text:
La anunciación es una pintura al óleo sobre lienzo tradicionalmente atribuida a El Greco y que está datada aproximadamente en 1600. La obra integra un conjunto compuesto por al menos siete versiones casi idénticas, de grados variados de calidad, todas tradicionalmente acreditadas al Greco y hechas entre 1595 y 1605. El tema de la anunciación del ángel a la Virgen María fue frecuentemente tratado por el pintor renacentista y el conjunto de versiones a la cual pertenece la obra parece derivar de la composición homónima elaborada por el artista para el tríptico de Módena, obra de juventud ejecutada entre finales del período cretense y el inicio del período veneciano.

La Anunciación es una obra emblemática de carácter «expresionista» del Greco, con luces deslumbrantes, colores y acordes cromáticos, donde la decoración es compuesta por zonas plásticamente distintas, interligadas por movimientos ascendentes e interrumpida por la presencia de luces místicas y destellos de fuego. La pintura está relacionada al período final de vida del artista en Toledo, donde su producción asume una postura más religiosa, en comparación a aquella de su período italiano, alineándose los recursos tradicionales de la estética renacentista, quizá por la influencia de las nuevas doctrinas elaboradas por la Contrarreforma. El trabajo en cuestión está conservado en el Museo de Arte de Sao Paulo (MASP) desde 1952.

Iconografía

La representación de la anunciación es uno de los temas más populares del arte cristiano, representándose en paralelo con las obras de la Virgen con el niño y la crucifixión. El episodio es narrado tanto en texto canónicos como en libros apócrifos. Según la narrativa del Evangelio de Lucas (1, 26-48), el arcángel Gabriel fue enviado por Dios para anunciar a María, esposa de José, descendiente de la casa de David, que ella sería la madre de Jesús, «Hijo de Dios»:

Frente a un cuestionamiento de María («¿Cómo puede ser eso, si yo no tengo relaciones con ningún hombre?»), a lo que el ángel replica: «El Espíritu Santo descenderá sobre ti y el poder del Altísimo te cubrirá con su sombra. Por eso el niño será Santo y será llamado Hijo de Dios. También tu parienta Isabel concibió un hijo a pesar de su vejez, y la que era considerada estéril, ya se encuentra en su sexto mes, porque no hay nada imposible para Dios», María dijo entonces: «Yo soy la servidora del Señor, que se cumpla en mí lo que has dicho». Y el Ángel se alejó.

La iconografía de la anunciación surgió en el Oriente Medio, donde la fiesta de Nuestra Señora de la Anunciación es conmemorada desde al menos el siglo V, extendiéndose en seguida por todo el mundo cristiano. La representación tradicional trae a María posicionada a la derecha y al ángel posicionado a la izquierda del observador, con Gabriel asumiendo la postura de que habla y la Virgen lo escucha y acepta. María era indistintamente representada como una simple mujer, muchas veces costurando un paño, simbolizando, de acuerdo con el Evangelio de Juan (10:1) al «tejido del velo del Templo». El ángel era representado en postura erecta, con un semblante inequívocamente masculino, a veces, extendiendo su mano derecha hacia la Virgen. Con el paso de la Edad Media, la representación del episodio se fue volviendo gradualmente más compleja, desde la elaboración de la indumentaria de María y del ángel, hasta la inclusión de símbolos místicos, como ramos de lirio, o bien un recipiente con agua, símbolos de la pureza.

En el siglo XII, se volvió habitual la representación de la Virgen de la Anunciación sosteniendo la biblia en sus manos, como una premonición de su propio destino. Se integraron en la iconografía la paloma blanca o una luz divina, simbolizando al Espíritu Santo. En el sur de Europa, era frecuente la ambientación de la escena en jardines y palacios, al punto de que los artistas del norte prefirieron retratar el episodio en ambientes domésticos o eclesiásticos. Ya en el Renacimiento, se volvió común la substitución de la Biblia por un libro de horas. La Virgen ya no fue representada solamente en actitud de resignación, sino más bien sorprendida por la vista del ángel. El dramatismo de este acto, así como un efecto visual más efectivo, fueron continuamente explorados por los artistas del Manierismo y del Barroco. La iconografía se volvió menos rígida, dando a los artistas cierta «libertad espontánea». En este último contexto se sitúan las múltiples representaciones del episodio hechas por El Greco, a pesar de que sus obras a menudo hacen uso de ciertos atributos de la iconografía medieval, especialmente en su aspecto bizantino.

Anunciaciones del Greco

El tema de la anunciación fue frecuentemente tratado por El Greco, haciéndose presente a lo largo de toda su trayectoria artística, desde su llegada a Venecia hasta los últimos años de su vida. En el inventario de obras de taller del artista, realizado en el momento de su fallecimiento, por ejemplo, cinco pinturas de este tema están registradas. La más antigua representación del episodio atribuida al artista data del inicio de su período veneciano (c. 1567). Se trata de los paneles del tríptico de Módena (conservado en la Galería Estense), obra representativa del período de transición entre el estilo post-bizantino de su nativa Creta y la poética típicamente latino-europea con que entró en contacto en Venecia y Roma. La obra presenta un diseño todavía inseguro, poco maduro, lo que lleva a algunos especialistas a dudar sobre la autoría del Greco. Al final de su período veneciano, el artista ejecutó una segunda Anunciación (Museo del Prado, c. 1570), finalizada poco antes de su partida a Roma. La obra ya demuestra importantes avances plásticos en relación con el panel de Módena, evidenciando la asmilación de algunos de los elementos formales de arte italiana por parte del autor y permitiendo establecer paralelos con la poética de maestros como Michelangelo y Tiziano.

Las Anunciaciones del período romano son caracterizadas por una técnica todavía más refinada y por composiciones más armoniosas. Data de este período la aproximación del Greco al miniaturista Giulio Clovio, que debe haber ejercido sobre el artista una considerable influencia. Clovio es autor de un célebre libro de horas dedicada a la vida de la Virgen María, que pudo haber servido de inspiración para que El Greco ejecutase algunas de sus pinturas. En común, las Anunciaciones de Venecia y Roma trazan la preocupación con la ambientación y con el tratamiento conferido a la arquitectura y a la perspectiva. En contraste, sus obras son fuertemente influenciadas por la estética del Alto Renacimiento —pero sobre todo por la de Michelangelo. En algunas obras, El Greco llega a hacer uso del piso cuadriculado como forma de acentuar la perspectiva, un recurso bastante utilizado por los pintores renacentistas de Italia y del norte de Europa.

En Toledo, sobre todo en las últimas décadas de vida del pintor (período en que se realizó la obra aquí mencionada y sus variaciones) esas características formales de sus Anunciaciones «italianas» serían profundamente modificadas. El Greco se mostró más interesado en el tratamiento de las figuras y su estilo percibió una actitud muy más religiosa, en comparación con el período anterior. Probablemente por la influencia de las doctrinas surgidas a causa de la Contrarreforma, el artista pasa a conferir menos importancia a la escenografía, las representaciones arquitectónicas y otros recursos visuales típicos de la Escuela veneciana y Escuela romana. Asimismo, se mostró un mayor interés en abordar una imagen mental, en escenificar un acontecimiento místico, y no en representar el episodio como una aparición histórica. Tal proposición estaría de acuerdo con el pensamiento contrarreformista entonces bastante difundido del uso de la iconografía religiosa sobre todo para el estímulo de la devoción. Es curioso también el hecho de que la mayor parte de las Anunciaciones del Greco fueron ejecutadas justamente en su período en Toledo. Una posible explicación para ello estaría en el supuesto contacto del pintor con los escritos de Ildefonso de Toledo, personalidad muy popular en Toledo y que fue representada diversas veces por El Greco en sus últimas décadas como artista. San Ildefonso es uno de los patriarcas de la Iglesia Católica y dedicó buena parte de sus estudios al tema de la Inmaculada Concepción.

Ejemplar de este contexto es el gran retablo de La anunciación ejecutada para el Colegio de Doña María de Madrid (Museo del Prado, 1596-1600), considerada no únicamente una de las mejores representaciones del tema, imbuida de misticismo sin precedentes en su producción, sino también como una de sus mejores obras de arte. De esta misma composición hay dos réplicas autógrafas en escala reducida, datas del mismo período, conservadas actualmente en el Museo de Bellas Artes de Bilbao y en el Museo Thyssen-Bornemisza de Madrid. Es posible que el éxito de esta composición entre sus contemporáneos haya estimulado al pintor ejecutar el grupo de pinturas a la cual pertenece la obra mencionada aquí. Ligeramente posterior a este grupo es el tondo de La anunciación pintada para el «Hospital de la Caridad» de Illescas, ejecutado en colaboración con su hijo, Jorge Manuel Theotokopoulos. Asimismo se incluye La anunciación encomendada para la iglesia del Hospital de San Juan Bautista, conservada actualmente en la colección de Santander de Madrid.

La obra

Contextualización

En sus últimas décadas de actividad en Toledo, El Greco, ya establecido como maestro de gran prestigio, recibía frecuentemente encomiendas públicas de diversas organizaciones eclesiásticas para ejecutar retablos de grandes dimensiones. No obstante, el artista también era bastante solicitado por clientes de variadas regiones de España para producir pinturas de menos escala que servían para la devoción en capillas particulares o para figurar en colecciones privadas. Muchas de estas obras menores, reproducían las mismas composiciones concebidas por El Greco para sus grandes cuadros de altar, hecho apoyado por la existencia de muchas versiones repetidas de sus mejores obras, atribuidas indistintamente al Greco y sus colaboradores. Tal hecho es documentado en el siglo XVII. En El arte de la pintura, Francisco Pacheco comenta que El Greco tenía el hábito de ejecutar réplicas en tamaños reducidos de sus composiciones más populares (los llamados ricordi), de forma que pudiesen ser mantenidos a disposición de la clientela en su atelier o servir para le ejecución de posteriores copias. Tal es el caso, por ejemplo, del ya mencionado retablo de La anunciación, actualmente en el Prado, del cual existen dos réplicas autógrafas reducidas.

Otras composiciones, entre tanto, eran elaboradas ya en forma reducido, con el objetivo de atender exclusivamente la clientela privada, no estando relacionadas con las órdenes monumentales oficiales, pero sí concebidas como obras puestas a la venta directamente en el atelier del artista. La preferencia de la clientela por determinada composición estimularía la producción de más copias autógrafas. Este hábito no sólo explica la existencia de una gran cantidad de versiones de obras populares (como el Éxtasis de San Francisco, del cual MASP posee una versión, San Francisco y el hermano Leo meditando sobre la muerte y Santo Ildefonso, entre otras), si no que también dificulta el hecho de determinar qué obras serían las originales (en sentido de «prototipo») y cuáles serían las derivaciones. Es muy probable que en esta categoría La anunciación de este artículo sea incluida.

