The Dravidian style Namakkal Anjaneyar temple is located in Namakkal, a town in Namakkal district in Tamil Nadu, India and is dedicated to the Hindu god Hanuman.
The image of Anjaneyar is 18 ft (5.5 m) tall, making it one of the tallest images of Hanuman in India.
The temple has a pillared hall leading to the sanctum. Four daily rituals and many yearly festivals are held at the temple, of which fifteen-day Panguni Uthiram festival celebrated during the Tamil month of Panguni (March – April) when the image of presiding deities are taken around the streets of the temple, being the most prominent.
Hiranyakasipu was troubling the Devas as he got a boon from Brahma that no human can kill him, neither could he be killed in morning, noon or night nor in air, water or ground. His son Prahlada was an ardent devotee of Vishnu against the wishes of his father. He also tried to slay Prahalada at various times, just to be saved by the divine grace of Vishnu. During a heated argument with Prahalada, Hiranyakasipu was asking if Vishnu is present everywhere and went on to break a pillar with his weapon. Vishnu took the avatar of Narasimha and appeared from the pillar. Narasimha was a human with lion face and slayed Hiranyakasipu on an evening time in a doorway, which was neither land nor air.
Ages past by, when Lakshmi, the consort of Vishnu was doing penance at this place. Hanuman (locally called Anjaneyar) was carrying an image made of Saligrama and Lakshmi requested him to get her a view of Vishnu in the form of Narasimha.
Hanuman entrusted the saligrama to her and asked her to hold it until he returns. Lakshmi placed the image at this place, which grew into a mount before Hanuman could return. Narasimha appeared before both of them and set his abode at this place.
The Narasimhaswamy temple, located right at the foothills is also associated with this legend and Hanuman is believed to have worshipped him in standing posture form a distance axial to the temple.
The temple is located in Namakkal, in the downhill of the Namakkal hill in Namakkal district in Tamil Nadu on the road from Namakkal to Salem. The temple has a flat gateway tower with a pillared hall leading to the sanctum.
The sanctum houses the image of 18 ft (5.5 m) Anjaneyar axially facing the Narasimha shrine in the foothills, located 130 m (430 ft) away.
The image of Anjaneyar is carved out of a single stone and believed to be existing from the 5th century. There is no roof over the sanctum and Anjaneyar has a unique iconography sporting a sword in his waist and holding a garland made of saligrama.
The temple is considered one of the prominent temples in the Tamil Nadu state and in India.
The temple priests perform the pooja (rituals) during festivals and on a daily basis. The temple rituals are performed four times a day: Kalasandhi at 8:00 a.m., Uchikala poojai at 12:00 p.m., Sayarakshai at 6:00 p.m., and Arthajama Pooja at 8:45 p.m. Each ritual has three steps: alangaram (decoration), neivethanam (food offering) and deepa aradanai (waving of lamps) for the presiding deities.
There are weekly, monthly and fortnightly rituals performed in the temple. The temple is open from 6:30 am – 1:00 pm and 4:30 – 9:00 pm on all days except during festive occasions when it has extended timings.
The major festivals of the temple is the fifteen-day Panguni Uthiram festival celebrated during the Tamil month of Panguni (March – April) when the image of presiding deities are taken around the streets of the temple. In modern times, the Namakkal district administration has identified the temple as one of the prominent tourist attractions in the district.
The temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu.
By Train: Namakkal railway station in between Salem – Karur line.


text:
To apply a theme wrap your root react app component in a `<ThemeProvider theme='[themeName]'>` wrapper component. The `ThemeProvider` wrapper provides the supplied theme to any components underneath it. See [styled-components Theming](https://www.styled-components.com/docs/advanced#theming).

Example:

```html
import { ThemeProvider } from 'styled-components';
import viaTheme from 'es-components-via-theme';

...

render(
  <ThemeProvider theme={viaTheme}>
    <MyComponentOrApp />
  </ThemeProvider>
);
```

The [via benefits theme](https://www.npmjs.com/package/es-components-via-theme) is applied to all the components in this styleguide. To create your own theme, [copy the theme here](https://github.com/WTW-IM/es-components/blob/master/packages/es-components-via-theme/index.js), modify the values, and supply that object to the `ThemeProvider`.

