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KASHAN vii. KASHAN WARE
KASHAN WARE. The town of Kashan, as a city associated with high-quality ceramic production in the medieval period, became a distinct point of scholarly attention in the twentieth century. It appears to have been a major site for the manufacture of fine wares between the 1170s and 1220s (565-620s H.) as well as in the later 13th and early 14th centuries.
The association between premodern Kashan and ceramic production is attested in the use of terms derived from the site's name (kāši/kāšāni, or qāši/qāšāni) as the general designation for glazed tilework in Arabic and Persian sources. Yāqut Ḥamawi (d. 626/1229) notes in Moʿjam al-boldān (written in the 1220s) that Kashan's ceramic wares were widely exported (Yāqut, IV, p. 15; Watson, 1973-75, p. 3). The town was well situated for the development of this industry, being located near sources of some of the materials necessary for manufacturing the so-called stonepaste or fritware, a fine, hard, and light-colored ceramic body of ground silica with additions of glass frit and clay. The two major decorative techniques found on the high-status ceramics commonly associated with medieval Kashan are luster painting and the polychrome enamel decoration frequently termed mināʾi in art historical literature (although this term is not normally associated with ceramics in medieval sources). While entirely distinct, these two techniques both involve fixing overglaze painting onto previously glazed and fired stonepaste bodies through a secondary firing at a lower temperature, and they were at times practiced by the same painters, occasionally even appearing on the same vessels. A wide variety of forms are included in the corpus attributed to Kashan, from closed vessels such as bottles through plates and bowls to tilework of various dimensions.
Craftsmen. The high quality wares produced in the late twelfth to fourteenth centuries in Iran, particularly those decorated with luster, are notable for the loquacity of their inscriptions. From these, much documentary information has been gleaned. Foremost amongst the evidence for Kashan's role in the production of fine ceramics are the names of potters with the nesba "Kāšāni" or "Qāšāni" (from Kashan) or inscriptions that name Kashan as the site of creation.
Most notable amongst the potters' names associated with Kashan is that of Abu Zayd. It should, however, be noted that while the nesba "Kāšāni" was once thought to appear after this name on two enameled bowls (see ABU ZAYD KĀŠĀNI; Bahrami, 1944-45), more recent research by Oliver Watson has demonstrated that the relevant inscriptions were misread and the Kāšāni nesba does not in fact appear with this name on any known works (Watson, 1994). Therefore, while the name "Abu Zayd Kāšāni" continues to circulate in scholarship on Iranian luster, there no longerappears to be any justification for this appellation. To date, thirty-two surviving vessels, tiles, and fragments executed in both luster and enameling techniques, and bearing dates that span thirty-four years, have been associated with "Abu Zayd" (see appendix in Blair, 2008, pp. 169-72; Pancaroğlu, 2012), although many of these show only a part of the signatory formula associated with this figure (be-ḵaṭṭehi, "in his own hand") and do not include the name "Abu Zayd" itself. The earliest dated piece signed "Abu Zayd" is an enameled bowl decorated with a central scene of seated and standing figures before a pond and dated 4 Moḥarram 582/27 March 1186 (Figure 1). "Abu Zayd" is the only name so far known in this milieu to appear on both vessels and tiles, the latter appearing in the shrines at Qom (dated 602/1205-6) and Mashadalongside tiles signed by Moḥammad b. Abi Ṭāher of the Abu Ṭāher family, another celebrated potter associated with Kashan.
The Abu Ṭāher family of luster potters can be traced through four generations that span the Mongol conquest of Iran, the last two generations of which used the Kāšāni nesba on occasion (Watson, 1973-75, n. 18). In the case of family member Yusof (active in the early 14th century), Watson records the only instance of a documented signed luster potter, signing a work a work made in the cheaper medium of underglaze-painted ceramic. Yusof's signature, ending with the epithet "al-Qāšāni," can be seen on a tile bearing a foundation inscription in the Masjed-e Qalʿa in Qohrud, which Watson (1975, pp. 62-63) dated to 716-27 (1316-27). Yusof's brother Abu'l-Qāsem ʿAbd-Allāh Kāšāni, a historian at the court of Oljāytu, leftan important document for the history of Iranian ceramic production within his treatise on precious stones, ʿArāʾes al-jawāher wa nafāʾes al-aṭāʾeb (700/1300-01). The concluding section of this text details the materials and techniques of Iranian potters, including a well-known description of the luster-painting process, as well as mention of potting practices at Kashan. These passages also include a reference to "seven-colored" (haft-rang) vessels, a term presumed by James Allan and others to refer to enameled wares (see below). The probable inspiration for Abu'l-Qāsem's text was an earlier work, Jawāher-nāma of Moḥammad b. Abi'l-Barakāt Jawhari Nišāpuri (Porter, 2003), dated 592/1196. Jawharidoes not state that his knowledge of ceramic production was acquired in Kashan, but he does mention the town as a site of the manufacture of fine ceramics (Porter, 2004, p. 345).
Various other names, some of them with the nesba Kāšāni or Kāši, have also been associated with medieval Iranian luster production. Yedda Godard and more fully Watson (1985, appendix I) discuss further named potters, while Sheila Blair has documented a family of luster potters who claimed descent from ʿAli b. Bābawayh and worked alongside members of the Abu Ṭāher family in the early fourteenth century (Blair, 1986). More recently ʿAbd-Allāh Qučāni has suggested that an inscription on a late twelfth- or early thirteenth-century gilded and overglaze-painted faceted dish in the Robert Lehman collection should be read as the signature of a painter called Borhān or Mardān Kāšāni (reading cited inKomaroff, p.355); if so, this would add some weight to the hypothesis that Kashan was a major site of production for other types of fine ceramic beyond luster. Qučāni has also identified several new names of tile-workers within the tilework of the shrine in Mashad, to be discussed in a forthcoming publication.
Beyond nesbas, there are also some circumstantial inscriptions that lend weight to the case for Kashan as the major center of luster potting. In the best-known example, Moḥammad b.Moḥammad Nišāpuri, working in a style comparable to that of dated wares from the first two decades of the 600s/1200s, signed a bowl found at Gorgān (see below) with the formula al-moqim be-Qāšān (residing in Kashan; Victoria and Albert Museum, C. 162-1977; Bahrami, 1949, p. 92 and pl. XLIX; Figure 2). The suggestion that this was the signature of a potter displaced from Nishapur by the Mongol invasions and keen to stress his current association with a town renowned for its fine ceramics is certainly plausible (Watson, 1973-75, p. 4). From the twilight of luster production in the Mongol period survives a group of star tiles dated to 738/1338 and 739/1339 bearing inscriptions that state that they were made in Kashan. A rather plaintive inscription on one of these late tiles pleads for Kashan to be protected from the ravages of time, perhaps a sign of the site's declining fortunes in the fourteenth century (Ettinghausen, pp. 59-60; Watson, 1985, p. 196; Figure 3).
Luster production at Kashan. The creation of luster-painted ware is a costly process that requires considerable expertise. Compounds containing metal oxides, sulphur, and a refractory medium, such as ochre, are painted onto a previously glazed and fired surface. On the wares associated with Kashan the glaze was normally opacified with tin, although a (presumably cheaper) clear glaze was sometimes used for the internal surfaces of closed forms such as bottles and jugs (Morgan, p. 162). Clear glaze, sometimes tinted with cobalt, was also used for the exterior surfaces of bowls. Once the glaze has been fired and decorated with the luster compound a second firing at a lower temperature with restricted airflow removes the oxygen from the metal oxide, fixing a layer of metal only a few molecules thick with a lustrous sheen upon the surface of the vessel or tile. The temperature and duration of the second firing must be very precisely controlled, and, when taken alongside the volatility of metal oxides in the kiln, it is unsurprising that faults of various types are quite common in lusterware. The technical knowledge required is complex enough to have led to suggestion of a "monopoly" on luster production in the late twelfth- and thirteenth-century Iranian lands, linked by Watson to the single site of Kashan (Watson, 1975, pp. 65-66; idem, 1985, pp. 37-44).
While Kashan's supremacy in the production of widely distributed fine medieval luster vessels and tiles is now generally accepted, other major sites of luster production were proposed in earlier twentieth-century scholarship, principally Ray, Gorgān(see below) and Sāva. Countering these suggestions, Watson argued in his landmark study Persian Lustre Ware (1985, pp. 37-44) that stylistic differences seen amongst the surviving corpus of pre-Mongol Iranian luster wares should be read, not as evidence of different sites of manufacture, but as the result of three distinct stylistic modes of luster decoration created at Kashan between the 1170s and early 1220s (565-620 H.), before the Mongol invasions sent the industry into hiatus. He terms these the "monumental style," the "miniature style," and the "Kashan style" (discussed below), and notes that the large number of surviving dated pieces has permitted the construction of a chronology. Watson's tripartite stylistic model of pre-Mongol luster production at Kashan has been generally accepted, although some scholars (e.g., Morgan; Mason) have suggested renaming and subdividing these three stages. Mason's petrofabric analyses would appear to show a very similar fabric across all of the medieval Iranian lusterwares that he examined, tentatively strengthening the case for a single site of production. However, the hypothesis that Kashan was the only site of luster production within the medieval Iranian lands is still under discussion. Mehdi Bahrami proposed that the remarkable vessels uncovered at Gorgān in the first half of the twentieth century, stored inside large earthenware jars that had been left apparently undisturbed since the medieval period, were local products rather than imported Kashan wares (Bahrami, 1949, p. 16 and passim). This thesis never met with general acceptance in art historical scholarship, but it continues to circulate in some quarters. Bahrami and later Muhammad Yusuf Kiani reported finding luster sherds inside the kilns excavated at Gorgān and also the discovery of luster wasters at the site, but more information than has thus far been published isneeded before making a definite assessment (Kiani, p. 38; see also Watson, 2006a, pp. 247-48). By the same token, however, it should be noted that, although kiln sites have been uncovered at Kashan, no evidence of luster processes has been reported (Bahrami, 1947, pp. 225-29). More recently, Scott Redford and James Blackman (pp. 234-35) have raised the question of whether a decentralized model of luster production might not have held true in Iran as it apparently did in Syria, while some scholars working on Central Asian material have also argued for multiple sites of luster production (see Blair, 2008, n. 10). Luster wasters have reportedly been found at Marv, although these do not yet appear to have been published (Gascoigne and Bridgman, 2010, p. 118, n. 32). While the question remains open, at present substantial evidence for luster production at sites other than Kashan—in the form of inscriptions implicating other locations, scientifically documented kiln excavations showing evidence of luster production, incontrovertibleluster wasters, textual evidence from medieval sources—is yet to appear.
Pre-Mongol lusterwares. While luster-decorated tiles were certainly manufactured in pre-Mongol Iran, much of the production of lusterware before 1220s seems to have been vessels, of both open and closed types. The first of Watson's proposed stylistic groups of Kashan lusterware, the so-called "monumental style," is characterized by luster painting in reserve, normally on a white background, although sometimes on a transparent glaze (Figure 4). Painted vessels in this category show generally large figures and designs executed with fluent and relatively free brushwork. The moon-faced or Buddha-faced ideal of beauty, a notion also attested in medieval literary sources, is widely in evidence on these wares. This manner of painting, which does not appear on any dated pieces, is closest to that of the luster wares produced in Egypt and Syria in the eleventh and twelfth centuries. For this reason, the "monumental style" has been called upon as evidence for the so-called "migration theory" that explains the advent of luster technologies in medieval Iran through the geographical movement of potters escaping the economic collapse of the Fatimid state in Egypt (an idea first proposed in Butler, pp. 18-23 and expounded in Lane, pp. 37-38).
Watson's second category of luster decoration attributed to Kashan workshops, the "miniature style," had developed by 575/1179-80. This is the year recorded on the earliest surviving dated pieces of Iranian luster (a bottle in the British Museum, Figure 5, discussed in Watson, 1985, pl. 37, and also a bowl formerly in the Plotnick collection, for which see Pancaroğlu, 2007, no. 89). He suggests that there is no reason to suppose that the "monumental" and the "miniature" styles were not made alongside each other, with both ceasing production some time after 595/1198-89, the date inscribed on the latest dated piece of "miniature style" lusterware (Watson, 1985, pl. 54). Notable for small-scale, rather rapid and sometimes sketchily executed designs painted directly in luster on an opaque white ground, and often featuring multiple figures; this style includes the key diagnostics of checkerboard trees (commonly approximating a cypress shape) and plants formed of lines sandwiched between rows of dots. In both painting and vessel forms (such as the lobed bowl) the lusterware decorated in this manner has much in common with enameled wares of approximately the same period (see below), leading to the suggestion that the "miniature style" was first developed for enameled wares on which the detailing would have been more legible (Watson, 1985, p. 70). At the same time, several authors have noted the very close relationship between the "miniature style," with its fixed ground planes and small, dynamic figures, and book illustration (particularly the earliest surviving illustrated Persian manuscript (ca. 648/1250) of the versified romance, Varqa o Golšāh). These parallels between book arts and ceramic painting reveal a high degree of cross-pollination between different artistic media in medieval Iran (seeHillenbrand).
The final act proposed in Watson's tripartite model of pre-Mongol luster painting, the so-called "Kashan" style, was underway by 595/1199 (see the dated sherd illustrated in Watson, 1985, pl. 55). The characteristics of this phase of production were first proposed by Richard Ettinghausen in his article of 1936, forming part of his powerful argument for top-tier medieval lusterware production at Kashan rather than the previously favored site of Ray. The "Kashan" style of painting exploits the attractive qualities of luster through the use of large figures and registers of repeating patterns painted in reserve on an opaque white ground, with luster coverage of much of the surface relieved by small loops and curlicues scratched through the paint surface (Figure 6). Fine drawing and dense compositions dominate, with fat but elegant birds and frilled, twining half palmettes or other vegetation in reserve often surrounding moon-faced figures who sometimes sit, stand, or ride before a fishpond. Typical forms of this phase include the conical bowl.
Inscriptional bands in rapidly executed cursive script, painted directly in luster or created in reserve by scratching through panels of luster paint, were popularized in this last phase and remained a defining feature of Iranian luster tiles and vessels for many decades. The dense inscriptions found on luster ceramics of both the pre-Mongol and the Il-khanid periods of production encompass all manner of poetic sources as well as Qurʾanic and other holy texts, signatures, and other information. Relationships between the iconography of some of these pieces and the textual content of their copious inscriptions have raised many questions and prompted some complex analysis: Guest and Ettinghausen's article of 1961, on the subject matter of a luster plate in the Freer Gallery, was a landmark in this respect, while increasingly detailed and nuanced readings of the textual components of individual pieces have added much to study of the medium in recent years (Qučāni, 1992; Pancaroğlu, 2007; idem, 2012; Blair, 2008, pp. 164-69).