No hay registro de ningún retablo reproduciendo la composición de La anunciación de MASP, puesto que únicamente se conocen una serie de versiones muy similares en tamaño «privado». En el catálogo de 1998 del Museo de Arte de São Paulo, Luiz Marques apunta siete de ellas: una en el Museo de Arte de Toledo, en Ohio; una en el Museo de Bellas Artes; una en la colección de Zuloaga, en Zumaya, España; y una más en la colección de Ralph Coe, en Cleveland, Estados Unidos. Referente a alguna de las obras mencionadas anteriormente, el catálogo de venta de La anunciación del Museo de Arte de Toledo, publicado por Sotheby's, aporta dos versiones adicionales: una en la colección Danielson, en Groton, Massachusetts, y otra en el Museo de Santa Cruz, en Toledo, España.

A pesar de las similitudes entre las versiones, hay variados grados de calidad entre ellas, apuntando a una mayor o menor participación del estudio del artista en la ejecución. No obstante, las siete versiones señaladas por Marques, incluyéndose la de este artículo, datan de entre 1595 y 1605 las cuales de manera consensual son aceptadas como autógrafas por la literatura especializada, a excepción Harold Wethey. La versión anteriormente conservada en el Museo de Arte de Toledo fue por mucho tiempo considerada el «prototipo de serie». La crítica contemporánea, entre tanto, tiende a acreditar que en tal distinción cabe la pintura de Budapest.

Descripción y análisis

Según el análisis de Rodolfo Pallucchini, la obra retoma la composición elaborada por El Greco para el ya mencionado panel del tríptico de Módena (c. 1567). Esta obra, a su vez, derivaría de una composición perdida de Tiziano, conocida por medio de una reproducción de Jacopo Caraglio. Marques también establece paralelos entre el panel de Módena y un retablo de La anunciación de Tintoretto, conservado en la Galleria degli Uffizi, Florencia. El Greco retomaría el mismo esquema compositivo, diez o quince años más tarde, con algunas variaciones, en las Anunciaciones conservadas en la catedral de Sigüenza y en el Museo de Santa Cruz de Toledo, así como la famosa versión monumental del Museo del Prado, cuyo éxito entre sus contemporáneos pueden haber influido en el artista para producir la serie a la cual pertenece el trabajo del MASP.

Están representado en la obra la Virgen María, el arcángel Gabriel, portador de la revelación divina, y la paloma blanca, símbolo del Espíritu Santo. La composición es relativamente inusual en la tradición iconográfica de La anunciación, con el ángel posicionado a la derecha de la virgen. María se arrodilla en un altar, caracterizando la aparición del episodio en un lugar sagrado, sosteniendo una biblia, abierta, con su mano izquierda. La mano derecha se encuentra erguida, a la altura del hombre. Usa un vestido de color rojo, en alusión a la pasión de Cristo, con un manto azul por encima, simbolizando al mismo tiempo la protección y fidelidad. Un velo blanco, símbolo de la modestia y el virtuosismo, cubre su cabeza, mostrando a la vez su rostro, con ambas orejas descubiertas, tal vez una referencia al escuchar el mensaje divino. María se olvida por un instante del libro sagrado, volteando la cabeza al lado izquierdo, en dirección a Gabriel. Su semblante es tranquilo y angelical.

El ángel flota sobre una nube, aparentemente cargada de agua, con el cuerpo ligeramente inclinado en dirección a María. Su indumentaria es amarilla, color de la eternidad, con mangas blancas. La mano derecha se levanta para saludar a la Virgen. La mano izquierda porta un ramo de lirio, simbolizando la pureza, inocencia y virginidad. Su semblante también es tranquilo y su fisonomía es andrógina o infantil. Gabriel observa a la virgen con los ojos entre abiertos. Su cabeza es coronada por una aureola luminosa. Un destello cubre toda la parte central de la pintura, el cual se extiende casi hasta el suelo. Desde el centro, surge la paloma blanca, volando hacia María. La luz también incide sobre la Virgen, encendiendo su ropa y parte de su rostro.

Cerca de la Virgen, en la parte inferior del cuadro, un costurero contiene una tela blanca y tijeras. Es una referencia al «tejido del velo del Templo», mencionado en el Evangelio de Juan. A su lado, un vaso con un ramo dentro, ardiendo en llamas que no lo consumen, tal cual la zarza ardiente de Moisés, un elemento raro en representaciones de la anunciación. El segundo plano de la composición, indefinido, sugiere la forma de nubes cortadas por luces místicas. Es bastante oscuro, lo que da más énfasis (y dramatismo) con la chispa divina y la iluminación que se origina.

Como en otras diversas composiciones del Greco, la escenografía de esta Anunciación es concebida por medio de zonas plásticamente distintas, pero que están interconectadas por medio de acordes rítmicos mutuamente correspondientes. Es posible trazar una diagonal, prolongándose del vértice superior izquierdo al vértice inferior derecho, separado las figuras de la Virgen y del ángel en dos triángulos distintos. El ángel y la nube ocupan el triángulo superior, en tanto la Virgen y el cesto de ropa su lado conforman el triángulo inferior. El equilibrio de la obra es asimétrico, consiguiéndose por medio de la tensión estructural de estas áreas distintas. Los contornos de las extremidades de las figuras de la Virgen y del ángel sugieren un movimiento circular u ovalado, entrecortado por las curvas paralelas del ala derecha del ángel y las alas de la paloma. Esta disposición auxiliar proporciona equilibrio a la composición, al mismo tiempo que le confiere sensación de movimiento.

Los cuerpos alargados y retorcidos de los personajes, que parecen libres de gravedad, no sólo ayudan a equilibrar, sino que también enfatizan el misticismo del acontecimiento. La figura ascendente del ángel encuentra eco en la figura igualmente ascendente de María. Por otra parte, ambos personajes indican la forma y el movimiento de una llama, tal como enfatiza, ya hacia 1584, Gian Paolo Lomazzo, en su Trattato dell'arte della pittura. Interligados por el destello místico al centro de la composición, se unen en un límite de ritmo armónico ascendente. El punto de vista, radial, se origina en la canasta, proporcionando las coordenadas para la contemplación de la obra, de abajo hacia arriba, haciendo hincapié en la ascensión. El cromatismo complejo de la obra y del fondo indefinido remueven los objetos de la escena del mundo natural, insertándolos en una atmósfera saturada de significados místicos, volviendo indistintas las dimensiones de lo real y lo imaginario. Por último, cabe mencionar la prominencia conferida a la figura del Espíritu Santo como agente de la encarnación, probablemente fruto de las doctrinas contrarreformistas sobre la actitud religiosa del pintor.

Atribución
La cuestión de la autenticidad de las obras tradicionalmente atribuidas al Greco permanece como un tema bastante controvertido. No sólo el número exacto de obras realizadas por el artista es desconocido, sino que también la identificación de las obras consideradas de autoría segura están distantes de un consenso. Al mismo tiempo en que la crítica contemporánea tiende a tener una actitud más restringida con relación a las obras tradicionalmente reconocidas como auténticas, otros trabajos simplemente ignorados por la historiografía tradicional se han atribuido al pintor. Y, en ambos casos, las disputas permanecen. El historiador José Camón Aznar atribuyó al Greco aproximadamente 800 obras, al tiempo que para Harold Wethey el número sería inferior a 300.

La obra de MASP, como ya se hace mencionado, pertenece a un grupo de versiones casi idénticas entre sí, a pesar de tiene variados grados de calidad. Las siete versiones identificadas por Luiz Marques en 1998, son consideradas como autógrafas del Greco por casi todos los estudiosos (Kehrer, Mayer, Waldmann, Palluchini, Bardi, Frati, etc). La excepción es Wethey, para quien ninguna de las versiones conocidas de la composición es obra del Greco. El historiador norteamericano, atribuyó todas las versiones al hijo del artista, Jorge Manuel, así como a los integrantes de su atelier. La obra de MASP, específicamente, sería para Wethey obra de un artista anónimo, de la escuela de Jorge Manuel.

Según Pietro Maria Bardi, la obra es altamente representativa del estilo del artista: «La flameante condición del arte de El Greco, así como su ascensional escenario aparecen notablemente ejemplificados en esta imagen», escribió el historiador en 1966. Para Luiz Marques, la obra sería inequívocamente auténtica: «[...] la versión del MASP es de autografía incuestionable por la calidad y por su radicalidad superlativa en la deformación estilística de las anatomías, tal y como se nota, por ejemplo, en la desmaterializada columna de luz serpenteante que sirve de brazo al ángel anunciante».

Procedencia
La obra perteneció a la colección de Maurício Peña, en Velayos, España. De ahí, tomo rumbo hacia París, pasando a integrar la colección de Lucas Moreno. Fue adquirida de este por Barão M. Herzog y llevada a Budapest. En seguida, pasó a la colección de la Galería Wildenstein de Londres, donde fue adquirida por el Museo de Artes de São Paulo, con recursos donados por Fúlvio Morganti, Pedro, Luiz y Dovilico Ometto, Bandillo Biaggi, Arnaldo Ricciardi, Geremia Lunardelli y por un grupo de cañeros paulistas organizado por Nelson Mendes Caldeira. Se integró oficialmente a la colección de MASP el 20 de diciembre de 1952.

Fuentes

Referencias

Bibliografía

 Selmikaitis, Isis. A "Anunciação" del Greco do MASP : um estudo sobre seu contexto de criação e recepção. In: Atas do I Encontro de História da Arte do Instituto de Filosofia e Ciências Humanas da Universidade Estadual de Campinas. Campinas: Unicamp, 2005. v.2 p. 41-47

