buondelmonte de' Buondelmonti was murdered on behalf of the Amidei, in 1215, initiating the urban fighting of the Guelfs and Ghibellines.
Along the Ponte Vecchio, there can be seen many padlocks affixed in various places, especially to the railing around the statue of Benvenuto Cellini. This is a recent tradition for the Ponte Vecchio, although it has been practiced in Russia and in Asia before. It was perhaps introduced by the padlock shop owner at the end of the bridge. It is popularly connected to idea of love and lovers: by locking the padlock and throwing the key into the river, the lovers became eternally bonded. This is an example of the negative impact of mass tourism: thousands of padlocks needed to be removed frequently, spoiling or damaging the structure of the centuries-old bridge; however, it seems to have decreased after the city administration put a sign on the bridge mentioning a €160 penalty for those caught locking something to the fence.
There is a similar ongoing padlock phenomenon at Ponte Milvio, due to one of Federico Moccia's books.
The bridge was severely damaged in the 1966 flood of the Arno.[17]
The bridge is mentioned in the aria "O mio babbino caro" by Giacomo Puccini.
Climate change screws with everything.
this used to be African desert, not so anymore.
The moisture in the air is almost unbearable, it feels like breathing under water.
VDOT and Lee Hy Paving were joined by Nikki-Dee Ray, meteorologist from WTVR- CBS6, for a work zone-themed segment of 'Nikki-Dee, Can You Be Me? (Photo by Tom Saunders, VDOT)
This turns out to have NOT been the correct datasheet for the device, just for a smaller one.
Playing with a large seven-segment display. Read more about this project here.
Easy to disassemble. Only unscrewing the tail cap is required to replace the single rechargeable Lithium battery cell shown here - a very commonly available 18650 size. All segments are sealed with rubber o-rings to keep water out if riding in heavy rain. The rings at the base of the lamp head are heat sinks to minimize temperature built up from the very hot LED emitter.
Flashlight weight = 185 grams
Tapeworms tend to be non-pathogenic. There's usually no need to treat for them, even when you see segments in the feces.
Nothing doing in the ideas depot today so a little camera rotation it was. Should really be getting my off camera flash thing on but without an idea for something different in mind I don't really want to churn out endless selfies.
This one consisted of a single pop of snooted flash on 1/128 power at, you guessed it. Perspex and rainbow paper. Single pop for every 20 degrees of rotate.
This was and always will be number 70 of my 365.
See you tomorrow folks.
Lisa will use the grinder to cut off the bolt protruding from the ground near the end of the final segment of the carport extension before we start mixing and pouring concrete.
Nicole Schwartz
Fiesta
s/f
Nicole Schwartz nació en 1938 en París (Francia). Inició sus estudios de pintura en San Salvador con el maestro Valero Lecha y posteriormente estudió historia del arte así como grabado y pintura dentro del Bachillerato en Artes, recibiendo también clases de dibujo con el maestro Benjamín Saúl. En 1982 ingresó a la Academia de Port-Royal (París).
Con respecto a su obra, la curadora Astrid Bahamond nos dice: Para la artista el color constituye, en este sentido, el soporte ideal que le da el carácter a la obra,
a veces fragmentario, de un mundo visible, un mundo de estratos y de segmentos,
animado y profundo, dotado de un relieve que repentinamente aparece, ya que la
luz es en sí misma un deslumbramiento irreal, sin contrastes discriminatorios de
colores y valores…… Dentro de un contexto pictórico, donde predomina el arte representacional, su pintura, trazada enérgica y gestualmente, sigue un proceso
de creación ilimitado, rompiendo con ello la tradición de un arte preciosista o
decorativo. (Portal CLIC, 2007)
Con 19 exhibiciones individuales, realizadas en El Salvador, Francia y Guatemala, ha participado además en dos Bienales de Arte, incluyendo la Bienal de Sao Paulo (Brasil) en 1994 y en más de cuarenta y cinco muestras colectivas.
Entre las distinciones recibidas, se cuentan el Gran Premio de la Academia de Port-Royal (1990) y el 1er. Premio del Salón de la Acuarela y el Dibujo en el Grand Palais de París (2008). En el año 2007, el Liceo Francés (San Salvador) presentó su obra pictórica en una muestra titulada “Homenaje a Nicole Schwartz”.