Enameled wares. The class of polychrome enameled ceramics commonly known as mināʾi ware was apparently created only in pre-Mongol Iran. Abu'l-Qāsem Kāšāni's ceramic treatise regards "seven-color vessels," presumed by most scholars to refer to enameled wares, as a long-dead practice by the beginning of the fourteenth century (Abu'l-Qāsem Kāšāni, p. 347, Allan tr., p. 115). Dated wares in this technique, as recorded by Porter and Watson, cover the years 573/1177 to 616/1219 (see Watson, 1994; idem, 2006b, p. 328; Porter, 2011, p. 266). Thermoluminescence testing of a small selection of enameled fragments supports a date no later than the thirteenth century (Koss et al., p. 33). The small number of dated examples of enameled vessels includes works by the famous Abu Zayd, and there are a few pieces on which both luster and enameled decoration appear, such as a fragmentary star tile in the Museum of Fine Arts, Boston (31.495; Figure 7). While it is reasonable to assume that highly skilled potters working in luster and associated with Kashan were part of a luxury ceramic industry that included other very specialized techniques, it should be noted that there is at present little or no evidence to link most enameled wares directly with the site.
At its best the pre-Mongol enameled technique created finely detailed polychromatic designs: blue, turquoise, and purple seem to have been painted over the base glaze after the first application and fixed in the first firing ("in-glaze" painting), while certain other pigments—notably red and black, but also green, pink, brown, yellow, and white (on black)—were fixed over the glaze through a second firing. Gilding also sometimes appears, and the use of gilding on ceramics is recorded in Abu'l-Qāsem's treatise (e.g., p. 347, Allan tr., pp. 114-15), but it should be noted that this is also one means by which modern agents have been known to "enhance" pieces of enameled ware (for example, see a medieval enameled bowl with recently applied gilding as analyzed in Watson, 2004, pp. 71-72). The technical demands of the enameling process must have been taxing, to say the least. Kerith Koss et al. (p. 46) have noted in their study of enameled sherds in the Freer Gallery that variations in glaze mixtures, order of application, and firing process were observed across the group, indicating that there was not one single fixed technology for this method, a circumstance that is in turn suggestive of multiple ateliers. The colors were painted onto an opaque white, or, more rarely, turquoise glaze that had been fired over a fine stonepaste body, and fixed in second firing (see Figure 1). The forms of the vessels can be extremely delicate, with thin walls, and draftsmanship is often crisp. The precise polychromy of enameled wares has a jewel-like appeal that delighted early European and American collectors, while at the same time the overglaze technique has lent itself particularly well to over-zealous restoration and outright forgery. For these reasons many enameled pieces, particularly whole vessels, should be treated with caution. A truly in-depth survey of this type of ware is yet to be undertaken and would ideally include detailed technical analysis of all pieces.
While tiles in the enameled technique exist, the technique is now best known for its use on vessels. A wide variety of forms are known, from pitchers to plates, and many pieces decorated in the enameled technique make use of the medium's capacity for fine lines and precisely placed contrasting colors to create illustrative compositions. Common scenes found on enameled plates and bowls include richly-dressed figures before a pond or mounted horsemen flanking a central tree, but a far more complex example of narrative enameled decoration is to be found in the three registers of discrete rectilinear illustrative cells that decorate the famous Freer Gallery cup (F1928.2) with the romance of Bižan and Maniža (Simpson; Figure 8). The largest vessel decorated in this medium, and also one of the best known, is a plate also in the Freer Gallery (F1943.3; Figure 9) depicting a pitched battle and the siege of a castle. Research recently published by Renata Holod proposes a reading for this remarkable piece that reflects Shiʿite Imami sympathies in the depiction of a victory over the Ismaʿilis, sentiments that would not be surprising in medieval Kashan (Holod, pp. 208-11). The schema of the plate is unique amongst known enameled wares in its depiction of what appears to be a contemporary event rather than an idealized scene or spectacle drawn from poetic narrative. Based on historical events, Holod suggests a possible date range of 1210–27 (607-24),which could extend the period of enameled production at Kashan considerably.
Luster tilework in the Il-khanid period. It is tilework, a product that had apparently begun to develop and refine in tandem with the "Kashan" style around 596/1200, whichapparently dominated the output of Iranian luster potters from the second half of the thirteenth century. The chaos of the Mongol conquests seems to have brought production more or less to a halt by the mid-1220s; only a handful of dated tiles survive from the years between 625/1227-28 and 660/1261-22 (see graph in Porter, 2004-05). Production appears to have resumed from the660s/1260s; some dated luster vessels are known from this period, but tiles appear to have been made on a much larger scale. The use of cobalt and sometimes turquoise in combination with luster painting, a technique already developed in pre-Mongol vessels and tilework by potters thought to have been working at Kashan (e.g., the 602/1206 panel at Qom signed by Abu Zayd), remained popular in the Il-khanid period.
Although the painted decoration of the tile assemblages produced in the Il-khanid period can certainly be traced back to the so-called "Kashan" style of luster painting that directly preceded the Mongol invasions, the experimental qualities of the pre-Mongol material were replaced by a model of production that favored rather simpler painting. At the same time, the accelerated impact of Chinese art felt throughout Iran in the Mongol period, particularly from the 1270s, can be seen in vessel shapes and in chinoiserie motifs on vessels and tiles alike. The latter includedragons, phoenixes, cloud-scrolls, and lotus flowers, thought to have their sources in imported textiles and ceramics.
The luster tilework of pre-Mongol and Mongol Iran was apparently intended only for interior use, where the glittering effect of luster in combination with raised inscriptions and molded decoration must have been exceptionally striking by flickering lamplight. Most arresting are the large mehrābs (prayer niche) composed of complex assemblages of luster tiles: several major examples survive whole or in large sections from which the original site, date, and potter are known. One example, now in Berlin, was taken from the Maydān Mosque (Masjed-e Maydān) in Kashan; this work bears the signature of Ḥasan b. ʿArabšāh and is dated 623/1226 (Figure 10). Smaller luster panels and single-tile creations centered on the image of the arched niche, such as the famous "Salting mihrab" in the Victoria and Albert Museum (C.1977-1910), also exist in significant numbers; some of the larger of these were made to cover cenotaphs (Blair, 1986, pp. 393-94). Large quantities of frieze tiles, often with raised inscriptions in cursive script, were created for use above dados, on cenotaphs and around mehrābs, while panels of star-and-cross tiles were used to cover sections of wall. Major tile projects of the second half of the thirteenth century included the tomb chambers of the Emāmzāda Yaḥyā at Varāmin and the Emāmzāda Jaʿfar at Dāmḡān (660s/1260s), and the Taḵt-e Solaymān palace complex (670s/1270s) near Takāb, while the tomb of Shaikh ʿAbd-al-Ṣamad at Naṭanz provided a major commission in 707/1307-8. Some or all of the tiles at these and other sites were ripped from the walls and sold on the international market in the nineteenth and early twentieth centuries, with the result that individual tiles are now held in public and private collections around the world (see Masuya).
It is notable that many of the locations in which luster tiles have been found in situ are sites of Shiʿite veneration (see Adle, 1982, for a unique pair of luster tiles, dated 711/1312, which commemorate the foundation of a shrine to Imam ʿAli near Kashan). When taken in conjunction with the Shiʿite identities of some of the named potters, this raises the interesting possibility of luster tilework as a material manifestation of sectarian identity in medieval Iran, although Blair has suggested that this interpretation should be treated with caution for several reasons (see Blair, forthcoming).
With the latest dated luster tiles of the Il-khanid type stating that they were made at Kashan in 739/1339, luster production in the town seems to have come to an end around 1340, although Watson notes that a few fifteenth-century and later luster tiles and tombstones of considerably reduced quality have been found in buildings in or near Kashan (Watson, 1975a, pp. 71-73). The reasons for this collapse are not known: luster tiles simply may have ceased to be a fashionable form of architectural decoration as the fourteenth century progressed, and their fall from favor signaled the end of the kilns at Kashan.
Figure 1.Stonepaste bowl decorated with enameled design; signed by Abu Zayd and dated 4 Moḥarram 582/27 March 1186. Metropolitan Museum of Art, New York, 64.178.1,
http://www.metmuseum.org/Collections/search-the-collections/451752?rpp=20&pg=1&ft=abu+zayd&pos=1.
Figure 2. Stonepaste bowl decorated with cobalt and overglaze painted with luster; signed "Moḥammad b. Moḥammad al-Nišāpuri, dwelling at Kashan." Victoria and Albert Museum, London, C.162-1977,
http://collections.vam.ac.uk/item/O8927/bowl-unknown/.
Figure 3. Stonepaste tile decorated with cobalt and overglaze painted with luster; dated 739 (1338-9) and inscribed with a plea to protect Kashan from the accidents of time. British Museum, London, OA.1123,
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=245471&partId=1&searchText=kashan+739&page=1.
Figure 4. Stonepaste bowl decorated with cobalt and overglaze painted with luster; example of the "monumental style." Ashmolean Museum, Oxford, EA1956.183, http://jameelcentre.ashmolean.org/collection/8/per_page/25/offset/0/sort_by/date/object/17701.
Figure 5. Stonepaste bottle overglaze painted with luster; dated 575 (1179-80); example of the "miniature style." British Museum, London, 1920.0326.1,
Figure 6. Stonepaste bowl overglaze painted with luster; dated 604 (1207-8); example of the "Kashan style". Victoria and Albert Museum, London, C.51-1952,
http://collections.vam.ac.uk/item/O85417/dish-unknown.
Figure 7. Stonepaste tile overglaze decorated with polychrome and luster. Boston, Museum of Fine Arts, 31.495,
http://www.mfa.org/collections/object/the-iranians-leave-faruds-fortress-17690.
Figure 8. Stonepaste beaker overglaze painted with polychrome enamel. Freer Gallery of Art, Washington, D.C., F1928.2,
http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1928.2.
Figure 9. Stonepaste charger overglaze painted with polychrome enamel. Freer Gallery of Art, Washington, D.C., F1943.3,
Figure 10. Stonepaste tile mehrab decorated with cobalt, turquoise and luster. Taken fromthe Maydān mosque in Kashan; signed by al-Ḥasan ibn ʿArabšāh and dated 623/1226. Museum für Islamische Kunst, Berlin, I.5366,
http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/bildergalerie.html.
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Renata Holod, "Event and Memory: The Freer Gallery's Siege Scene Plate," Ars Orientalis 42, 2012, pp. 194-219.
Muhammad Yusuf Kiani, The Islamic City of Gurgan, Berlin, 1984.
Kerith Koss et al., "Analysis of Persian Painted Minai Ware," in Blythe Ellen McCarthy, ed., Scientific Research on Historic Asian Ceramics: Proceedings of the Fourth Forbes Symposium at the Freer Gallery of Art, London, 2009, pp. 33-47.
Linda Komaroff, "Islamic Pottery," in William Koeppe et al., eds., Decorative Arts of the Robert Lehman Collection, New York, 2012, pp. 351-61.
Arthur Lane, Early Islamic Pottery: Mesopotamia, Egypt and Persia, London, 1947.
Sophie Makariou et al., eds., Reflects d'or: d'Orient en Occident: la céramique lustrée, IXe-XVe siècle, Paris, RMN, 2008.
Robert B. Mason, "Mediaeval Iranian Lustre-Painted and Associated Wares: Typology in a Multi-Disciplinary Study," Iran 35, 1997, pp. 103-35.
Tomoko Masuya, "Persian Tiles on European Walls: Collecting Ilkhanid Tiles in Nineteenth-Century Europe," Ars Orientalis 30, 2000, pp. 39-54.
Peter Morgan, "Iranian Stone-paste Pottery of the Saljuq Period: Types and Techniques," in Ernst J. Grube, ed., Cobalt and Lustre: The First Centuries of Islamic Pottery, London, 1994, pp. 155-69.
Oya Pancaroğlu, Perpetual Glory: Medieval Islamic Ceramics from the Harvey B. Plotnick Collection, Chicago, 2007.
Idem, "Potter's Trail: An Abu Zayd Ewer in the St Louis Art Museum," in Venetia Porter and Mariam Rosser Owen, eds., Metalwork and Material Culture in the Islamic World: Art, Craft and Text: Essays Presented to James W. Allen, London, 2012, pp. 397-409.
Yves Porter, "Text persans sur la céramique," in Ziva Vesel, Hossein Beikbaghban, and BertrandThierry de Crussol des Épesse, eds., La science dans le monde iranien à l'époque islamique: actes du colloque tenu à l'Université des sciences humaines de Strasbourg, Leiden, 1998, pp. 165-89.
Idem, "Les techniques du lustre métallique d'après le Jowhar-Nâme-ye Nezâmi (1196 AD)," in Charalampos Bakirtzis, ed., VIIe congress international sur la céramique Médiévale en Méditerranée, Athens, 2003, pp. 427-36.
Idem, "Le quatrième chapitre du Javāher-nāme-ye Neẓāmi," in Nasr Allah Pourjavady and Ziva Vesel, eds., Sciences, techniques et instruments dans le monde iranien (Xe-XIXe siècle), Tehran, 2004, pp. 341-60.
Idem, "Potters, Painters and Patrons: Documentary Inscriptions and Iconography in Pre-Mongol Iranian Ceramics," Transactions of the Oriental Ceramic Society 69, 2004-5, pp. 25–35.
Idem, Le Prince, l'artiste et l'alchimiste: La céramique dans le monde iranien Xe-XVIIe siècles, Paris, 2011.
ʿAbd-Allāh Qučāni, Ašʿār-e fārsi-e kāšihā-ye Taḵt-e Solaymān, Tehran, 1992.
Idem, Aḥādiṯ-e kāšihā-ye zarrin-fām-e Ḥaram-e Emām Reżā, Mashad, forthcoming.
Scott Redford and M. James Blackman, "Luster and Fritware Production and Distribution in Medieval Syria," Journal of Field Archaeology 24/2, 1997, pp. 223-47.
Friedrich Sarre, "Eine keramische Werkstatt von Kaschan im 13.-14. Jahrhundert," Istanbuler Mitteilungen 3, 1935, pp. 57-69.
Marianna Shreve Simpson, The Narrative Structure of a Medieval Iranian Beaker," Ars Orientalis 12, 1981, pp. 15-24.
Ziva Vesel, Iraj Afshar, and P. Mohebbi, "«Le livre des pierres pour Neẓām [al-Molk] (Javāher-nāme-ye Neẓāmī)» (592/1195-6): la source présumée du Tansūkh-nāme-ye Īlkhānī de Ṭūsī," in Nasr Allah Pourjavady and Ziva Vesel, eds., Dānešmand-e Ṭus: ʿelm wa falsafa da ʿaṣr-e Ḵˇāja Naṣir-al-Din Ṭusi: Naṣīr al-Dīn Ṭūsī, philosophe et savant du XIIIe siècle, Tehran, 2000, pp. 145-74.
Oliver Watson, "Persian Lustre-Painted Pottery: Rayy and Kashan Styles," Transactions of the Oriental Ceramic Society 40, 1973-75, pp. 1-19.
Idem, "Persian Lustre Ware, from the 14th to the 19th Centuries," Le monde Iranien et l'Islam 3, 1975a, pp. 63-80.
Idem, "The Masjid-i ʿAlī, Quhrūd: An Architectural and Epigraphic Survey," Iran 13, 1975b, pp. 59-74.
Idem, Persian Lustre Ware, London, 1985.
Idem, "Documentary Mīnāʾī and Abū Zaid's Bowls," in Robert Hillenbrand, ed., The Art of the Saljūqs in Iran and Anatolia: Proceedings of A Symposium Held in Edinburgh in 1982, Costa Mesa, Calif., 1994, pp. 170-80.
Idem, Ceramics from Islamic Lands, London and New York, 2004.
Idem, "Lustre Wasters: Attribution, Provenance and Art Historical Politics," in Patricia L. Baker and Barbara Brend, eds., Sifting Sands, Reading Signs: Studies in Honour of Professor Géza Fehérvári, London, 2006a, pp. 231-49.
Idem, "Pottery under the Mongols," in Linda Komaroff, ed., Beyond the Legacy of Genghis Khan, Leiden, 2006b, pp. 325-45.
Marina D. Whitman, "Persian Blue-and-White Ceramics:Cycles of Chinoiserie," Ph.D. diss., New York University, 1978.
(Margaret S. Graves)
Originally Published: August 12, 2014
Cite this entry:
Margaret S. Graves, "KASHAN v. ARCHITECTURE (1) URBAN DESIGN," Encyclopaedia Iranica, online edition, 2014, available at http://www.iranicaonline.org/articles/kashan-ware (accessed online on 8 August 2014).
KASHAN i. GEOGRAPHY
KASHAN ii. HISTORICAL GEOGRAPHY
KASHAN iii. History to the Pahlavi Period
KASHAN iv. POPULATION
KASHAN v. ARCHITECTURE (1) URBAN DESIGN
KASHAN v. ARCHITECTURE (2) HISTORICAL MONUMENTS
KASHAN v. ARCHITECTURE (3) TRADITIONAL ARCHITECTURE
KASHAN v. ARCHITECTURE (4) HISTORIC MANSIONS
KASHAN vi. THE ESBANDI FESTIVAL
KASHAN viii. RELIGIOUS COMMUNITIES (1) JEWISH COMMUNITY
KASHAN viii. RELIGIOUS COMMUNITIES (2) BAHAI COMMUNITY
KASHAN ix. THE MEDIAN DIALECTS OF KASHAN
KASHAN ix. THE MEDIAN DIALECTS OF KASHAN (2) URBAN JEWISH DIALECT
kashan ware
0 COMMENTS on KASHAN VII. KASHAN WARE