Anunciaciones
Cuadros de 1600
Colecciones del Museo de Arte de São Paulo
La Anunciación


text:
Architect Personal Details Architectural works in South Australia
Firms or Professional Partnerships Bibliographic Sources
Architect Personal Details
Lionel Gregory (Greg)
Lionel Gregory (Greg) Bruer's professional practice saw him engaged in a range of commissions notably for theatres designed in the Moderne or Art Deco style during the 1930s.
The eleventh of twelve children, Greg Bruer was born in Adelaide on 22 February 1895 (WW2 Nominal Roll). In 1914, aged nineteen, he joined the Australian Imperial Force (AIF) and saw extensive active service. He went on to serve in both world wars, and was one of the Rats of Tobruk (Schumacher 1997). He married twice – to Hilary Heath with whom he had three children and to Violet Johnstone with whom he had two sons. In 1939 Bruer enlisted to serve in World War Two and was appointed Lieutenant-Colonel in Command by 1942 ('Lionel Gregory Bruer ARIBA (F)'). His second marriage took place in 1940 whilst he was on war service in England (Schumacher 1997). Christopher, one of his sons from his marriage to Hilary, chose architecture for his profession and practised with his father for several years.
When he was discharged in 1919 Bruer turned to a career in architecture, initially in the public service and later in private practice. He studied at the South Australian School of Mines and Industries in the 1920s (Schumacher 1997). He trained as a draughtsman in the Buildings and Works Department under the Chief Architect, S.H. Stevenson and transferred to the Commonwealth Department of Works in 1922 where he remained until his departure in 1927 to pursue private practice (Page 1986).
Bruer entered into partnership with John Richard Schomburgk Evans (known as Jack), another ex-serviceman, in 1933. Three years later, in 1936, they admitted their draughtsman, James Hall, into the partnership, to become Evans, Bruer & Hall. According to Stewart Game who was articled to Evans & Bruer in the firm's early days, the partners 'did not charge a premium for their articled students. [Rather] "their philosophy was to teach, and not to look for money from students"' (Page 1986: 182).
After returning from the army for the second time, Bruer became Superintending Architect for the Allied Works Council in the Northern Territory. After Evans' death in 1948 the firm took on more staff. Eric von Schramek, who joined Evans & Bruer & Partners in 1951, became senior partner of Bruer, von Schramek & Dawes in 1960. Peter Hignett entered into partnership with Bruer, his son Christopher, and Brian Vogt in 1969 (Page 1986). Greg Bruer, then aged 76, resigned from private practice only a few weeks before his death on 3 February 1972.
In 1931 Bruer passed an examination to become an Associate of the Royal Institute of British Architects (RIBA) (Page 1986). He joined the South Australian Institute of Architects (SAIA) in 1933. Becoming a SAIA Council member in 1948, he held the positions of Honorary Secretary and Vice-President and was President from 1954 to 1956 (Freeland 1971). During his presidency he played a significant role in successful moves by the SAIA and the Architects Board of South Australia to establish a Chair of Architecture at the University of Adelaide (Walkley 1976; Page 1986). In 1956 the SAIA hosted the Sixth Australian Architectural Convention which included a major exhibition in Adelaide's Botanic Park. As President, Bruer welcomed hundreds of visiting architects, amongst them Professor Pietro Belluschi, then Dean of the Faculty of Architecture at the Massachusetts Institute of Technology.
Bruer's design ability was first noticed when he won the competition for a war memorial for the City of Launceston, Tasmania (Schumacher 1997). Whilst a draughtsman with the Building and Works Department, he worked principally on projects connected with the Soldier Settlements that were opening up along the River Murray (Page 1986). In 1933 the Chamber of Building Industries announced an Ideal Homes Competition in which Bruer won second prize. However, his designs were not built until 1936 (Page 1986.
Evans & Bruer and Evans, Bruer & Hall were closely associated with city and suburban cinema projects from the mid 1930s. Generally the practice had a local supervisory role since the designs originated from interstate firms. Examples include the Vogue, Belair Road, Kingswood, a new building that 'used Art Deco themes on some of its interior decoration' (Page 1986: 180), West's Olympia on Hindley Street, Adelaide, that was reconstructed internally in 1938 (Page 1986; Potter 2007) and became West's Theatre, and the Piccadilly Theatre (1939) on O'Connell Street, North Adelaide. West's boasted 'giant, streamlined, flowing shapes in ceiling decorations and hidden lighting that displayed a variety of colours before reducing to a midnight blue just before the curtain opened' (Potter 2007: 10). The building is now used as the headquarters of the Adelaide Symphony Orchestra. The 'rotunda-shaped foyer with its elegant curved staircases' survive from its days as a theatre (Potter 2007).
The Piccadilly was designed by Evans, Bruer & Hall in association with Sydney-based architects Guy Crick and Bruce Furse (Page 1986: 181) for Dan Clifford, managing director of D. Clifford Theatres limited. Dan Clifford was an important figure in the motion picture industry in South Australia (Walker 1995). The Piccadilly is a local landmark that has retained its external integrity despite being remodelled internally to incorporate three theatres in the late 1980s. Its massing and its streamlined form address the corner site and its distinctive 'Chevron shaped windows' (AHPI) contribute to its Art Deco character. In its time the Piccadilly was renowned for exuding attention to detail such as in 'the choice of flowers – lupins, gladioli and gerberas in season – and the design of usherette uniforms, even to the plastic earrings' (RAIA n.d.: 36).
The firm of Evans & Bruer was responsible for the Burnside Civic Ballroom in which the stage and proscenium were designed in 1933 (Bruer, National Library). The firm also supervised the construction of the Hindmarsh Incinerator (opened 1936), one of two incinerators designed in South Australia by the architect Walter Burley Griffin in conjucntion with Eric M. Nicholls. The incinerator survives today in a park on Burley Griffin Boulevard, Brompton (AHPI).
Evans & Bruer and Evans, Bruer & Hall worked on hospitals at Stirling and Mount Barker, the remodelling of the Queen Victoria Maternity Hospital and St Margaret's Convalescent Hospital (Page 1986); Georgian and Regency style residential projects; and the maintenance of private hotels as well as establishments owned by the Southwark Brewery. Bruer travelled to the Northern Territory to supervise the building of the Hotel Darwin (demolished 1999), a commission arising from the firm's association with the Southwark family (Page 1986).
Evans, Bruer & Hall designed several banks such as the former Savings Bank of South Australia Mount Barker Branch (1940), Gawler Street, Mount Barker. The building's facade is 'significant architecturally for its austere classical style and detailing, with clean solid lines emphasising the prominent corner location of the building' (SHB Report, cited in AHPI).
With a career spanning five decades, Greg Bruer was one of a number of his generation challenged by the social and economic upheaval of world wars and Depression, the rise of new materials, technologies and design philosophies, and new approaches to architectural education. Against this background he made a considerable contribution to both the architectural profession and the built environment in South Australia.
A collection of Bruer's work and papers is held in the National Library of Australia, Canberra.
Christine Sullivan
Citation details
Sullivan, Christine, 'Bruer, Lionel Gregory', Architecture Museum, University of South Australia, 2008, Architects of South Australia: [http://www.architectsdatabase.unisa.edu.au/arch_full.asp?Arch_ID=31]
SponsorTitle
SponsorImage
Architectural works in South Australia
Name Suburb Year Designed
Soldier Settlements along River Murray 1922
Ideal Homes Competition 1933
Vogue Theatre Unley
West's Theatre Adelaide
Piccadilly Theatre North Adelaide 1939
Stirling Hospital Stirling
Mount Barker hospital Mt Barker
Queen Victoria Maternity Hospital Rose Park
St Margaret's Convalescent Hospital
Burnside Civic Ballroom Tusmore 1933
Savings Bank of South Australia Mount Barker 1940
Hindmarsh Incinerator Brompton 1935
Thebarton Incinerator Thebarton 1935
Firms or Professional Partnerships
Name Dates Worked
Buildings and Works Department -1922
Commonwealth Department of Works 1922-1927
Lionel Bruer, Architect 1927-1933
Evans & Bruer 1933-1936
Evans, Bruer & Hall 1936-
Allied Works Council, NT 1942-
Evans & Bruer & Partners -1960
Bruer, von Schramek & Dawes 1960-1969
Evans, Bruer, Vogt & Hignett? 1969-1972
Bruer, Vogt, Bruer and Hignett 1972
Freeland, J. (1971) The Making of a Profession: A History of the Growth and Work of the Architectural Institutes in Australia, Angus and Robertson in association with the Royal Australian Institute of Architects, Sydney.
Jensen, E. and Jensen, R. (1980) Colonial Architecture in South Australia: a definitive chronicle of development 1836-1890 and the social history of the times, Rigby Publishers Ltd, Adelaide.
Johnson, D.L. (1977) The Architecture of Walter Burley Griffin, Macmillan Co Aust Pty Ltd, Melbourne.
Marsden, S., Stark, P. and Sumerling, P. (eds.) (1990) Heritage of the City of Adelaide: an illustrated guide, Corporation of the City of Adelaide, Adelaide.
Page, M. (1986) Sculptors in Space, South Australian Architects 1836-1986, RAIA SA Chapter, Adelaide.
Royal Australian Institute of Architects (RAIA), South Australian Chapter (n.d.) A Photographic Guide to the Architecture of Adelaide. Map Gide 1: the city centre, Royal Australian Institute of Architects, Adelaide.
Turnbull, J. and Navaretti, P. (ed) (1998) The Griffins in Australia and India: the complete works and projects of Walter Burley Griffin and Marion Mahony Griffin, Miegunyah Press, Melbourne.
Walker, Dylan (1995) Adelaide's Silent Nights: a pictorial history of Adelaide's picture theatres during the silent era 1896-1929, National Film and Sound Archive, Canberra.
Johnson, D.L. (1969) 'Adelaide's Incinerators' Architecture in Australia, August, vol. 58, no.4: 665-667.
Potter, J. (2007) 'Art Deco Adelaide' Place, Dec/ Feb, vol.2, no.3: 6.
Schumacher, Colin. (1998) '1956 Retrospective - Architecture in the Park.' Architect SA Winter, vol.12, no. 48: 26-27.
Advertiser, 23 October 1940.
'Death of noted S.A. architect', Advertiser, 4 February 1972: 7.
'Lionel Gregory Bruer ARIBA (F)', Magazine clipping on Lionel Bruer, Johnson Collection S212/11/3, LLSAM.
Bruer, Lionel Gregory, 1896-1972, Designs, plans and papers, National Library of Australia.
RAIA South Australia Significant Twentieth Century Architecture RAIA Collection, S301, LLSAM.
Schumacher, C. (1997) Handwritten notes on biography of Bruer, Neighbour Collection S294/7, LLSAM.
von Schramek and Dawes (1925-50) Architectural Drawings (mixed), typescript. BRG 281 (no series list available) State Library of South Australia.
Australian Heritage Places Inventory (AHPI), online at http://www.heritage.gov.au/ahpi/index.html
The Bruers in Australia Website online at http://users.bigpond.net.au/bruerfamily/tree.htm
WW1 Embarkation Roll, online at http://www.awm.gov.au/nominalrolls/ww1/embarkation/index.asp
WW1 Nominal Roll, online at http://www.awm.gov.au/nominalrolls/ww1/index.asp
WW2 Nominal Roll online at http://www.ww2roll.gov.au/script/veteran.asp?ServiceID=A&VeteranID=663543
Willis, J. (1998) South Australian Architects Biography Project, University of South Australia, CD ROM, located in the LLSAM.
Home Page | Close Window

redpajama_set_name: RedPajamaCommonCrawl


A rarely grown, perennial species from South Africa in the Asteraceae family. Produces clumps of attractive, very spikey foliage and large, pure white, daisy flowers with a brown and yellow centre. Fantastic plant for bees and other insects. Flowering June to September. Height 60 cm. Very well-draining soil in sun to light shade with protection in winter. Hardy to -8 C.