Exposición
Nueve Mujeres en el Arte Salvadoreño en los Siglos XX y XXI
National Chiang Kai-Shek Memorial Hall, Taipei Republica de China (Taiwan)
Del 03 al 29 de Septiembre de 2013
Sala Nacional de Exposiciones “Salarrué”
Del 01 al 24 de Noviembre de 2013
Desde sus comienzos precolombinos, El Salvador ha demostrado, independientemente de las situaciones históricas y políticas por las que ha atravesado, la expresión y fuerza de la plástica como una de sus manifestaciones más consolidadas a través de los tiempos. Las obras artísticas las hicieron manos y pensamientos de hombres y mujeres colectivamente, aun cuando durante la colonia las mujeres desarrollaran tareas de “arte menor” como el bordado y la costura, hasta la reproducción artesanal en barro y textiles, entre otras. Sin embargo, la educación republicana después de la Independencia permitió el acceso a la enseñanza artística de niños y niñas en las escuelas públicas y privadas; la mujer no fue excluida.
Esta exposición que presenta la Secretaria de Cultura de la Presidencia, que podemos apreciar en esta Sala Nacional de Exposiciones Salarrué, se exhibió con gran éxito del 3 al 29 de septiembre pasado en el Salón Conmemorativo Nacional de Chiang-Shek, en Taipei, con la invaluable colaboración del gobierno de China (Taiwán), no es caprichosa ni una casualidad: es en si una muestra de la fuerza artística de la mujer salvadoreña de los siglos XX y XXI. Es una oportunidad para, a través de su recorrido, conocer nuestra historia, vista y expresada por el ingenio de la mujer.
La selección de estas artistas ya consagradas – como lo son Julia Díaz, Rosa mena Valenzuela, Nicole Schwartz, Ana María Avilés de Martínez, Conchita Kuny Mena, Licry Bicard, Negra Álvarez, Mayra Barraza y Verónica Vides- han sido creada precisamente para acercar aún más a dos pueblos como China y El Salvador a través del arte y, en especial, de la mujer, fortaleza de una sociedad, de la familia, hacedora de valores que sostienen una nación.
Entretejiendo su labor con el enero masculino en el devenir de la plástica, es importante la creación femenina dentro de esta retrospectiva cronológica y contextualizada estilísticamente con la contemporaneidad de sus alcances, sabiendo interpretar, gracias a la luz y la sombra o la irradiación del color más luminoso, cada una de las pulsaciones de nuestra sangre salvadoreña, nuestras emociones, nuestras preocupaciones y, sobre todo, nuestros sueños y anhelos más atesorados como país.
Ana Madalena Granadino
Secretaria de Cultura de la Presidencia.
Sala Nacional de Exposiciones Salarrué
Dirección: Costado norte del Parque Cuscatlán, San Salvador El Salvador, Centroamérica.
Teléfonos: (503) 2261-0372
(503) 2221-7255
(503)2222-4959
Abierto de martes a domingo
8.00 a.m a 5:30 p.m
Lunes cerrado al público
Salanacionaldeexposiciones.sv@gmail.com
Entrada gratuita.
A tiny red leaf floats over a bed of pebbles in a small stream. Milwaukee River Segment, Ice Age National Scenic Trail
Roasted Beet & Fresh Goat Cheese Salad (red and golden beets, baby spinach, candied pecans, orange segments, orange and ginger vinaigrette) from Jonathan's Restaurant in New Hyde Park, New York (NY), United States (USA). #longisland #newyork #usa #foodie #salads
CO (Saguache County)
Day 5 random campsite (Segment 19) to random campsite (Segment 20)
Not a cloud in sight ... anywhere.
Started off chilly and in the 40s. The sun was shining brightly though, so it warmed up quickly. Saw a large pine tree which reminded me of Sequoias ... this was still CO right? There were several more miles in the large meadow/valley. I noticed a fenced area which might have been a spring, but a small sign had DEATH scribed on it. Then up and over a short bump which was through an aspen grove. The trail finally wandered down to Cochetopa Creek.
Cochetopa Creek was flowing very well. The previous few days had intermittent water sources. That would not be a problem today as the trail followed this creek for many miles. I thought I would have to ford it but someone had put a log over it to bridge the gap. Although this area was completely exposed, it was very enjoyable hiking. Easy, unique terrain, fall colors and a meandering creek. One of my favorite sections so far. Did encounter some steep sidehill and had some glimpses of Organ Mountain. San Luis Peak is hiding behind.
A few miles before the end of Segment 19, the trail entered La Garita Wilderness. Wilderness Areas are specially designated areas that remain undeveloped and maintain primeval character. There are additional restrictions to visiting and on the Colorado Trail bicycles are not allowed in Wilderness Areas.
The Evergreen Line celebrated a milestone on March 3, 2015 with the installation of the last segment of its elevated guideway on Pinetree Way in the City of Coquitlam. Since construction began on the elevated guideway, 1,005 segments have been installed, including 618 along Clarke Road and North Road and 387 along Pinetree Way.