text:
Yale University holds commencement ceremony
by: Kent Pierce
Monday is graduation day at Yale! While that is something to celebrate for graduates and their families, it means lots of traffic issues for all the rest of us.
You can bet on lots of traffic, lots of street closures, and lots of people all crowded into a few blocks of New Haven.
Related: Man grabs microphone at Yale commencement, gets escorted out
According to officials:
High Street at Chapel Street closed at 7 a.m. – 12:30 p.m.
College Street will be closed between Grove and Chapel for the entirety of the Commencement Ceremony at 8 a.m. – 12:30 p.m.
Elm Street closed at York Street from 8 a.m. – 10:30 a.m., reopened, then closed again from 11:20 a.m. – 12:30 p.m.
Intermittent closure on Cedar from Congress to York. Cedar Street between Congress/York will be closed from 8:15 a.m. – 9:20 a.m., closed from noon -12:30 p.m.
Motor Unit will provide student escort at 8 a.m. on Cedar Street.
No traffic around Amistad park during diploma ceremony, noon – 1:45 p.m.
For the families coming to the ceremony, there are shuttles to get them to the ceremony from various parts of town.
Yale's website has all that information.
Everybody started assembling a little after 9 a.m., so if you work somewhere near Yale, this might be a good day to get to the office and not drive around the city.
It may be a good idea to bring your lunch as well. Commencement officially started at 10:30 a.m., and let out at lunch time, at which means several thousand people are going to be looking for a place to eat.
Related: New Haven roads to be closed for Yale graduation
If you don't work around here, this would be a good day to stay away from campus, especially in the late morning hours.
WATCH THE FULL VIDEO ON THE ROAD CLOSURES BELOW:
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iPhone or iPad users: get our free News 8 app here
Android users: get our free News 8 app here
New Haven faith leaders, social justice groups rally for 'The People's Inauguration'
Yale ramping up COVID vaccinations; concern growing over not getting enough vaccine to keep up with need
News 8 Exclusive: CT Trump campaign official reacts to Trump's departure
Senior living facility in Branford remembers those who lost their lives to COVID-19
Bakery in Avon makes 'Glass Ceiling' cake in honor of Harris inauguration as VP
Waterbury begins giving out COVID vaccine to seniors; free drive-thru site at Post University starts next week
More New Haven
More New Haven Stories
by Hector Ramirez II / Jan 20, 2021
NEW HAVEN, Conn. (WTNH) -- As President Joe Biden takes the White House, the people of Connecticut are taking the streets.
Faith leaders and social justice groups rallied in New Haven earlier Wednesday evening. Some marched, others drove and an online rally happened at the same time for "The People's Inauguration."
HAMDEN, Conn. (WTNH) -- The town of Hamden is encouraging residents to be less wasteful in regards to food, asking everyone to do their part.
Officials have a new initiative asking others to reduce the amount of food they throw away and consider composting.
by Lisa Carberg / Jan 20, 2021
NEW HAVEN, Conn. (WTNH) -- Yale is busy ramping up COVID-19 vaccination sites this week as the hospital fills dangerously near capacity for adult services. There is some concern about getting enough vaccine to make a dent in the population here.
RELATED: Yale New Haven Health announces COVID vaccination sites, opening dates