For Sylvie. Hugs and smiles for a dear friend :). Wallpaper and background images in the KEEP SMILING club tagged: smile hugs sylvie friend teddy bear.
This KEEP SMILING photo might contain bouquet, corsage, posy, nosegay, hippeastrum, hippeastrum puniceum, and frosted layer cake.
How can it be differently ? This Teddy Bear is really sweet and I adore Teddy Bears !
I love teddy bears too!
They are so cute, I always had a Teddy Bear !


text:
Q: Centering SVG text gradient in Chrome and Firefox I am having an issue getting my SVG text to center in both Firefox and Chrome. I have not yet bothered to check other browsers. I currently have it centered horizontally in Firefox but in Chrome it is off by a few pixels. I noticed in Chrome the text is not quite filling up the width of the <svg> element leaving space on the right side throwing off the centering. The vertical centering is also different by a few pixels on the bottom in Firefox. How can this be resolved? Not sure what I am doing wrong in my code. To see a live view of the issue go to https://wsplays-members.com/results/ in both browsers and look at the "OUR CERTIFIED RESULTS" title. Thanks in advance.

.widget-title {
  border-bottom: solid 3px black;
  font-family: 'anton', sans-serif;
  font-size: 32px;
  font-weight: 700;
  margin: 2px auto 0;
  background: url(images/lines.png) bottom repeat-x;
  line-height: 1;
  padding-bottom: 16px;
  text-align: center;
  text-transform: uppercase;
}

  <svg height="30px" width="270px" viewBox="0 0 100% 100%" preserveAspectRatio="xMidYMid">
      <defs>
        <linearGradient id="grad1" x1="0%" y1="0%" x2="0%" y2="100%">
          <stop offset="0%" style="stop-color:rgb(226, 69, 38);stop-opacity:1" />
          <stop offset="100%" style="stop-color:rgb(34, 34, 34);stop-opacity:1" />
        </linearGradient>
      </defs>
      <text fill="url(#grad1)" x="0" y="97%">Our Certified Results</text>
      Sorry, your browser does not support inline SVG.
    </svg>

A: First of all, your viewBox is invalid.  You can't use percentage values in a viewBox.  Consequently it will be being ignored. But you don't need it anyway in your case.
Anyway, your problem is that you are centering the SVG in the
 but you are not centering the text in the SVG.
If you want your text to be centred in your SVG, position it in the exact centre and use text-anchor="middle".
In your case you will want to change the text element to:
<text fill="url(#grad1)" x="135" y="97%" text-anchor="middle">Our Certified Results</text>

In the example below I have increased the width of the SVG, and the text x position, because we have to use a wider font.

.widget-title {
  border-bottom: solid 3px black;
  font-family: 'anton', sans-serif;
  font-size: 32px;
  font-weight: 700;
  margin: 2px auto 0;
  background: url(images/lines.png) bottom repeat-x;
  line-height: 1;
  padding-bottom: 16px;
  text-align: center;
  text-transform: uppercase;
}

svg {
  border: solid 1px green;
}

  <svg height="30px" width="450px">
      <defs>
        <linearGradient id="grad1" x1="0%" y1="0%" x2="0%" y2="100%">
          <stop offset="0%" style="stop-color:rgb(226, 69, 38);stop-opacity:1" />
          <stop offset="100%" style="stop-color:rgb(34, 34, 34);stop-opacity:1" />
        </linearGradient>
      </defs>
      <text fill="url(#grad1)" x="225" y="97%" text-anchor="middle">Our Certified Results</text>
      Sorry, your browser does not support inline SVG.
    </svg>

redpajama_set_name: RedPajamaStackExchange


The company Sleep Well is cashing in on the whole "warm milk before bed" thing.
Few natural remedies for helping someone fall asleep are as tried and true as warm milk. You start out drinking it as a baby, and even if only for psychological reasons, some experts believe that the ability of warm milk to settle you down for the night can continue into adulthood. But now, a brand from the island of Jersey called Sleep Well is trying to capitalize on milk's bedtime reputation by selling an enhanced version of the drink specifically designed to help you sleep.
Sleep Well currently is only available in packages of three 200-milliliter cartons for the equivalent of about $10. Meanwhile, on Amazon, you can get a jar of 100 valerian root capsules for $7.


Alright. I'm here again, in my private virtual world. But something is different this time. I have that gut feeling that somebody tampered with my private space... What really bothers me, I can't exit my session so I have to find my own way to get out of this mind trap alive.
The project was suspended and cancelled due to lack of resources. Team consisted of three people: 1 developer (me), 1 artist and a task manager.


text:
Q: I have ubuntu on my laptop already and would like to duel boot Windows I have recently installed a new SSD and put Ubuntu 14.04 on it. I would like to duel boot with Windows, but I cannot figure out how to partition the hard drive. I am pretty new to linux but have tried using GParted and KVPM. However, neither seems to want to let me resize the largest partition and make it unallocated so I will have room to make a partition large enough to install Windows.

A: For beginners, like me, it's best to install Windows first and then Ubuntu because, so far I know, more recent Windows versions override installed boot info. After Windows installation, boot from Ubuntu bootable DVD/USB. During Ubuntu installation, you should get a window regarding boot-loader with one option saying something like  install Ubuntu alongside other Operating Systems. Selecting this option will let dual boot. After both installations are complete, default boot will be Ubuntu; it can be changed from the BIOS.


text:
The Zoomer Robot Chimp Stands and Balances on Two Feet Better Than a Toddler Can
When the Zoomer interactive dog was first introduced a few years ago, Spin Master officially took up the robotic pet torch that was slowly burning out after Sony abandoned the Aibo. The Zoomer Dog was followed by the award-winning Zoomer Dino, but neither are as remarkably capable as the latest addition to the Zoomer line.
Combining the best parts of the original Zoomer Dog and the Zoomer Dino (aka Boomer), the Zoomer Chimp features impressive articulation, incredibly lifelike movements, a library of over 100 tricks including flips and standing, fun sound effects, and the ability to respond to voice commands.
It's hard not to crack a smile when the Zoomer Chimp suddenly falls onto its back and starts laughing hysterically for no apparent reason. That's exactly why you look forward to visiting the monkeys in the zoo, right? Except there's no risk of the Zoomer Chimp flinging poop at you.
And for its latest robotic pet, Spin Master went the extra mile to create both an articulated moving mouth, and a set of independent moving teeth inside that really help bring the monkey to life—especially when it's laughing or making chimpanzee screams.
The Zoomer Chimp's best feature, however, is its ability to transition from sitting, to crawling around on all four limbs, to standing and balancing itself like it's rolling around on a hoverboard. It's essentially the same technology that allowed the Zoomer Dino to balance on two legs, but without the long tail and neck to help keep it steady. As a result, the Zoomer Chimp doesn't seem like just another addition to the Zoomer line, it's definitely the next generation of it.
When available in the fall later this year, the Zoomer Chimp will sell for $120 which is an impressive price point given what the robo-primate is capable of. The Chimp's predecessor, the Zoomer Dino, won the 2015 Toy of the Year award, and it's safe to assume that the Zoomer Chimp will easily be a contender for that award in 2016. Besides, how many other toys at Toy Fair will playfully shake their bum in the air at you?
[Spin Master]
Toyland: We love toys. Join us on Facebook or follow us on Twitter.
What is the mentality that leads someone to say "hey, what's '100+ tricks in spanish?... Oh, it's just '100+ tricks'?... Make sure you put that on the box. Under the English printing of it. That way nobody gets confused or feels left out."


We believe God is calling us to share God's love with others. Engaging in the practice of serving others is important to our faith. If you'd like to be involved, call the church office at 812-988-4666 or email the office at nashvillemetho@sbcglobal.net.
Mother's Cupboard — 364 days/year Mother's Cupboard serves hot take-out meals to anyone who needs one. NUMC has two cooking/serving teams — 4th Tuesdays and 4th Saturdays. Join a team or start a new team and help make sure no one in Brown County goes hungry.
Children's Ministry — Young Disciples gather each Sunday to learn and grow in faith. Volunteers help with drama presentations, substitute teaching, craft preparations and more. Ask for Amanda Middletonl, Director of Children's Ministry, for more information.
Backpack Ministry — Sure, young people are fed a good lunch every weekday. But some go hungry on the weekends. Backpack Ministry sends home a backpack of food every Friday in several area schools. Ask for Linda Todd or Jan Swigert when you call to join the team.
Hospitality Team — Everyone is asked to participate in a Hospitality Team. Each team serves as greeters, ushers, Fellowship Time snack providers and other areas of Sunday morning hospitality, and each team serves for two months each year.
Provide a meal for NUMY — Nashville United Methodist Youth! They meet every Wednesday, 6:00 p.m. Contact Youth Director, David Phelps to sign up for a date.
Worship Team — would you like to read scripture, sing a solo, share with the Young Disciples, serve as Communion Steward, be part of a team planning worship? Contact Pastor Mary.


text:
ASU Students Apologize for Racist Posts, Insist They're Not Racists
Steven Hsieh
Left to Right: Kevin Decuyper, Richard Thomas, Matthew Northway, and the Reverend Jarrett Maupin.
Steven Hsieh | March 26, 2019 | 5:37pm
In a carnivalesque spectacle that stumbled somewhere between public relations event and shouting match, leaders of College Republicans United (CRU) apologized for racist and anti-semitic Facebook chats revealed by Phoenix New Times.
A few dozen students protesters showed up for the event outside Old Main on Arizona State University's Tempe campus. Chants calling for the group to disband and taunts of "Nazi" made it clear that protesters doubted the sincerity of the conservative group's apology.
Protesters also shouted at the Reverend Jarrett Maupin, the polarizing activist whose call for a protest on Wednesday contributed to CRU organizing its public address. Maupin stood between CRU members and their detractors throughout the event, giving off the appearance that he was running interference for the group.
Leaked Chats Show Racism, Anti-Semitism, and Homophobia in ASU Republican Group
ASU Conservative Group Held Event With Charlottesville Speaker
Stringer 'Chickens' Out on Giving Real Apology at Lo-Lo's
New Times on Friday published leaked chats showing leaders of CRU, including Kevin Decuyper and Richard Thomas, making racist, anti-Semitic, and homophobic statements. In addition to the chats, Thomas posed for a photo in which he appears to be mocking vehicular murder of Heather Heyer during the 2017 white nationalist rally in Charlottesville, Virginia.
ASU launched an investigation into the chats to decide whether any of the statements violate the student code of conduct
"I am here today because I would like to deeply and sincerely apologize for my acts and my inflammatory comments," Decuyper said.
Though he apologized for his posts, Decuyper denied that he holds any racist views.
"We do not stand for any of these dangerous views that you accuse us of today," said Decuyper, chairman of Republicans United, the statewide umbrella organization for CRU. "I wish I could define myself by my actions, by my words, and by my show of character."
He also addressed a statement he made on Facebook in which he said he used a profile photo with the black conservative Candace Owens to hide his more "extreme views" from the "right-wing community."
At the time of his Facebook post regarding his profile picture with Owens, Decuyper was responding to a man who asked him, "What's with the nigger in your profile picture?"
Addressing that on Tuesday, Decuyper said, "I've never used the phrase nigger in my life."
Decuyper added that what he considers extremist views differ from what students and New Times might think.
Asked for examples of his more extremist views, Decuyper said he supports building a wall on the southern border and ending abortion. When a reporter suggested that those are mainstream Republican views, Decuyper disagreed.
He did not address whether a Facebook post calling the Nazi military the most "heroic and efficient" to have existed could represent one of his more "extreme" views.
CRU founder Thomas also addressed the crowd, saying he "screwed up" when he wrote the offensive Facebook chats.
"It was a dumb moment. It was in the heat of the moment," Thomas said. "It was the decorum of the conversation."
Thomas condemned white supremacy and racism before later denying to New Times he holds racist or white supremacist views. He said every post he's written that has caused outrage was taken out of context. Thomas also said antifa members have published his address.
Protesters shouted over Decuyper and Thomas through the entire event, which lasted for about an hour. A constant refrain in response to their apologies was that they are only sorry because they got caught.
Just as much, if not more, anger was trained at Maupin. Protesters accused him of being a fraud who was working with CRU students to help them rehabilitate their image. Maupin denied the charge.
"The point here today isn't to accept the apology. It's to assess the apology," Maupin said. After CRU leaders made their statements, Maupin said, "I think it's an empty apology."
One woman wearing a Black Panthers T-shirt, who declined to give her name because she said she feared death threats, was particularly incensed at Maupin, criticizing him for his relationship with former Maricopa County Sheriff Joe Arpaio and his practice of charging families of police shooting victims large sums for his public relations work.
"All he does is take money from people," she said.
Maupin previously came under criticism for his involvement in a public relations event at Lo-Lo's Chicken and Waffles where State Representative. David Stringer declined to apologize for making racist statements. Maupin later condemned Stringer after more racist comments of his surfaced.
Watch the public relations event here:
Steven Hsieh is a staff writer for Phoenix New Times. He previously worked at The Stranger and Santa Fe Reporter.
Twitter: @stevenjhsieh


This is a story of trying to do the right thing… without reading all the instructions. I recently was setting up OpenVPN for my home network. The instructions are pretty strait forward. For those of you who are security conscious, there is even an option to drop elevated privileges in Linux. That sounds good, right? Well, what happens when you try to tear down the VPN connection, without elevated privileges?
The short answer is, your connection is gone but everything else remains. What this means practically is that your networking situation is bad. You can't get out. On the machine this happened to, I could not ping using a hostname or IP address on the wireless interface. I could ping an IP address, but not a hostname on the wired interface. This behavior was persistent across reboots. I manually flushed the route table and the problem persisted. I tried reinstalling resolv-conf, but I couldn't download the package.
I finally solved it by uninstalling the openvpn package. After doing that networking was back to normal. When I reinstalled OpenVPN, the networking was in the correct state again. Just remember to reinstall all the OpenVPN packages that you uninstalled, like network-manager-openvpn and network-manager-openvpn-gnome.


text:
Published on Harvard Magazine (https://harvardmagazine.com)
Home > Extracurriculars
New England Regional
July-August 2007 [1]
Life should be as free as a summer's breeze in New England. Take some time this season to get out and try something utterly new: discover the joys of cooking fresh vegtables from the farmer's market, take the train to Maine for the weekend and learn about Frank Lloyd Wright, or, on an especially sweltering night, take shelter during a double-feature at the Harvard Film Archive and then treat yourself to a late-night ice-cream cone in the Square.
Listings by category:
The Farmers' Market at Harvard
www.dining.harvard.edu/flp/ag_market.html [5]
Tuesdays, 12:30-6 p.m. This outdoor market, which runs through October, features freshly harvested produce, baked goods, cooking demonstrations, and guest presentations by chefs and regional makers of artisanal food. The market takes place outside the Science Center, at the corner of Oxford and Kirkland streets, and is organized by the Harvard University Dining Services.
Hillsborough Balloon Fest and Fair
www.balloonfestival.org [6]; 603-464-0377
July 12-15 The annual New Hampshire fte features everything from live music and skyward flights to lawn-tractor pulls and fireworks.
Moonlight Paddle in the Berkshires
http://www.thetrustees.org/pages/29763_moonlight_paddle.cfm [7]; 978-537-5835
August 28, 7-9 p.m. The Trustees of Reservations offers a myriad of summer events and outings across Massachusetts, including this nighttime adventure through Bartholomew's Cobble in Sheffield, and Thursday evening picnic concerts (starting July 19) at Castle Hill in Ipswich. Visit www.thetrustees.org/pages/30281_summer_picnic_concerts.cfm [8]
Harvard Summer Pops Band
http://hcs.harvard.edu/~hub [9]
August 1 at 4 p.m. in Harvard Yard
August 5 at 3 p.m. at the Hatch Shell on the Charles River.
"Tribute to Leroy Anderson" (class of 1929) celebrates the popular American composer's hundredth birthday.
Sanders Theatre
www.boxoffice.harvard.edu
[10]617-496-2222
August 3 at 8 p.m. Harvard Summer School Chorus performs Haydn's Lord Nelson Mass and Mozart's Veni Sancte Spiritus with professional orchestra and soloists.
The American Repertory Theatre
www.amrep.org [11]; 617-547-8300
July 13-29 Enjoy ravishing lyrics and razor-sharp repartee in A Marvelous Party, a celebration of the music and lyrics of Nol Coward, directed by Scott Edmiston.
The Harvard Film Archive
http://hcl.harvard.edu/hfa [12]; 617-495-4700
Visit the website for complete listings.
June 30-July 9 New American Independent Cinema offers films by up-and-coming directors, and such festival favorites as Between Days, Hannah Takes the Stairs, and Chalk. Also on tap is the premiere of Rob Nilsson's complete nine-part series, 9@Night, filmed in San Francisco's Tenderloin District.
July 10-13 The Films of Lin Cheng-Sheng includes a rare appearance by the Taiwanese director and the premiere of his most recent film, The Moon Also Rises.
July 14-August 19 Summer Double Features. The series, taken from the archive's 10,000-film collection, includes couplings of genre classics—such as musicals, mysteries, historical epics, and westerns—and a healthy dose of realism.
www.hcl.harvard.edu/libraries [13]
Pusey Library
Continuing: Family Album: The Roosevelts at Home features images from Sagamore Hill on Long Island.
Through August 18: Proclamations of Immortality celebrates the 800th birthday of the mystical Persian poet Jalal al-Din Rumi with an exhibition of his works in the form of modern artists' books with illustrations and accompanying Persian calligraphy and English translations.
Peabody Museum of Archaeology and Ethnology
www.peabody.harvard.edu [14]; 617-495-1027
Continuing: Feeding the Ancestors: Tlingit Carved Horn Spoons
Made by the people of the American Northwest coast, these unique works of art depict supernatural and ancestral beings, as well as animals and aspects of the natural world (see "The Family Silver [15]," in this issue"). The exhibit was mounted in partnership with the Tozzer Library, where some artifacts are also on display.
Continuing: Vanished Kingdoms: The Wulsin Photographs of Tibet, China, and Mongolia, 19211925.
Continuing: Imazighen! Beauty and Artisanship in Berber Life, which features artifacts from this North African population that have never before been displayed.
Continuing: The Ethnography of Lewis and Clark. Visitors can see items collected by the explorers, or that date from the same period, such as bear-claw ornaments, a painted buffalo robe, womens' dresses, an elk-antler bow, a whaling chief's hat, and varieties of corn.
Semitic Museum
www.fas.harvard.edu/~semitic [16]; 617-495-4631
Continuing: In Ancient Egypt: Magic and the Afterlife, coffins, amulets, and funerary inscriptions show visitors some ancient views of life after death.
Continuing: The Houses of Ancient Israel: Domestic, Royal, Divine features a full-scale, furnished replica of a two-story Iron Age (ca. 1200-586 b.c.e.) village house.
www.hmnh.harvard.edu [17]; 617-495-1027
Continuing: Nests and Eggs explores the evolution, production, and diversity of birds' eggs. Specimens range from the basketball-sized egg of the extinct Malagasy elephant bird to those from a hummingbird, akin in size to a coffee bean.
Continuing: Echoes in the Ice: Collages of Polar Explorers. Artist Rik van Glintenkamp depicts Arctic and Antarctic explorations during four centuries.
Fogg Art Museum
617-495-9400/9422
Through July 8: The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle explores John Ruskin's influence on a select group of American watercolorists.
Sackler Museum
Note: Please contact the museum for schedule changes as well as updates on any gallery closings during pending renovations.
Continuing: Overlapping Realms: Arts of the Islamic World and India, 900-1900 presents a sampling of visual arts throughout the year. This third installment features Indian Rajput miniature paintings.
Busch-Reisinger Museum
Making Myth Modern: Primordial Themes in German 20th-Century Sculpture. Eight dramatic pieces by artists such as Max Beckmann, Joseph Beuys, and Gerhard Marcks.
Continuing: Paintings by Max Beckmann from the Pinakothek der Moderne, Munich features three major works: Dance in Baden-Baden (1923), Landscape with Tempest (1932), and Woman with Mandolin in Yellow and Red (1950).
The Arnold Arboretum
www.arboretum.harvard.edu [18]; 617-524-1718
Free tours of this botanical wonderland in Boston are held on Wednesdays, Saturdays, and Sundays and, new this year, on Friday evenings. Families can also go on self-guided explorations with a plant treasure map in celebration of the hundredth anniversary of Ernest Henry Wilson's first arboretum trip to Asia. Classes and workshops for adults and children are also available throughout the year. This summer, learn about vines, invasive plants, and Native American survival skills.
www.portlandmuseum.org [19]; 207-775-6148
June 28-October 8: Frank Lloyd Wright and the Beautiful House centers on the architect's talent for creating harmony between external structure and interior design. More than 100 original objects are on display, including furniture, metalworks, textiles, and drawings from public and private collections.
Wadsworth Atheneum
www.wadsworthatheneum.org [20]; 860-278-2670
Through August 12: Connecticut Contemporary showcases the work of more than 20 established and emerging contemporary artists. Also on display this summer (through October 21) is For the Love of the Game: Race and Sport in America, which examines sport as medium and metaphor and includes the work of former Radcliffe Institute fellow Senam Okudzeto.
www.pem.org [21]; 978-745-9500
Through August 19: Joseph Cornell: Navigating the Imagination displays 180 works, 30 of which have never been publicly shown before. This exhibit is the first major retrospective of the artist's work in more than 25 years.
Events listings also appear in the University Gazette [22].
Source URL: https://harvardmagazine.com/2007/07/extracurriculars.html?page=all
[1] https://harvardmagazine.com/2007/07
[2] https://harvardmagazine.com/print/1865?page=all
[3] http://harvardmag.com/pdf/2007/07-pdfs/0707-16A.pdf
[4] https://www.addthis.com/bookmark.php?v=300
[5] http://www.dining.harvard.edu/flp/ag_market.html
[6] http://www.balloonfestival.org
[7] http://www.thetrustees.org/pages/29763_moonlight_paddle.cfm
[8] http://www.thetrustees.org/pages/30281_summer_picnic_concerts.cfm
[9] http://hcs.harvard.edu/~hub
[10] http://www.boxoffice.harvard.edu
[11] http://www.amrep.org
[12] http://hcl.harvard.edu/hfa
[13] http://www.hcl.harvard.edu/libraries
[14] http://www.peabody.harvard.edu
[15] http://www.harvardmagazine.com/2007/07/the-family-silver.html
[16] http://www.fas.harvard.edu/~semitic
[17] http://www.hmnh.harvard.edu
[18] http://www.arboretum.harvard.edu
[19] http://www.portlandmuseum.org
[20] http://www.wadsworthatheneum.org
[21] http://www.pem.org
[22] http://www.harvardmagazine.com/gazettecalendar