redpajama_set_name: RedPajamaCommonCrawl


text:
SUCKLER SECTOR ON A CLIFF EDGE – IFA PRESIDENT TELLS ASA CONFERENCE
Brussels, CAP, Cattle, IFA in Brussels
Speaking at the ASA Conference today (Fri) during a discussion on The Challenges in the Global Marketplace for Beef, IFA President Joe Healy warned that suckler farming is now on a cliff edge, due to EU agricultural policy which is asking farmers to produce beef at low prices while reducing direct payments and insisting on ever higher standards.
Joe Healy said the move of CAP policy away from price supports towards direct payments has made beef farming extraordinarily challenging at current prices. At the same time, the EU Commission is reneging on its side of the bargain by proposing further cuts of €100m per annum on Irish farmers as part of CAP reform proposals.
The Teagasc figures from Newford in Athenry revealed this week at their open day, show that even the most efficient suckler farming model is not profitable. Yet the response from the Commission, in the latest CAP reform proposals, is to further cut direct payments and to ask European farmers to meet even higher standards.
To compound this, the Commission is hellbent on concluding a Mercosur trade deal with South America, which would allow more beef imports into the EU despite these countries having lower production standards and their beef production having a negative climate impact.
Joe Healy said two significant political decisions will be made in the next month. "The upcoming Budget on October 9th provides our Government with the opportunity to help suckler farming by increasing supports for suckler cows, while at EU level, further talks are scheduled for Uruguay next week with a view to concluding a trade deal with the Mercosur group of countries."
"Minister Donohoe and Minister Creed must deliver an increase in funding for suckler cows in October's Budget and we need the Irish Government and Commissioner Hogan to block a damaging trade deal with the Mercosur group."
"The new CAP must reflect the realities being faced by farmers on the ground. We need an increase in payments at least in line with inflation, not a €100m cut as currently proposed," he said.


Island Signs & Graphics were fantastic!
Signs were completed quickly and came out beautifully.
Your user content must not be illegal or unlawful, must not infringe any third party's legal rights, and must not be capable of giving rise to legal action whether against you or Island Signs & Graphics or a third party (in each case under any applicable law).
Island Signs & Graphics may revise these terms and conditions from time-to-time. Revised terms and conditions will apply to the use of this website from the date of the publication of the revised terms and conditions on this website. Please check this page regularly to ensure you are familiar with the current version.
These terms and conditions will be governed by and construed in accordance with the laws of NY, USA, and any disputes relating to these terms and conditions will be subject to the exclusive jurisdiction of the courts of NY, USA.
Total professionalism and very creative ideas.


A new virus isolated from the human respiratory tract.
A collaborative report: rhinoviruses--extension of the numbering system.
Activity of p-Aminobenzaldehyde, 3-Thiosemicarbazone on Vaccinia Virus in the Chick Embryo and in the Mouse.
Virologic studies of acute respiratory disease in young adults. V. Coronavirus 229E infections during six years of surveillance.
Growth and serological characteristics of respiratory syncytial virus.
Studies on the chemotherapy of vaccinia virus. II. The activity of some thiosemicarbazones.
Growth and intracellular development of a new respiratory virus.
THE RELATIONSHIP OF THE AGENT OF HEART-WATER FEVER--RICKETTSIA RUMINANTIUM.
Sera from sheep which were infected with heartwater fever from 39 to 110 days before the serum was withdrawn failed to fix complement in the presence of lymphogranuloma venereum antigen.


text:
package org.apache.guacamole.auth.mysql;

import com.google.inject.Guice;
import com.google.inject.Injector;
import org.apache.guacamole.GuacamoleException;
import org.apache.guacamole.auth.jdbc.JDBCAuthenticationProviderModule;
import org.apache.guacamole.auth.jdbc.JDBCInjectorProvider;

/**
 * JDBCInjectorProvider implementation which configures Guice injections for
 * connecting to a MySQL database based on MySQL-specific options provided via
 * guacamole.properties.
 *
 * @author Michael Jumper
 */
public class MySQLInjectorProvider extends JDBCInjectorProvider {

    @Override
    protected Injector create() throws GuacamoleException {

        // Get local environment
        MySQLEnvironment environment = new MySQLEnvironment();

        // Set up Guice injector
        return Guice.createInjector(
            new JDBCAuthenticationProviderModule(environment),
            new MySQLAuthenticationProviderModule(environment)
        );

    }

}

redpajama_set_name: RedPajamaGithub


text:
Allsvenskan i bandy för damer 1993/1994 var Sveriges högsta division i bandy för damer säsongen 1993/1994. Säsongen avslutades med att södergruppsvinnaren Västerstrands AIK blev svenska mästarinnor efter seger med 9-4 mot norrgruppsvinnaren AIK på Studenternas IP i Uppsala den 19 mars 1994.

Upplägg
Lagen var indelade i två geografiskt indelade grupper, där de fyra bästa lagen i varje grupp gick vidare till Elitserien, en enkel fortsättningsserie från vilken lag 1-4 gick vidare till slutspel om svenska mästerskapet.

Förlopp
Skytteligan vanns av Lena Krameus, Västerstrands AIK med 25 fullträffar..

Seriespelet

Allsvenskan norra

Allsvenskan södra

Elitserien

Slutspel om svenska mästerskapet

Semifinaler
Kareby IS-AIK 0-8, 2-8
Västerstrands AIK-Sandvikens AIK 6-2, 17-6

Final
19 mars 1994: AIK-Västerstrands AIK 4-9 (Studenternas IP, Uppsala)

Källor
Horisont 1994, Bertmarks förlag, sidan 300 - Sportresultat: Bandy

Externa länkar

Sport i Sverige 1993
Sport i Sverige 1994
1993/1994
Bandysäsongen 1993/1994

redpajama_set_name: RedPajamaWikipedia


text:
← Worldwide Financial Meltdown – Dying Dollar, Rising Oil Prices, and the Euro …What Wall Street Doesn't Want You to Know?
FDIC Over Extension and Bankruptcy – 100 Banks Expected to Fail →
U.S. Mint Suspends Gold Coin Sales as the Dollar Dies – Protect Your Savings as U.S. Economy Tanks
Put your money in Euros or gold!
The death of the U.S. dollar is imminent. Before the greenback has its final heart attack, get ahead of the next catastrophe on Wall Street. Protect your savings on Main Street.
Don't be deceived by the lying media owned by multi-national corporations. Wall Street insiders will paint a rosy picture while they tycoons walk away with the loot. Awake and take immediate action before your savings disappears overnight.
The Gold Anti-Trust Action Committee (GATA) reported that the United States Mint has suspended sales of American Eagle gold coins to their network of Authorized Purchasers.
The U.S. Mint has halted sales of its American Eagle and American Buffalo 24-carat gold one-ounce bullion coins because "inventories have been depleted," the Mint said.
The coins which sold for $800 can't keep up with demand from panicky investors looking for something — anything — that seems safe during the current crisis.
The price of gold has risen in recent weeks, topping $920 per ounce as concerns rise over the passage of the $700 billion Wall Street bailout and subsequent fears about a further stock market drop.
The Mint has sold 164,000 24-carat gold coins this year, which is nearly 30,000 more than during all of 2007.
Invest in Euros or gold before your U.S. dollar savings disappear!
Paul F Davis – worldwide speaker, author, and prophet
Paul F. Davis is a world-changer who has touched over 50 countries, more than 50 islands, and 6 continents empowering people throughout the earth to live their dreams!
Paul is the author of 14 books and premier life coach building dreams, breaking limitations, and transforming individuals and organizations. Paul is a change master that knows how to play with pain, while elegantly and humorously navigating through transition to ride the waves of change.
– Paul worked at Ground Zero in New York City the first week of 9/11, two stops from Brooklyn Heights where Paul used to live. Paul drove a rental car up to NYC from Orlando, FL as all airports were shut down for national security reasons.
– Paul helped a Muslim young man rebuild his home at the tsunami epicenter in Indonesia and spoke to tribal groups in Wamena who are "naked and not ashamed."
– Paul comforted victims of genocide in Rwanda and Burundi where 1.2 million people were slaughtered.
– Paul spoke to leaders in East Timor during the war for independence before the UN recognized the new nation.
– Paul addressed University students and monks in Myanmar working together to achieve democracy.
– Paul spoke throughout war-torn East Africa journeying deep into the "bush" where villagers have never seen a white man.
– Paul lived in and lectured throughout India and China the two largest populaces on earth.
– Paul journeyed to Pakistan twice since 9/11 to speak to large audiences about peace, non-violence, and reconciliation.
The death of the U.S. dollar is imminent. Before the greenback has its final heart attack, get ahead of the next catastrophe on Wall Street.
Paul is the author of 14 books and consultant building dreams, breaking limitations, transforming individuals and organizations. Paul is a change master that knows how to play with pain, while elegantly and humorously navigating through transition to ride the waves of change. http://www.PaulFDavis.com
Filed under america, American economy, american people, banking, bankruptcies, dying dollar, economy, gold coins, sales, u.s. mint, wealth and prosperity, worldwide financial meltdown, worry
Tagged as coins, dollar, gold, mint, sales, suspends, us


The fighting between rebels and forces loyal to former Coronel Muammar Ghaddafi, forced thousands of refugees to flee Libya's civil conflict by boat to Europe, and especially to Italy. In the southern city of Taranto, in the region of Puglia, the daily arrival of thousands of refugees coming illegally from Libya, placed the refugee issue as a primary concern for the italian Prime Minister of Italy, Senator Mario Monti. The pictures shows an Italian marine officer organizing the arrival of a cruise ship.


text:
AL-AMAN FUND
Your generous support will enable the orphans to continue their education and ensure a better future
Mission, Vision & Objectives
Eligible Orphans
Employ An Orphan
Al-Aman Fund | Al-Aman Fund Launches Annual Ramadan Campaign "Educate Me"
post-template-default,single,single-post,postid-17131,single-format-gallery,ajax_fade,page_not_loaded,,qode-title-hidden,side_menu_slide_with_content,width_270,qode-child-theme-ver-1.0.0,qode-theme-ver-10.1.2,wpb-js-composer js-comp-ver-5.1,vc_responsive
05 May Al-Aman Fund Launches Annual Ramadan Campaign "Educate Me"
Posted at 08:57h in Al-Aman News and Events	by	root
Al-Aman Fund for the Future of Orphans has launched its annual Ramadan campaign, calling on the Jordanian public to contribute toward the higher education of orphans in Jordan throughout the holy month of Ramadan.
The campaign titled "Educate Me" encourages people to donate to support the education of orphans after they graduate from government-run orphanages when they turn 18.
Al-Aman Fund believes that supporting orphans after the age of 18 is crucial as early adulthood marks a vulnerable and pivotal time in their lives, with the potential to determine the direction of their future.
An initiative by the Queen Rania Foundation for Education and Development, Al-Aman Fund, equips orphans who have reached legal adulthood with the education, training, and necessary skills to become self-reliant and productive members of society.
Since the fund's establishment in 2006, more than 3,770 orphans have benefitted from its programs, which include educational scholarships, vocational training, cash stipends to cover living costs, guidance and counseling, an internship and employment program, as well as medical insurance.
According to Resolution No. 7/2010 issued by the Council of Fatwa, Research and Islamic Studies, "educating those in need is considered an ongoing Sadaqa, which would benefit the nation." The Council goes on to explain that Zakaah, as specified by the Holy Quran, can be offered to orphans.
Prospective donors are encouraged to call the fund's direct donation number 06-5330500 to arrange for donation pick-up at the location of their choice. Donors may also make a deposit into the fund's account at any bank in the Kingdom.
To facilitate the donation process, Al-Aman Fund representatives are available at various shopping centers across Amman, such as City Mall, Cozmo (7th Circle), Safeway (7th Circle), Mecca Mall, Taj Mall, and Abdali Mall. Donation boxes can also be found in major stores, hospitals, and banks.
Al Aman Fund
Al-Aman Fund for the Future of Orphans
Obada Bin Al-Samet Street, Building number 10, 2nd floor
Shmeisani, Amman
Sunday-Thursday, 9am – 4pm
P.O. Box 930297 Amman, Jordan 11193
Email: info@alamanfund.jo
A Credible Institution
All donations go directly towards the different support schemes the Fund provides to its orphans, the administrative costs are directly covered from separate donations for this purpose.
Al-Aman Fund maintains a standard level of best practice by providing the donor with the orphan educational achievements and grades every semester also by updating the donors with the orphans' situations.
Copyright Al-Aman Fund 2017 All Rights Reserved.


text:
Q: Binding a datepicker to dynamically generated textboxes I have several textbox elements being generated in a foreach, like this:
@foreach(var thing in Model.Things)
{

        @Html.TextBoxFor(m => thing.StartDate, new { id = "thingStartDate", @class = "thingDatePicker" })

}

I'm attaching jQuery datepickers to each textbox, like this:
$(document).ready(function(){
    $(".thingDatePicker").datepicker({ dateFormat: "mm/dd/yy" });
});

The datepickers all fire correctly on each textbox, in the correct positions.  But when I select a date from any of them, it only populates the first textbox.  How do I make sure each datepicker is firmly associated with its textbox?

A: You seem to be using the same id for all your textboxes (id="thingStartDate") which obviously results in invalid HTML. So either remove the id attribute or make sure you don't get dupes. I would probably remove it as you are using a class selector and this id serves no purpose at all:
@foreach(var thing in Model.Things)
{

            @Html.TextBoxFor(
                m => thing.StartDate,
                new { @class = "thingDatePicker" }
            )

}

Also I hope you realize that m => thing.StartDate will generate incorrect names for those textboxes. It will use name="StartDate" instead of name="Things[xxx].StartDate" which might get you into troubles later when you attempt to bind back to your view model. For this purpose I recommend scraping the foreach loops in view in favor of editor/display templates:
@Html.editorFor(x => x.Things)

and inside the corresponding editor template (~/Views/Shared/EditorTemplates/Thing.cshtml)
@model Thing

        @Html.TextBoxFor(
            x => x.StartDate,
            new { @class = "thingDatePicker" }
        )

redpajama_set_name: RedPajamaStackExchange


A warm welcome to you all from our Rock and Roll Daycare Central Square site!
Our Montessori learning environment combined with music is like no other. Our main objective at Rock and Roll Daycare is to provide a carefully planned, stimulating environment which will help children to develop within themselves the foundational habits, attitudes, skills and ideas essential for a lifetime of creative thinking and learning. Respect and courtesy in our Montessori school is the foundation for everything we do. In addition we have our very own Cultural Currants program, which combines all facets of music with learning for young children.
Here at Rock and Roll Daycare, we want each child to feel empowered to make good choices and learn how great it feels to do things on their own! With the guidance of our highly trained, nurturing teachers and admin staff, we are committed to making your child's Montessori experience productive, stimulating, and most of all exciting each day!
Whether your child is an infant or toddler, you can expect them to participate in all calendar events, daily music and movement classes, our very own Cultural Currents Program, and the traditional Montessori work cycle, which includes Practical Life, Sensorial, Math, and Language. In addition, your child will enjoy nature walks, plenty of out door play, cultural concerts and events, nap-time, and not to mention, delicious meal times!


text:
Q: Auto-Update Messaging in PHP without using set interval function I am trying to build a messaging environment in PHP and stuck with some issues.
I am facing difficulties in auto-update of user online-list and messages. I want to auto update the user-list without need of reloading page again and again as it is going to put load on our server. same problem is in messaging. I want messages to get auto updated but don't want to put load on my servers with multiple hits using set interval function. So, Is there any robust and feasible method or theory that could help me out here.
Thanks in advance to those who are going to put any effort here.

A: You can use Ajax or it is better to use websockets such as socket.io or pusher.
For more references:
https://developer.mozilla.org/en-US/docs/Web/API/WebSocket
https://en.wikipedia.org/wiki/WebSocket
https://www.websocket.org/aboutwebsocket.html
https://www.html5rocks.com/en/tutorials/websockets/basics/
Anyhow,
Edit your question, so more developers will help you to your problem. Show some code/references etc. Learn more...