text:
'She can be one of the best in the world'
Jordan Nobbs was once again at her influential best during Saturday's win over Manchester City.
The England midfielder was at the heart of our attacks at Meadow Park and even set up Danielle van de Donk's equaliser as we came from behind to beat Nick Cushing's side.
Joe Montemurro was also impressed with Nobbs' performance against City and singled her out for praise after the match. This is what he had to say:
on Jordan Nobbs…
We all know Jordan's a special player and she has the opportunity to be one of the best midfielders in the world. Whether it's playing deeper or attacking higher, she's such a smart player. I've got to calm her down every once in a while because she wants to be involved all the time, and we've been able to do that by creating space for other players. It makes her more efficient and effective. She's just growing as a player and she can be one of the best midfielders in the world.
on the win…
It's an amazing occasion for Arsenal. Alex Scott was the focus today, so for us to play a good brand of football especially in the second half just showcases where we've come from and where we're at now. It all looks good going forward.
on what he said at half-time…
The interesting thing is that I walked into the changing room at half-time and I didn't really feel uncomfortable with our performance, I felt we had enough to get out of it. It was just about having that belief in ourselves to keep on playing our way and keep playing our scenarios. Yes there were a couple of hairy scenarios in how we played out from the back, but we got comfortable and the second half showed for itself.
on Manchester City's mistakes…
I'd like to think that we played some good football to cut them open. Manchester City are a good side and you have these little slips in your lead up to games. You can't rest for a second because they're always going to be at you.
Latest Women News
IL MAKIAGE logo Mastercard logo


We carry men's suits for every occasion, budget, and style including European slim fit suits and classic fit suits - plus everything in between. Our selection includes linen suits and seersucker suits for summer, wool suits for year-round wear, and even wedding tuxedos that fit your budget. With their growing popularity, 3 piece suits are a great option. Never bought a suit online? We make it simple - check out our video tutorial to help you determine the suit size that fits you best!


This goes further than just what science advocacy organizations say about the religion and science issue (which I think Blackford mischaracterizes in any case). This makes clear that so far as Blackford is concerned, science advocacy organizations have no business with any aspect of public policy. Blackford at least has provided no qualifying statements that would indicate that talking about science and religion is a special case, and his entire argument is structured in such a way that it does not admit of having special cases: Organizations don't get to have opinions when those cross over into the intellectual turf handled by people outside the science organization's particular field of interest.
I think that Blackford misses the point pretty completely. The religious antievolution movement is not something that is primarily about the state of the evidence and the scientific theories about that evidence. Instead, it is a social and political phenomenon. Telling science advocacy organizations to only talk about the evidence and theories is not just shortsighted; it is wrong. Science advocacy organizations need to address both the state of the science (to undercut that false claim to intellectual legitimacy that religious antievolutionists make) and also actively engage in the public policy debate. And that means that there will be discussion of the factors that underlie religious antievolution, whether it offends Blackford's territorial impulses or not.
This leaves aside the arrogance of science organisations appearing to favour particular religious viewpoints.
It could be a real concern, just as Blackford points out that various counterfactuals asserted by certain denominations could have been true, but are ruled out by the evidence. I don't see any evidence that science advocacy organizations are favoring particular religious viewpoints. What I have seen done is noting the existence and extent of particular religious viewpoints, which is a rather different issue.
All in all, it is pretty ironic that Blackford has chosen this approach, given how various and sundry evangelical atheists have long complained that they have felt pressured not to emphasize their viewpoint of null compatibility between science and religion in the interest of pursuing the public policy goal of obtaining good science education. Is turnabout supposed to be a good thing now?
It's an interesting ideological quirk that converts statements which fail to adopt Blackford's own blanket anti-religious stance into statements that "favour particular religious viewpoints." I see no evidence of this favor in the statements that Blackford is discussing (via Coyne). Just neutral statements observing that there is nothing *inherently* anti-religious about science, as much as Blackford and Coyne would like that not to be true.
There is, of course, an element of self-flattery involved in this, because it implies that so called rationalists, unlike those poor religious saps, have no taboos, no sacred values or ideas that are quarantined from inquiry.
I guess that would be a "if you are not for me, you are against me" stance. Who knew Blackford was so biblical?
To the extent that the NCSE points out that some scientists have no problem with a conflict between science and religion, that's all well and good and accurate. To the extent NCSE claims that there is no conflict between science and religion, that's asserting a particular philosophical position, something like Gould's NOMA, which I think is dubious at best. The particular quotes that have been brought forward seem to be the former, but Blackford's complaint is clearly about the latter.
I take it your response is, essentially, that NCSE *doesn't* advocate NOMA, and Blackford is mistaken in assuming that it does on the basis of the quotations in question.
Yes, that's the way I see it.
OK, here�s the thing. Russell Blackford is a philosopher. His entire reason for being is to not simply say that things ought to be some way simply because it is his opinion; he provides an argument as to why that should be the case. The argument that Russell provided in the post I linked to, while applied to a specific case, is quite a general one. If the argument does not work well for the other particular cases that it can be applied to, one may well remain unconvinced that Russell has made his case. As you said, the burden is on the person making the argument.
Yeah, I get that Russell�s opinion is that science advocacy organizations should shut up already on this particular public policy issue. What I haven�t gotten so far is an argument as to why that should be so such that either his argument is itself limited to the particular case (yes, I already know that he has only applied his argument to this case) or is convincing when applied over all the possibly applicable cases (which I am pointing out does not appear to be true). Russell says that science advocacy organizations should not do things �outside their remit�. Russell upholds the primacy of argument on issues among the experts on each particular question. Science organizations shouldn�t take stances that tread on the toes of experts outside the field of science. Why, though, is that only applicable to this one particular public policy issue? Are we already back to it is just his opinion that it should be so?
There's nothing there or in my post above that seems to have either bizarre or fantastic properties.
The second main prong of the creationist assault is to equate evolution with atheism. That is a ubiquitous theme from the whole range of creationists, from Kent Hovind�s ravings to the Disco �Tute�s anti-naturalism Wedge document. I hear it, every one of us working with local and state boards of education hears it. It�s in the creationist mailers, it�s in their pamphlets, and it�s in their public statements to school boards.
And NCSE completely appropriately provides information to �parents and concerned citizens� about that issue. It completely appropriately points out that there are believers � self identified Christians � who accept that evolution has occurred (it�s a fact) and that the modern theory of evolution is the best available naturalistic explanation of that fact. Moreover, NCSE completely appropriately points to religious organizations that have stated that they accept that.
That�s true, a plain fact, and useful for folks in the field to be able to support via the religious organizations and individuals identified by NCSE.
Russell's "main point", though, was that the way that science advocacy organizations should respond to this issue would be to shut-up-already since the issue is 'beyond their remit'. How, exactly, is RBH's statement above consistent with that? RBH does then criticize NCSE specifically for what he believes to be an endorsement of a particular argument, but nowhere does RBH make a statement that he agrees with Russell's general point, that being that all the science advocacy organizations should shut-up-already rather than get involved in rebutting the "accepting evolution means you can't believe in God anymore" claim.
(1) Science advocacy organizations should not take a philosophical position on whether science is compatible or incompatible with religion, such as either NOMA or the views of Coyne, Dawkins, Myers, Blackford, etc. We all here seem to agree with that.
(2) They should be careful when rebutting the claim that evolution entails atheism (which I think we also all agree is false), so as not to imply that NOMA is the correct view. In my opinion, it's good and important to point out that there are religions that have no problem with evolution, and the _Voices for Evolution_ book has rhetorical and political power. But it shouldn't further be suggested that those views *are correct*.
It's important to note that the existence of people who accept religion and evolution doesn't demonstrate, or necessarily even provide much evidence for the position that science and religion are in fact compatible–people can certainly hold views that are logically inconsistent, and I think everybody does.
(3) Science advocacy organizations shouldn't even respond to the "evolution implies atheism" argument. If this is really Russell Blackford's view, then I don't agree with it–but I think he's at (2), not (3).
By the conclusion of Blackford's that I quoted in the post above, I think he's at (3), or at least the version of (3) that doesn't allow an effective rebuttal of the claim.
Jim, I've been saying for what now seems like a long time that I am not dogmatic about any of this. I am aware of the political exigencies, etc., etc.
Still, I definitely agree with 1. and generally with 2. As for 3., well I don't think anyone has said that. I don't see how I have said anything that goes that far unless someone wants to read something out of context in a literal-minded way. I might prefer they not say MUCH and that it be peripheral, but exactly what, if anything, is up for grabs. Even, Jerry thinks that they might have SOMETHING to say. The live question is just how much, assuming everyone relevant agrees to point 1., which was what I meant by sticking to the science. I've been arguing against NOMA for years now, and that was what led me into this.
I don't have some sweeping principle as to what falls properly into the remit of these organisations, all of which have slightly different roles from each other anyway. That's not how it works. In each case (if, for example, a legal dispute arose about ultra vires activities), you'd have to think about their membership, stated purpose, constitutional rules, etc. You approach it from that end. But you also approach it from the end of what kinds of things would it be reasonable to assume are implicitly "out". E.g. it's most unlikely that such organisations are there to settle questions as to who their members should marry, no matter how much that would help their mission. It's also unlikely that they are there to settle questions such as those you describe in 1. That would be a different kind of organisation.
I've astonished at the virulence of the disagreement throughout this debate. Point 1., which was my main point, led to an outcry and very personal attacks (more on Jerry and PZ than on me), but it has now been conceded by Richard Hoppe, who has more or less apologised for his orginal tone.
As for me, I've never said that science bodies should have no role (such as might fall naturally under their own rules, etc., in at least some cases) as lobbying for government funding of science (or improved educational standards, or whatever). The attempt in the original post above to claim that I said something of the kind really is a bizarre fantasy. My whole post was about what should be said about religion in relation to advocating the teaching of evolution. Despite all the discussion since, I think it reads quite well in that clear context. Of course, it had absolutely nothing to do with whether an organisation's rules, membership, etc., suggest that it should be taking stances in other contexts, such as debates about science funding or whatever else such a body might naturally and properly involve itself in.
Frankly, I think that my words were twisted in a mean-spirited way, aimed at misrepresenting my position in order to damage my credibility. I think that the owner of this blog owes me an apology. Let's see if he's honourable enough.
I suppose a happier alternative is that by Blackford's stating the he and RBH are now in agreement on his main point, that Blackford is OK with science advocacy organizations noting the existence of religious people and denominations who also accept evolutionary science, so long as they are careful not to endorse any of the means by which those folks attempt to reconcile the two, since that is the import of RBH's post.
Despite later protestations and self-characterizations of humility and non-dogmatism, the above delivers a shut-up-already message. It is a hard-line stance. The back-pedaling to weighing the value of pragmatism came later.
This goes further than just what science advocacy organizations say about the religion and science issue (which I think Blackford mischaracterizes in any case). This makes clear that so far as Blackford is concerned, science advocacy organizations have no business with any aspect of public policy.[*] Blackford at least has provided no qualifying statements that would indicate that talking about science and religion is a special case, and his entire argument is structured in such a way that it does not admit of having special cases: Organizations don�t get to have opinions when those cross over into the intellectual turf handled by people outside the science organization�s particular field of interest.
[*] If I had stopped here, Blackford would have a point. But I did not stop there. One does have to read the entire paragraph to see what I am saying and how it is about the justifying argument that Blackford presented for his original conclusion that science advocacy organizations shut-up-already. If Blackford has since retracted the shut-up-already part of his conclusion that's all to the good.
Nor is the above the only statement of the same criticism that Blackford had knowledge of.
Your argument appears to me to be completely generic, that science advocacy organizations should avoid saying anything other than things completely in the domain of science. After all, for any issue that isn�t completely within science, there will be experts ready to enumerate points of difference; that isn�t unique to religious antievolution. And I didn�t see anything to indicate that you were treating religious antievolution as a special case. So are science advocacy organizations supposed to shut up already when it comes to any public policy issue? We know from experience here on PT that even advocating funding of research through NSF and NIH is a contentious public policy issue that economists and political science people would consider to naturally be their turf. Should science advocacy organizations leave it up to economists and political science people to convince the government that funding scientific research is a public good, and stick solely to discussing the science only?
There, I'm obviously pointing out a problem with Blackford's justifying argument, and not falsely attributing a specific application of it to him.
It's not certain that Blackford saw this on PT, but it is also quoted in a comment of mine upthread.
Again, it is clear that I am addressing Blackford's argumentative structure. It is Blackford's chosen justification that has broader implications than the specific case that he has applied it to. If Blackford wishes to abandon his justifying argument since it leads to untrustworthy conclusions when applied to other cases, that is his decision.
Blackford did not take any of the opportunities given to request a clarification of my meaning or to take issue with anything — up until his characterization of my participation as being based on "bizarre fantasies". Does the criticism and explanations of criticism given above appear to be bizarre or fantastic? I'm just not seeing it.
And, no, I don't see that I'm the guy whose honor is put in question here. I have quoted Blackford extensively to document his actual argumentation. I set out a fair criticism of his original justifying argument. I didn't start the insulting sniping here, nor do I think that plainly-stated criticism, such as I have offered, is the same thing as insult. I'm not the one on record in this exchange going for shut-up-already as a conclusion. I am clearly the injured party in the exchange. If someone is damaging Blackford's credibility, it isn't me. The nature of a response to criticism, though, is capable of doing exactly that.
Dave, I know you�re a reasonable person, but the total impression I�m getting here is that a lot of people are just not prepared to accept any criticism of the NCSE, etc., at all. They just want the critics to shut up.
This ironic statement by Blackford was demonstrably false so far as it may have been intended to encompass my participation, as I documented in a response there. I don't recall seeing any particular justification for it in the thread it appeared in, either.
I don�t think there�s anything destructive in my tone, but it looks as if any criticism at all upsets some people, no matter how carefully and respectfully it is phrased.
Someone expressing that sentiment should display better openness to legitimate criticism.
They should be careful when rebutting the claim that evolution entails atheism (which I think we also all agree is false), so as not to imply that NOMA is the correct view.
Here's where I think Blackford et al want to have their cake and eat it too. Because, clearly, in some contexts, some kind of NOMA *is* the appropriate view. That is to say, denominations (or individual theists) which completely accept the findings of orthodox evolutionary science are able to do so by keeping their scientific peanut butter out of their theological chocolate and vice versa. (You guys had those Reese's commercials in Oz, too, didn't you?) Even so mainstream a denomination as Catholicism is very NOMA-friendly on this score.
From what I've read of Russell's work, he would argue that this compartmentalization is really just a grand case of cognitive dissonance: that a subjective experience of NOMA does not imply an objective philosophical reconciliation between science and religion, even in the limited cases where no conflict is apparent.
But I think this is a confused view. Science and religion are just words. They are social conventions. I'd expect that the 6 or so people commenting on this thread have slightly differing definitions of what science is, or should be, though we all probably agree on the methodological core of how it is generally conducted. Those definitions would certainly vary far more so when it came time to define what religion is, or should be. And we comprise a mere billionth of the population of possible people who might participate in this discussion.
This is not relativism, by the way. It is simply an acknowledgment that language is a constant negotiation. We need to show both our premises and conclusions when adjudicating a philosophical argument such as "are religion and science compatible?" At a minimum, we need to start with discussions of the meanings of the second, fourth, and fifth words in that question; otherwise we're just splashing around in dirty bathwater.
Russell writes (in the original post on Coyne) that he is "convinced that there really is an incompatibility between important, orthodox positions in Abrahamic theology, on the one hand, and established scientific findings on the other." This is an unsubstantiated statement that takes for granted the very thing it sets out to establish–that NOMA is a fallacy. But what I really want to note is the qualifications he must employ even to get started: "important, orthodox, Abrahamic." How far in this simple statement have we already traveled from the notion of the *intrinsically* religious? What of heterodox, or esoteric positions, for example, or those outside the Abrahamic tradition? We have already jettisoned at least a good two-fifths of the earth's "religious" population with this prevarication.
[O]rthodox Abrahamic religionists must either abandon their orthodox views (perhaps moving towards deism, or some kind of process theology, or even to an irrealist/metaphorical conception of God).
We could add to the list. My question is, what is the content of this abandonment? Is it atheism? Is it something which is no longer religion? May the same sacred texts and rituals be employed? What of the many millions of religious people who never cleaved to orthodox Abrahamic religion in the first place? And–most importantly–does this abandonment finally reconcile the incompatibility we are concerned with?
Nevertheless, it's all too easy to generalize on the basis of family resemblance. Much harder to make the scientific case, with rigorous controls, that there is something intrinsic to "religion," whatever that might be, that is hostile to scientific understanding. I haven't seen anything even remotely convincing on this score, and I've looked hard for it.