A: There are two options:

*

*Ajax, but you don't want use it (through setInterval)

*Using web sockets with node js as web server
If you choose node, here there is a simple example: https://medium.com/@martin.sikora/node-js-websocket-simple-chat-tutorial-2def3a841b61


text:
Q: Simple Groovy thread manager I wrote a little thread manager in Groovy. The manager takes an array, a task to execute on an array, and a chunk size. The task is then executed in a separate thread, and the results added to a result array.
This is the class code:
class ParallelManager {

  static def _threads = []
  static def _threadsFinishedCorrectly = []
  static  def _results = []

  static def runParallelTask( def dataArray, def taskFunc, int chunkSize ){
    assert chunkSize > 0
    assert taskFunc
    if (dataArray.size()==0) return

    assert dataArray.size() >= 0

    def subArray = partitionArray(dataArray, chunkSize)
    assert subArray.size() > 0

    subArray.each{ arrChunk->
        _threads.add( Thread.start{

            def chunkResults = taskFunc(arrChunk)
            assert chunkResults != null
            _results.add(chunkResults) // EXCEPTION HERE
            _threadsFinishedCorrectly.add(true)
        })
    }

    // wait for all threads to finish
    _threads.each{ it.join() }
    log.info("Waiting for all threads to finish...")

    assert _threadsFinishedCorrectly.size() == _threads.size(),'some threads failed.'
    assert _results.size() == _threads.size()
    log.info("${_threads.size()} finished.")

    return _results
}

/**
* Util function
* @param array
* @param size
* @return
*/
  static def partitionArray(array, size) {
   def partitions = []
   int partitionCount = array.size() / size

   partitionCount.times { partitionNumber ->
       def start = partitionNumber * size
       def end = start + size - 1
       partitions << array[start..end]
   }

   if (array.size() % size) partitions << array[partitionCount * size..-1]
   return partitions
}

The manager can be called like this:
  def parallFunc = { array->
        log.info "I'm multiplying $array by 2"
        return array.collect{it*2}
    }

  def results = ParallelManager.runParallelTask( [1,2,3,4,5,6,7,8], parallFunc, 3)

This code occasionally throws this Exception at the line marked above:
 Exception in thread "Thread-3" java.lang.ArrayIndexOutOfBoundsException: 1
 [java]     at java.util.ArrayList.add(ArrayList.java:352)
 [java]     at java_util_List$add.call(Unknown Source)

Do you have a fix for this issue? I think a little thread manager like this one will be useful to many people to speed up common tasks in their code.
Cheers,
Mulone

A: This is how you'd do it with GPars:
@Grab( 'org.codehaus.gpars:gpars:0.12' )
import groovyx.gpars.*

def arr = [ 1, 2, 3, 4, 5, 6, 7, 8 ]

arr = GParsPool.withPool {
  arr.collectParallel { it * 2 }
}

A: Did you hear about the gpars project? It is a proven library that aims to make concurrent programming for multi-core hardware intuitive. It is very powerful when it comes to collection processing.
I would like to advise you to rely on this library instead of implementing your own limited version of a simple thread manager.

A: I solved the issue using Vectors instead of arraylists.
Working code below:
class ParallelManager {

static def log = Logger.getLogger(ParallelManager)

Vector _threads = []
Vector _threadsFinishedCorrectly = []
Vector _results = []

/**
 *
 * @param dataArray
 * @param chunkSize
 * @param taskFunc
 * @return
 */
def runParallelTasks( def dataArray, int chunkSize, def taskFunc ){
    reset()
    assert chunkSize > 0
    assert taskFunc
    if (dataArray.size()==0) return

    assert dataArray.size() >= 0

    def subArray = partitionArray(dataArray, chunkSize)
    assert subArray.size() > 0

    subArray.each{ arrChunk->
        _threads.add( Thread.start{

            def chunkResults = taskFunc(arrChunk)
            assert chunkResults != null
            _results.add(chunkResults)
            _threadsFinishedCorrectly.add(true)
        })
    }

    // wait for all threads to finish
    _threads.each{ it.join() }
    log.debug("Waiting for all threads to finish...")

    assert _threadsFinishedCorrectly.size() == _threads.size(),'some threads failed.'
    assert _results.size() == _threads.size()
    log.debug("${_threads.size()} finished.")
    def res = _results.flatten()
    //reset()
    assert dataArray.size() == res.size(),"Something went wrong. Some threads did not return their results. results=$res"
    return res
}

void reset(){
    _threads = []
    _results = []
    _threadsFinishedCorrectly = []
}

/**
*
* @param array
* @param size
* @return
*/
def partitionArray(array, size) {
   def partitions = []
   int partitionCount = array.size() / size

   partitionCount.times { partitionNumber ->
       def start = partitionNumber * size
       def end = start + size - 1
       partitions << array[start..end]
   }

   if (array.size() % size) partitions << array[partitionCount * size..-1]
   return partitions
  }
}

The manager can be called like this:
someClosure = {
    def resArray = doSomethingOn(it)
    return(resArray)
}
def resultArray = new ParallelManager().runParallelTasks( inputArray, 4, someClosure )


The foundation of Potter Valley Church is the Lord Jesus Christ and the Word of God guides all our affairs. We worship God corporately accordingly to the teaching of His revealed Word. Through education in the Scriptures, fellowship and discipleship, we desire to nurture each other's walk with God. While our worship may also include music, the two are not synonymous as worship is really an attitude of the heart. We exist to glorify Jesus Christ and to make Him known to the world. It is therefore one of Potter Valley Bible Church's priorities to spread the good news of God's saving grace through evangelism, missions, and loving deeds.
Our worship in music is a mix of contemporary songs and traditional hymns. The worship team carefully selects gospel centered and biblical lyrics.
Pastor Tony Arnds is the primary preaching pastor and leads the congregation through the Word of God with expository preaching. Bring a pencil if you're a note taker, and you'll definitely need your Bible! (There are extra Bibles in the pews if you would like to borrow one.) Individual elements include a call to worship, announcements and corporate prayer time, worship in music, and worship in the Word through expository preaching. The Lord's Day service generally lasts around 120 minutes. Communion is observed the 1st Sunday of each month for believers who have examined their heart beforehand.
A limited supply of Assisted Listening Systems are available on the Bulletin table for use each Sunday.
Sunday School classes start at 10am in the upstairs classroom (taught by Elder Rich Brazil) and in the downstairs Children's Church classroom every Sunday before the church service.
Children (K-4th grade) are dismissed from the Church Service after the Worship music to participate in Children's Church. Children are taught the same message that the adults learn in the main service in a way that they can understand, which makes for a great family discussion time after church. They first sing their own songs together before being released for the message and craft time. (Nursery available for toddlers through 4 years of age.) These ministries are optional and allow parents to worship the Lord unencumbered. For more information on our Children's ministries, click HERE.
Some people are comfortable in jeans, some prefer business casual. Wear what you're comfortable in. God cares more about the heart than the outfit.
We have anywhere from 100-150 people who attend Potter Valley Bible Church. People come from all over Lake and Mendocino counties. You will find people congregating long after the service enjoying a conversation about the message, God's work in their lives, snacks or a cup of coffee.
Potter Valley Bible Church is located 18 miles NE of Ukiah, CA.


COMPANION SITES: www.iit-jee-chemistry.blogspot.com, www.iit-jee-maths.blogspot.com. A google search facility is available at the bottom of the page for searching any topic on these sites.
Gases are in general poor conductors of electricity. This is because they do not have free charged particles in large numbers which may respond to an electric field.
Electric current may be passed through a gas if we ensure that by some mechanism charged particles are continuously produced in the gas.
This can be done in many ways. One method is to apply a large potential difference across gas at very low pressure. Another method is to heat a metal kept in an evacuated chamber to high temperatures at which electrons are ejected from the metal and these electrons flow through the gas. Another method is to pass X-rays through the gas.
It is closed tube of length about 30 cm and diameter about 4 cm. It is fitted with two electrodes to function as anode and cathode. There is a pumping arrangement to create low pressure in the tube. The electrodes are connected to a high voltage source, a secondary coil of an induction coil.
In a gas at low pressure, if the potential difference between the electrodes is gradually increased, sparking occurs at a certain stage.
The minimum potential difference which can cause sparks in a gas is called the sparking potential. It depends on the pressure of gas as well as on the separation between the electrodes.
Sparking potential of a gas in a discharge tube is a function of the product of the pressure of the gas and the separation between the electrodes.
In a typical case, sparking occurs at a pressure of 10 cm of mercury. the sparking is accompanied by crackling noise.
At a pressure of about 10 mm of mercury, the irregular streaks broaden out in a luminous column extending from the anode almost up to the cathode. A buzzing sound comes now. This column is called positive column. The colour depends on the nature of the gas in the tube - reddish for air, bright red for neon, bluish for Carbon dioxide etc.
At a pressure of 3-4 mm of mercury, the length of positive column decreases - it starts from anode, but ends well before the cathode. A bluish glow will be there around the cathode and there will be a dark space between this glow and the positive column. The bluish glow around the cathode is termed cathode glow or negative glow. The dark space between the cathode glow and the positive column is called Faraday dark space.
As the pressure reaches to about 1 mm of mercury, the positive column gets reduced further and the length of Faraday dark space increases. The cathode glow is now some distance away from the cathode and a dark space appears between cathode and the cathode glow. This dark space is called Crookes dark space.
As the pressure is decreased further, the Crookes dark space and the cathode glow expand. At about 0.1 mm of mercury, the positive column gets split into alternate bright and dark bands called striations.
As the pressure is further reduced, the striations of the positive column keep vanishing and finally, positive column disappears totally. At about 0.01 mm of mercury, cathode glow also disappears. Crookes dark space fills the entire tube and the walls of the tube begin to glow. This is fluorescence. If the soda gas is used, the colour of the tube will appear as yellowish green.
If the pressure is further reduced, the tube stops conducting at some stage.
When Crookes dark space fills the entire tube, the walls of tube begin to glow. This means something is coming out of cathode. This something is a stream of fast moving electrons. Crookes, Thomson and others carried out a series of experiments on this phenomenon and named the stream of electrons as cathode rays.
1. Cathode rays are emitted normally from the cathode surface. Their direction is independent of the position of the anode.
3. Cathode rays exert mechanical force on the object they strike.
4. They produce heat when the strike a material surface.
5. They produce fluorescence when they strike a number of crystals, minerals and salts.
6. When cathode rays strike a solid object, specially, a metal, X-rays are emitted from the metal surface.
7. Cathode rays can be deflected by an electric field or a magnetic field. The deflection is similar to the deflection of negatively charged particles. The deflection is independent of the gas present in the discharge tube, material of the cathode, the position of anode etc.
8. They ionize gas through which they are passed.
9. They can penetrate thin foils of metal.
It is observed that if the cathode of the discharge tube has holes in it and the pressure of the gas is around 1 mm of mercury, streams of faint luminous glow come out from each hole on the backside of the cathode. These rays are called canal rays or positive rays. When gas is ionized, electrons leave the molecules and positive ions move towards the cathode. These rays were observed to deflect in the same manner as a stream of positively charged particles. They cause fluorescence when incident on certain materials.
J.J Thomson is credited with the discovery of electron. He studied the properties of electron and suggested that electrons are necessary constituents of all atoms.
Cathode rays are subjected to electric and magnetic fields.
Millikan Oil drop experiment to determine e.
When a metal is heated to a high temperature, electrons escape from its surface. This phenomenon is called thermionic emission and the electrons coming out are called thermions.
If n thermions are ejected per unit time by a metal surface, the thermionic current i = ne. This current is given by the Richardson-Dushman equation.
T = the absolute temperature of the surface.
All the chapter numbers refer to the book - Concepts of Physics, by H C Verma, Professor, IIT, Kanpur.
The book is published by Bharati Bhawan, New Delhi.


Microsoft's HoloLens was first announced four years ago as a solution for the corporate and education worlds. The device, an augmented-reality headset, aims at making people more productive and creating new ways for people to learn. But at a price of $5,000, it's exceedingly expensive. And that has largely limited its broader appeal.
Credit: MicrosoftNow, though, reports are surfacing that suggest a new version of Microsoft's HoloLens is set to be unveiled at Mobile World Congress in February. Microsoft hasn't confirmed that's the case and there's still a chance that the HoloLens 2 might not be unveiled until later in the year, but if anything is certain, it's that a new version is coming.
Many are hoping that the HoloLens 2 will appeal to consumers, but you should expect a lighter design, more affordable price and wider field of view, among other improvements. Here are all the latest rumors on the HoloLens 2.
It's no secret the HoloLens is expensive. So it's perhaps no surprise that Microsoft is exploring ways to reduce its price.
Credit: MicrosoftAccording to a report from MSPoweruser, Microsoft is eyeing a new design that will reduce the number of parts inside the device. The move could allow for a revamped look and feel, of course, but should also bring down the price of the wearable. We don't know yet how low the price could go, but expect it to be cheaper than the current lofty figure.
Exactly when it'll launch, however, is anyone's guess. Microsoft made the somewhat surprising announcement recently that it'll hold a news event at Mobile World Congress in Barcelona on Feb. 24. Microsoft didn't say in the announcement what it will announce, but it did reveal that CEO Satya Nadella, Corporate Vice President of Cloud Julia White and Technical Fellow Alex Kipman will all be in attendance.
Interestingly, Kipman is the head of Microsoft's mixed reality efforts, which include HoloLens. That's largely the reason a HoloLens 2 unveiling at Mobile World Congress seems likely.
Much of what we think we know about the new HoloLens design centers on a patent Microsoft filed and MSPowerUser obtained in January.
Credit: MSPowerUserThat patent, called "Compact Optical System With MEMS Scanners for Image Generation and Object Tracking," describes a new method for creating holograms using a single light source. The lighting system would also be used to sense depth and recognize gestures.
Since the first-generation HoloLens used multiple components to create the same functionality, it needed more space. The HoloLens 2 would likely be smaller and less bulky. In fact, Microsoft said that the technology would pave the way for "producing compact and lightweight NED devices." NED stands for Near-Eye-Display, a class of products the HoloLens would fall into.
Microsoft's first-generation HoloLens was hit hard by criticism that its native field-of-view of just 35 degrees wasn't adequate. It's been one of the biggest complaints about the device to date.
Credit: Tom's GuideHowever, a Twitter user going by the handle WalkingCat in 2018 discovered a patent Microsoft filed called "MEMS Laser Scanner Having Enlarged FOV." The patent describes a method for offering a device like the HoloLens, but expanding its field of view from 35 degrees to 70 degrees. Interestingly, the patent was filed in 2016 and says that the actual embodiment of the technology might have an even wider field of view.
In other words, Microsoft is at least hearing what people are saying and dreaming up ways to get a wider field of view in the HoloLens. Whether it'll be able to pull it off in HoloLens 2 is unknown.
In a disappointing move for Intel, which powered the first HoloLens, Microsoft is reportedly planning to rely on Qualcomm to power its HoloLens 2.
According to a Neowin report, Microsoft has decided to opt for the Qualcomm Snapdragon 850 Mobile Compute Platform for this year's HoloLens 2. The processor, which is actually designed for notebooks, should be far more power-efficient than the Intel alternatives, according to reports. Additionally, the chip has built-in LTE connectivity for mobile users and will likely offer enough power for any corporate or educational use.
In addition to its built-in processor, Microsoft is also planning a coprocessor that it developed to power the artificial intelligence features in HoloLens 2. In fact, we can confirm that the chip is coming to the HoloLens 2 because Microsoft itself said that it was designing it for the device back in 2017.
Microsoft didn't say too much about the coprocessor at the time, but did say that it'll be designed to run continuously and process data for deep neural networks. In other words, the coprocessor won't handle any of the actual HoloLens computing needs (that's the Qualcomm chip's job), but will be able to interpret relevant information and offer artificial intelligence without relying on an external source, like the cloud, to do it.
According to several reports, Microsoft is working on a custom version of Windows 10 that will run inside the HoloLens 2. We don't know much about the software, but if it's in the works, look to hear more about it at Mobile World Congress.