text:
Splice Archive
Pass (Forgot?)
About Splice
Follow Splice
Countrypolitan Crooning
No Love at First Bite
The Los Angeles Lakers and the Art of Legacy Inflation
The Moral Emptiness of Hustlers
Politics & Media
Noah Berlatsky: "Voting For Trump Is Illegal"
Lady Flatbottom's Demon
The Gold Standard of Dining
College in 2036
The Everly Brothers Were Bio-Essentialists
The iNightmare: A Fugue State
The Baltimore Kid Does What He Feels
Remembering The Ass
May 02, 2018, 06:28AM
Mr. Stuyvesant's Garden
A look at NYC in the 19th century.
Tiny Stuyvesant St., crossing E. 9th St. between 3rd and 2nd Aves., is notable for being the only diagonal street in Manhattan north of 8th St. and south of Central Park except Broadway. (We'll leave Greenwich Village out of it, since it's always had its very own street system quite independent of the gridiron imposed by the Commissioners' Plan (Randel Survey) back in 1811.) As in most exceptions to the rule, it has its own story to tell.
The northeast end of Stuyvesant St. affords a view of St. Marks-in-the-Bowery, an Episcopal church built in 1799 (the steeple dates to 1829). The difference in dates accounts for its melding of three different architectural styles, Federal for the church, Greek Revival for the steeple, Italianate for the portico, added in 1854. The burial vault of Peter Stuyvesant (1612-1672), the last Dutch Director-General of New Netherland, can be found in the churchyard. Though Stuyvesant died nearly a century before the church was constructed, his family owned property in the area including a farm and a chapel. Daniel D. Tompkins, New York governor from 1807-1817 and US Vice-President from 1817-1825, is also interred here, as is Philip Hone, NYC mayor from 1826-1827 and later a prolific diarist. The church was nearly destroyed by fire in 1978, but was rebuilt by the mid-1980s.
I think Stuyvesant, a strict Dutch Reformist, wouldn't be thrilled to know he rests on property that derives from the Church of England.
Peter Stuyvesant's holdings extended roughly from what is now Cooper Square north to E. 23rd St. with the western boundary at the Bowery Rd. (now called 4th Ave.) and the eastern boundary in a line between what's now 1st Ave. and Ave. D.
This close-up of a map in Kenneth Dunshee's excellent history of early New York, As You Pass By, shows a narrow lane leading from the Bowery Road northwest to Gov. Stuyvesant's manor house, which remained with the Stuyvesant family until it burned down in October 1778. His great-grandson Nicholas was the last tenant.
The lane exists today as Stuyvesant St. But why, and how, did it survive from Peter Stuyvesant's day?
Petrus Stuyvesant, Peter Stuyvesant's great-great-grandson, owned most of the land in this area and his mansion, called Petersfield, was located in the block between 1st Ave., Ave.A, and E. 15th and 16th Sts. It was Petrus Stuyvesant who laid out a street system and donated land and construction funds for St. Mark's, which was completed in 1799. The area around Petersfield, extending west to the old property line at the Bowery Rd., became known as Bowery Village in the early years of the 19th Century.
Stuyvesant St. is the last survivor of a village grid, laid out by Petrus Stuyvesant, that existed prior to the overall street grid adopted in 1811. The streets were named for Petrus' sons and daughters, Peter, Judith, Margaret, Nicholas William, with a couple of other street names thrown in.
As New York City expanded ever northward as the 19th Century rolled on, Bowery Village was incorporated and most signs of it, with the exception of St. Marks-in-the-Bowery, gradually disappeared. But Stuyvesant St. had by then become a well-established thoroughfare and so was allowed to remain after the Commissioners Plan has eliminated most of the other odd roads that would have interrupted the grid. (For example, Petersfield St., which extended from the Bowery Rd. at about 11th St. to the Petersfield mansion, was eliminated when the cross streets of today were cut through).
The Nicholas Fish-Elizabeth Stuyvesant House, 21 Stuyvesant. As the historic plaque explains, it was constructed in 1804 by Petrus Stuyvesant as a gift for his daughter when she married Revolutionary War hero Nicholas Fish, who served with Washington at Valley Forge and at age 18 is still the youngest Major in US Army history. He was associated with Treasury Secretary Alexander Hamilton and the Marquis de Lafayette, whose military expertise helped win the war. Lafayette visited NYC in 1824 and was entertained in this building.
Nicholas and Elizabeth's son Hamilton was born here in 1808. He went on to serve as US Senator, Governor of New York, and US Secretary of State under U.S. Grant. The Fish name has long been prominent in New York State politics.
I had long believed that St. Mark's Church and the Nicholas-Fish House were the oldest buildings on the block. However, 44 Stuyvesant was built in 1795 for Nicholas William Stuyvesant, according to the Landmarks Preservation Commission, and is one of two remaining houses that belonged to the Stuyvesant family from the immediate post-Revolutionary era. Only the Morris-Jumel Mansion in Sugar Hill is an older residential building on Manhattan Island. It carries no historic plaque and blends in well with the surrounding buildings, which go back to the 1840s-1850s.
The Hebrew Technical Institute, founded 1884, occupied the building at the fork of Stuyvesant and E. 9th Sts. (#34-36 Stuyvesant) until 1939. The name of Edgar Starr Barney (1865-1938), a longtime principal, is emblazoned above the doorway.
After completing two years at the school, students could specialize in wood-working, pattern making, metal working, instrument making, mechanical drawing, architectural drawing, wood carving, free-hand drawing or applied electricity. The school was founded with the combined efforts of three Hebrew charity organizations that formed a committee to assist the many Jewish immigrants arriving in NYC in the late-1800s.
Finally, on a sad note, Abe Lebewohl Triangle, Stuyvesant St. and E. 10th St. The longtime owner of the 2nd Ave. Deli (he founded it on the southeast corner of 2nd Ave. and E. 10th St. in 1954) was shot and killed in an unsolved robbery on March 4th, 1996. The deli closed at its original location, but later reopened in two Midtown and East Side locations, 162 E. 33rd St. and 1442 1st Ave.
…Log in to discuss, fav, email
Older Writing
Death, the Widow, and the Snow
The Only Party I Ever Crashed
Newer Writing
Anatomy of a Rebirth
The Robot That Ate Her Dreams
Register or Login to leave a comment
Advertise with Splice
© Splice Today LLC All Rights Reserved