text:
The Fanfiction Reader
Fic as Literature and Rhetoric
Posted on October 15, 2018 by Jessica Hautsch
The After Life of "My Immortal"
In 2006, Ebony Dark'ness Dementia Raven Way, with her "long ebony black hair… with purple streaks and red tips that reaches [her] mid-back and icy blue eyes like limpid tear," insinuated herself into Hogwarts, the Harry Potter fandom, and the fanfiction community at large. She is the Mary-Sue protagonist of "My Immortal" which was posted to Fanfiction.net by a writer who identified herself as Tara Gilesbie, user name XXXboodyrists666XXX.
Image sourced from dailydot.
"My Immortal" is terrible. Famously terrible. The text is rife with misspellings and errors in word use, sometimes to humor effect, often to the bafflement of readers (characters, for example, are constantly "frenching passively"). The plot is illogical and incomprehensible; scenes occur out of order or are repeated, characters appear and disappear, dying and coming back to life with no explanation. Sex scenes are juvenile, reduced to "he put his thingie into my you-know-what and we did it for the first time." Gilesbie feuds with flamers in her Author's Notes, a saga that becomes a narrative in its own right. The story is needless angsty and spends a disproportionate amount of time describing clothes from Hot Topic (the store itself gets named dropped). And of course, the whole thing is very "goffic."
Then there is Ebony Dark'ness Dementia Raven Way, the vampire-wizard-Hogwart's-student-My-Chemical-Romance-enthusiast at the heart of the story. She embodies all of the worst stereotypes of the Mary Sue. She is beautiful and spunky (if yelling all the time and flipping people the bird count as spunk), but also moody and constantly thinks about slitting her "rists." She hates posers and preps. Pretty much every male character is in love with her, as she complains to Draco:
"Yeah but everyone is in love with me! Like Snape and Loopin took a video of me naked. Hargrid says he's in love with me. Vampire likes me and now even Snaketail is in love with me! I just wanna be with you ok Draco! Why couldn't Satan have made me less beautiful?" I shouted angrily. (an" don't wory enoby isn't a snob or anyfing but a lot of ppl hav told her shes pretty) "Im good at too many things! WHY CAN'T I JUST BE NORMAL? IT'S A FUCKING CURSE!"
This is possibly the most Mary-Sue speech ever yelled by a character. Ebony bemoans her beauty, her heterosexual appeal, the fact that she is "good at too many things"! (A character trait that is largely informed and that we don't see play out much in the story.)
Image sourced from pamachu-productions.
The odd thing is that despite its obvious problems, this story does occupy a place of affection among many members of the fan community. In some cases, it is earnest; in others, it is ironic—a love that comes from the story's it's-so-bad-it's-goodness. But regardless, fanfiction readers seem to have a soft spot for this piece.
For example, in The Guardian, Mathilda Gregrory defends "My Immortal" and Ebony's Mary-Sueness, noting that "Because under the black leather, it is just a story about a teenage girl who wants to dress up in amazing clothes and date Draco Malfoy. It thereby captures a more painful and poignant truth about being a regular teenager than Rowling's original series achieves with many, many more words." She notes that the story subverts the "straight-white-maleness" of Rowling's text by placing Ebony, a version of Gilesbie, and "all the silly, brilliant, trivial things she cares about" at the "centre of Hogwarts" and the story (Gregrory, "The Gloriously Immortal"). And Simon of Thefandomentals, argues that the story actually points to and is critical of a number of faults in Rowling's original, not the least of which is Dumbledore's favoritism.
Others, like Gina Annunziato, argue that "My Immortal is nothing but a trollfic." It is a parody of terrible fanfiction and a satire skewering the tropes of a lot of juvenile fic that was being written within the Harry Potter fandom at the time. If you read the story as genuine, these fan argue, it is only because of Poe's law.
Image sourced from Deviantart.
As Kayleigh Donaldson notes, though, it doesn't matter if you view the story as the genuine "id-ridden screed you can only write as a teenager" or "the ultimate parody of bad fiction." The text supports both readings and no matter what approach you take it "loses none of its impact."
Part of the reason for the debates about the (in)sincerity of the fic has to do with the fact that its author has long remained unknown. Although the collective intelligence internet has tried to hunt down the fic's real author (Tara Gilesbie, it turned out, was as much a pseudonym of XXXboodyristsXXX), it couldn't.
At least until 2017, when, on Tumblr, Rose Christo, a queer-identifying American Indian came out as the story's author (Romano).
Image sourced from Mary Sue Problems.
Christo's announcement spurred a number of articles and think pieces, demonstrating the story's continued relevance within fandom. Christo revealed that she had written the story as an attempt to use the networks of the fan community to find her brother, from whom she had been separated while they were in the foster care system (Romano). Christo promised to document her story in Under the Same Stars, a memoir, that was soon to be published with Macmillan. Christo's outing was likely part of the publicity for her book (Shamsian).
Except that the memoir was never published. According to Alex Nolos, Mcmillian canceled the deal because Christo had tampered with documents about her family. In addition, a man claiming to be her brother has come forward "alleging that not only is her real name not 'Rose Christo' but she has never been placed in foster care, nor does she have any Native American heritage" (Nolos).
Christo's claims that she wrote my immortal seem to be sound, but her insistence that she was in on the joke, purposely writing bad!fic, does not seem to have affected how people read the story. "My Immortal" existed for so long without claims of ownership, that fans, at this time, don't seem all that interested in confirmations of authorial intent.
This indifference could be attributed to the fact that fans have, in many ways, made "My Immortal" their own. There is a surprising amount of fan art for the story. On youtube, people post dramatic readings, accompanied by everything from classical music to illustrations of the text to video game play. From 2013 to 2014, MediaJunkies Studio released two seasons of a live action adaptation of story. Their (My) Immortal functions as a kind of fanfiction itself. Ebony is still at Hogwarts, but we are out of her point view and she is the weird girl who, for some reason, calls Harry Potter "Vampire" and insists that the young men around her wear increasing amounts of black eye-liner. She dates Draco, but seems completely unaware that his real romantic interest is in Harry (he is using her to get close to him). The approach gives Ebony pathos that she doesn't have in the story. This isn't the story of a Mary Sue; it is the story of a girl who thinks she is a Mary Sue, but isn't.
Image sourced from myimmortal.wikia.com.
"My Immortal" is more than its individual writer; it represents fandom itself. It represents day dreams of Mary-Suedom and romantic entanglements with your favorite characters. It represents the vulnerability that comes from writing and posting fic and the desire to be cool. It represents the flamers, the trolls, and the negative, ungenerous side of fans, but it also represents the way that fans can find the good in what's awful. Over ten years after it was written and posted, the story continues to be read, enjoyed, and adapted. It is mentioned in books about fanfiction and shows up on syllabi for fanfiction classes. There are countless 2006 fics that are likely better written but forgotten. "My Immortal" on the other hand, has had a robust afterlife. And I can't help but wonder if that is because we all have a little Tara Gilesbie in us and a little Ebony Dark'ness Dementia Raven Way as well.
Annunziato, Gina. "The Mystery of My Immortal: The Infamous Harry Potter Fanfic." Fansided, 2017, https://wizardsandwhatnot.com/2016/12/29/mystery-immortal-infamous-harry-potter-fanfic/.
Donaldson, Kayleigh. "The Story of My Immortal, The Worst Fan-Fiction Ever Written." Syfywire, 15 September 2017, https://www.syfy.com/syfywire/the-story-of-"my-immortal"-the-worst-fan-fiction-ever-written
Gilesbie, Tara. "My Immortal." Originally posted to Fanfiction.net, 2006. Reposted to myimmortalrehost.com, 2008, https://myimmortalrehost.webs.com/chapters122.htm.
Gregrory, Mathilda. "My Immortal: why the famously awful Harry Potter fanfiction isn't bad at all." The Guardian, 12 September 2017, https://www.theguardian.com/books/2017/sep/12/my-immortal-why-the-famously-awful-harry-potter-fanfiction-isnt-bad-at-all.
—. "The Gloriously Immortal Life of 'My Immortal.'" Buzzfeed, 19 February 2016, https://www.buzzfeed.com/mathildia/he-put-his-boys-thingy-in-mine.
MediaJunkies Studio. (My) Immortal: The Web Series, youtube.com, First posted 15 July 2013, https://www.youtube.com/playlist?list=PLjRR1J3NOisDqBG6Pn-nqn51Cw96VPfTu.
Nolos, Alex. "The Truth About 'My Imortal' Greatest Harry Potter Fanfiction of All Time." Bookstr, 11 September 2018, https://www.bookstr.com/best-fanfiction-all-time.
Romano, Aja. "My Immortal: solving the mystery of the internet's most beloved—and notorious—fanfic." Vox, 13 September 2017, https://www.vox.com/culture/2017/9/13/16275802/who-wrote-my-immortal-tara-rose-christo.
Shamsian, Jacob. "The mysterious author of a legendary 'Harry Potter' fanfiction revealed her identity—and her life story is heartbreaking." Insider, 8 September 2017, https://www.thisisinsider.com/harry-potter-my-immortal-fanfiction-author-2017-9.
Simon. "The Layers of My Immortal—A Review." Thefandomentals, 22 November 2016, https://www.thefandomentals.com/my-immortal-fanfic-review/.
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text:
MLB Draft prospect Max Meier uncertain about future at Stanford
By Dan Guttenplan January 13, 2021
Max Meier was a weekday starter in the Stanford University rotation last spring. (Stanford Athletics)
Belmont, Mass., native Max Meier never imagined his decision to play college baseball at Stanford University would eventually limit his exposure to pro scouts and cross-checkers.
But that's exactly what's happened to the Lawrence Academy alumnus in his two years on the California campus. Due to stringent restrictions on group gatherings and athletic events in the COVID hot spot of Santa Clara County, Meier and his Stanford teammates were unable to participate in organized team workouts this fall. By comparison, most Division 1 programs in New England had a full slate of organized team workouts.
At the moment, Stanford has yet to release a schedule for the 2021 season. Meier expects the Cardinal will compete against other conference opponents this spring; however, he is unsure if -- in the first year in which he's eligible for the MLB Draft as a 21-year-old sophomore -- he'll have time to make enough of an impression with pro scouts to hear his name called in what may be another shortened MLB Draft.
Like many baseball players, Meier is finding that the one common theme from the pandemic is uncertainty.
"I wish I could have done more stuff as a team in the fall," Meier said. "I did some individual work on the field with the coaches, but it's been a long time since I competed. As of now, nothing is finalized for 2021. We're not sure if we're going to play any non-conference or mid-week games. Maybe it will just be Pac-12 games. The plan is to go out to campus in January and prepare for a season."
Tags: Dan Duquette, Lawrence Academy, Matt Hyde, Max Meier, Northeast Baseball, Stanford Baseball
Division 3 insider: 9 MASCAC Players to Watch in 2021
Northeastern commit Jack Beauchesne a rare three-sport Milton athlete
Matt Petherick views Jack Beauchesne as a throwback to an earlier generation -- a time when student-athletes were able to juggle an arduous academic workload…
Watch list: Top 20 New England prospects in the Class of 2022
Most Division 1 coaches have firmed up their incoming recruiting classes for the fall, with the possible exception of some last-minute tweaking due to transfers…


text:
Now reading: Matthew Reardon
Matthew Reardon
Matt started his skiing career in the early 90's when he moved to Killington, Vermont to study for a degree in freestyle which landed him a spot on the World Pro Mogul tour and the X Games. He graduated to the big mountain steeps of Squaw Valley, eventually getting his masters degree after an intense 10 year residence in the extreme sports mecca Chamonix, France. Matt has been touring the globe as both a musician and skier for nearly 20 years. Pursuing both of his passions performing, recording, competing and filming throughout Europe, Japan, New Zealand, Australia, Canada, Scandinavia, Arctic Circle, Antarctica, UK and the USA.
"As an active athlete in my 40's I'm always looking for products that aren't just a marketing gimmick. The process by which the incrediwear fabric actually works when placed on the skin, speeding up the flow of white blood cells absolutely was a game changer for my longevity."
Matt Reardon Profile from Bob Legasa-Freeride Media on Vimeo.
Nic Dougall
Alessandra Pichelli


West Lee County home in family & pet friendly neighborhood, with 3 bedrooms and 2 baths. Large Master bedroom highlights a tray ceiling. Each bedroom has a ceiling fan for those hot summer nights. This home is has a bright and airy open floorplan, which is perfect for entertaining, with lots of windows, specialty light and 9 feet ceilings, living room, and spacious kitchen with lots of beautiful cabinets, stainless steel appliances! Lots of storage space including linen closet, pantry, large closet in the hallway. Also roomy laundry room with shelving. Short sale. Sold as-is. No disclosure.
Listing provided courtesy of Bernice Dixon of 1 KEY REALTY LLC.


text:
Los Andes, Chile
City and Commune
Town hall of Los Andes
Los Andes in the Valparaíso Region
Location in Chile
Coordinates: 32°50′S 70°37′W / 32.833°S 70.617°W / -32.833; -70.617Coordinates: 32°50′S 70°37′W / 32.833°S 70.617°W / -32.833; -70.617
Ambrosio O'Higgins
• Type
Mauricio Navarro Salinas
1,248.3 km2 (482.0 sq mi)
(2002 Census)[2]
Andino
UTC−4 (CLT)
UTC−3 (CLST)
Los Andes is a Chilean commune and city; it is the capital and main city of the Los Andes province, in the Valparaíso region.
3 Population
Los Andes was founded in July 31, 1791 as Villa Santa Rosa de Los Andes by Ambrosio O'Higgins, Governor of Chile, in a place called Las Piedras Paradas ("The Standing Stones"). The town was named after Saint Rose of Lima, the first Catholic saint of the Americas.
Geography[change | change source]
The commune of Los Andes is in the upper part of the valley of the Aconcagua river, at and altitude of 833 m (2,733 ft) above sea level.[3] The commune has an area of 1,248.3 km2 (482.0 sq mi).[2] It is at 15 km (9 mi) from San Felipe, at 84 km (52 mi) from the national capital of Santiago and at 146 km (91 mi) from Valparaíso, the capital of the region.
The commune is bordered on the north and northeast by the San Esteban commune, on the east by Argentina, on the south by the Calle Larga commune, on the southwest by the Rinconada commune and on the west and northwest by the San Felipe commune.
Places adjacent to Los Andes, Chile
Santa María commune San Esteban commune San Esteban
San Felipe commune
Rinconada commune Calle Larga commune Argentina
The city of San Felipe is along the Aconcagua river, the main river of the province and of the Valparaíso region.
Population[change | change source]
As of 2002[update] (last national census), there were 60,198 people living in the commune, giving it a population density of 48.2 inhabitants/km².[2]
The city of Los Andes has an urban area of 16.42 km2 (6.34 sq mi) and a population, in 2002, of 55,127 inhabitants.[2]
Its inhabitants are called Andinos (women, Andinas).
Communes of Chile
Provinces of Chile
↑ "Alcaldía" (in Spanish). Municipalidad de Los Andes. Retrieved 23 September 2016.
↑ 2.0 2.1 2.2 2.3 2.4 "Región de Valparaíso" (PDF). Instituto Nacional de Estadísticas. Retrieved 23 September 2016.
↑ 3.0 3.1 "Los Andes, Chile P PPPL 3882434". Geonames.org. Retrieved 23 September 2016.
Wikimedia Commons has media related to Los Andes, Chile.
Territorial division of Chile (Spanish)
Gobierno Regional de Valparaíso Official website (Spanish)
Municipalidad de Los Andes website (Spanish)
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Los_Andes,_Chile&oldid=6424150"
Cities in Chile
Articles containing potentially dated statements from 2002
This page was last changed on 6 February 2019, at 18:16.