Nicknamed Snow White's Coffin on account of its white metal casing and transparent lid, this product has an elemental look that redefined the typology of domestic audio equipment. The detailed consideration of such compact, simple designs secured Braun's success in the postwar consumer electronics market and became a model for their many competitors.
Hans Gugelot has 2 works online.


text:
Venezuela Will Fingerprint Grocery Shoppers to Control Purchases
In Dystopian Present news, Venezuela is about to start fingerprinting citizens to control how much food they're allowed to buy when they shop for groceries.
President Nicholas Maduro announced the move earlier this week, calling it an "anti-fraud system" (Venezuela uses a similar system for voting*). It's designed to stop people from buying too much of any single product — apparently, it's common for black market dealers to buy out a lot of one product and then re-sell it at an astronomical markup. It's unclear when the system will go into place, although the smart bet is some time around December or January.
Venezuela has been suffering food shortages for over a year now (last January, the country's central bank scarcity index reported that a quarter of staple products were out of stock in stores), thanks to a variety of factors. Currency controls have impacted the amount of foreign products available. The biggest factor, however, is probably the price controls the Venezuelan government has in place — the cost of selling products in Venezuela is often kept so artificially low that the sale price doesn't off-set the production cost. As a result, up to 40% of the goods produced in Venezuela wind up being smuggled across the border to Colombia and sold there. It's progressed to the point where both countries agreed to lock down the border at night to try to mitigate smuggling, and Colombia didn't object when Venezuela decided to station 17,000 troops along their shared border.
But the current solution on the table doesn't seem to actually fix anything about the root cause of the issue: the shortages themselves. As critics have pointed out, this is basically rationing — it's hard to see it any other way. This might combat shady black market practices, but until Venezuela figures out a way to deal with the issue of shortages, these problems aren't going anywhere.
* Actually, this would be an infinitely better system for combating voter fraud than the GOP's proposed (and in some unfortunate cases, passed) Voter ID Laws — except we know damn well that Voter ID Laws aren't designed to combat fraud, but to disenfranchise traditionally Democratic voters.
Image via Johan Swanepoel/Shutterstock.


The Store It Out XL is a great garden shed to store a bbq, a lawnmower, garden tools, outdoor chairs, cushions or 2/240L wheelie bins. Can be easily relocated and has its own built in floor. Features include opening lid and 2 large doors for easy access. Doors and lid are lockable – lock not included. Floor included – no need for slab. Please also see separate listing for soft and hard surface anchor kits. This item is compatible with both hard and soft surface kits and you will need the 4 anchor version.


The 3D Mac G5 computer system model set in Poser 3D model format has a computer CPU case, display, mouse and keyboard. There are morphs for tilting the display, opening the DVD tray and moving the power cords. (glass desk and chair not included).
The 3D MacBook style laptop computer model in Poser and DAZ Studio format has well detailed textures, a movement to open and close the lid as well as a LCD panel template so that the display can be changed to suit your needs.
The 3D office copier model for Poser and DAZ Studio includes a morph to move the paper to the copied / finished position. The paper is parented to the copier model, there is an extra piece of paper model included and there is a paper template included in the texture folder so that you can put whatever you wish on the paper.
The 3D professional shoulder mounted movie camera model for Poser and DAZ Studio is well detailed and already scaled to fit any Poser / DAZ 3D or other 3D figure.
The 3D tablet computer model in Poser in DAZ Studio format is ready to go and has well detailed textures. Also included is a screen texture template so that the display can be changed to suit your needs.
The 3D professional move camera and tripod model with movements for Poser and DAZ studio, has a turn and tilt movement. The LCD external screen can be textured with any image you wish.
A 3D vintage bush portable radio model for Poser and DAZ Studio in Poser 3D format.


Out now on iTunes and Amazon.
Available as cd, Vinyl or download.
Please leave a (nice) comment !
Hello Nick, you cover of "Now That The Magic Has Gone" in YouTube is great. I like this song. You have the guitar backing track?
Thanks for a great night in the UNION INN. Really enjoyed it. You are fantastic!
Brilliant singer! Best guitar player. FANTASTIC!
Disappointed to miss you once again at the Shiprights as we are not down till the 29th Nov. . Looked on your website but your December dates not yet listed. The family do hope to see you again in December.
Hi Nick been to long since we listened to you, hope to come and see you on the 18th oct . Just to warn you I will ask you to play comfortably numb .Love your music cant wait to hear you again.


text:
Economy, Farm & Food
Grow Your Direct-to-Consumer Farm Sales with Pick Tennessee Products
Oct 20, 2021 News Release
Seminars will be hosted in six distressed or at-risk county locations across the state. Tennessee farmers from any county are welcome to attend. Image courtesy Tennessee Department of Agriculture.
TDA and UT Extension Will Show You How at November Seminars
KNOXVILLE, Tenn. — In November, the Tennessee Department of Agriculture's Business Development Division and University of Tennessee Extension are teaming up to offer seminars to help farmers marketing products and experiences directly to consumers to grow their farm sales.
Direct farm marketing is a growing enterprise in Tennessee. More farms are selling products directly to consumers, and average sales per farm are increasing. Data from the 2017 United States Census of Agriculture ranked Tennessee twelfth in the nation for the number of farms selling products directly to consumers for human consumption, twenty-fifth for the number of farms selling directly to retail markets, institutions and food hubs; and seventeenth for the number of farms offering agritourism and recreational services. Demand for local farm products and experiences has seen even greater growth during the COVID-19 pandemic.
The Using Direct Marketing and Pick Tennessee Products to Grow Farm Sales seminars have been developed especially for farmers who are not yet taking full advantage of the marketing opportunities available at no cost from the Tennessee Department of Agriculture through the Pick Tennessee Products Program. "The Pick Tennessee Products Program has been connecting people everywhere with Tennessee farm and food products for more than thirty years," says Debbie Ball, business consultant with the Tennessee Department of Agriculture. "With more farmers directly marketing products and experiences to consumers than ever, we want to make our resources such as website and app listings, social media support and Pick Tennessee Products promotional items available to everyone."
Ball will be sharing information about the Pick Tennessee Products resources and other related programs of the Tennessee Department of Agriculture including the Tennessee Agricultural Enhancement Cost-Share Program at the events. Megan Bruch Leffew from the UT Center for Profitable Agriculture will also share Key Concepts and Resources for Direct Farm Marketing.
The seminars will be hosted in six distressed or at-risk county locations across the state. Tennessee farmers from any county are welcome to attend. Registration is free and a meal will be provided at each location. Contact the local Extension office to pre-register at least three business days prior to the workshop and obtain workshop location information. Dates, times and registration details for each of the six events are listed below:
November 8 in Grundy County at 11:30 a.m. – 1:30 p.m. Central. Call 931-592-3971 or email bgrimes8@utk.edu with your name(s) and telephone number to register with the Grundy County Extension Office.
November 8 in Scott County at 6 to 8 p.m. Eastern. Call the Scott County Extension Office at 423-663-4777 to register.
November 9 in Hancock County at 1:30 p.m.-3:30 p.m. Eastern. Call the Hancock County Extension Office to register at 423-733-2526.
November 9 in Cocke County at 6:30 p.m. – 8:30 p.m. Eastern. Call 423-623-7531 to register for the Cocke County seminar.
November 18 in Hardeman County at 12 noon – 2 p.m. Central. Call the Hardeman County Extension office to register at 731-658-2421.
November 18 in Perry County at 5:30 p.m. -7:30 p.m. Central. Contact the Perry County Extension Office at 931-589-2331 to register.
Check out the Pick Tennessee Products program website at picktnproducts.org. Learn more about UT Extension and the Center for Profitable Agriculture at utextension.tennessee.edu and cpa.tennessee.edu.
If you have questions about the seminar program, email Megan Bruch Leffew at mleffew@utk.edu or Debbie Ball at Debbie.ball@tn.gov.
Through its land-grant mission of research, teaching and extension, the University of Tennessee Institute of Agriculture touches lives and provides Real. Life. Solutions. utia.tennessee.edu.
Economy / Farm & Food / Agriculture, Natural Resources, and Community and Economic Development / Center for Profitable Agriculture / Extension / Agri-business Economics and Entrepreneurship / Food Products / Value-Added Agriculture
Megan Bruch Leffew
UT Center for Profitable Agriculture


The Davisor 2D library is a collection of custom JSP(TM) 1.1 tags, and a class library for the dynamic image generation. It can produce images to be used in HTML, C-HTML and WML pages. The library includes server side JSP(TM) tags for easy graphics production. No Java programming skills are needed. Davisor 2D can by default produce the image formats PNG, JPEG and WBMP. It can also be used to produce image buttons on the fly.
Spiderways is New Light Dynamic Puzzle And Boardgame! There is a board with cells of different colours.The cells form multi-coloured areas. GOAL: Capture as many cells as possible. To capture new cells you need to connect your cells to cells of other colors. To capture a cell you need to click on it with your mouse. Your cells are those with a black mark. You are controlling a spider. A spider is depicted by an eight pointed asterisk.


Pro Bono is hosting the Social Enterprises- how to make ideas work Webinar on 20 March. The webinar aims to help participants understand where to start when planning a social enterprise, what questions they need to ask and how to plan for success.
All those who register will receive a copy of the full video and audio of the Webinar. For more information please visit here.