### Theme colors

Via

			Primary

			Default

			Info

			Success

			Warning

			Danger

WTW

			Primary

			Default

			Info

			Success

			Warning

			Danger

### Fonts

Our web app font of choice is *Source Sans Pro*. Import it by adding the following to your application:

```html
<link rel="stylesheet" href="https://bdaim-webexcdn-p.azureedge.net/es-assets/source-sans-pro.css" />
```

### Styles

A small style reset is available to use in your project. This sets a baseline for general elements
and allows headings and inputs to properly inherit fonts. To use it, import `StyleReset` and include the
element anywhere in your app.

```html
import StyleReset from 'es-components';

...

render(
  <>
    <StyleReset />
    <MyApp />
  </>
);
```

redpajama_set_name: RedPajamaGithub


text:
Nazer steht für:

 Nazer (Berg) (), ein Berg im Iran

Nazer ist der Familienname folgender Personen:

 Hassan Nazer (* 1979), iranischer Drehbuchautor und Filmregisseur
 Hisham Nazer († 2015), saudi-arabischer Politiker und Diplomat
 Mende Nazer (* ca. 1980), britische Schriftstellerin sudanesischer Herkunft

redpajama_set_name: RedPajamaWikipedia


text:
BlogHome In Here, Pub Events Superposition #005: Magic, illusion and perception 10/3/14 – 6PM
Superposition #005: Magic, illusion and perception 10/3/14 – 6PM
In Here, Pub Events
During this evening of talks, thought experiments and curiosities, three incredible speakers tackle ideas of perception and how we respond to new information.
Professional Magician and Slight-of-Hand artist, Tony O'Neill will be discussing his creative process within the magical syllabus and sharing his current findings on the power of suggestion and self belief.
Experimental jazz musician and neuroscientist Christophe de Bézenac will be talking about the blurring of self and other in music and psychosis. Having studied at Conservatoire de Strasbourg, and been a regular performer at international music festivals he will explain how perceptual ideas have guided his musical practice and how his musical work has, in turn, fed into his empirical/neuroscience research into psychosis.
Digital Artist Ben Dalton's talk 'Zines in the age of 'big data'?' introduces and proposes the idea of bundle publishing. At odds with current trends in digital distribution, bundle publishing involves editing a large collection of digital content and then publishing it on a specific date as a single, large file. Inspired, in part, by the Humble Indie Bundle initiative as a means of pay what you want, charity supporting, DRM Free, cross-platform game distribution. Dalton asks what forms these user funded digital publications may take and what issues there may be surrounding distribution. This talk aims to raise questions about design, the future of live broadcast, crowd access to 'big data' and the role of spectacle in digital public space as a means of creating masquerade.
Monday 10th March 2014 – 6-8 PM
The Superposition is a collaborative community of artists, scientists and makers, based in Leeds. We meet to discuss the overlap of our three disciplines and to be inspired to create artistic work which can be considered 'science', 'art' and 'making', simultaneously. These evening events are not about arguing the merits of whose understanding or application of an idea is right; they're about identifying the essence of what makes a specific idea beautiful and inspirational through the notions of play/ a playful interaction. The aim is simply to create and nurture conversations that may lead to new collaborations, which in turn result in the making of exciting new work.
Tony O'Neill: Professional Magician. My original interests were in the artistry of sleight of hand. But once mastered I became intrigued by other areas of Magical Syllabus. These days I'm most interested in playing and experimenting with my mind and others too, when they let me…and sometimes when they don't.
Christophe de Bézenac is a musician, researcher and lecturer based in the UK. After studying at the Conservatoire de Strasbourg, he completed a PhD which examined perceptual ambiguity in music, taking an ecological approach (University of Leeds, 2007). During this time he became actively involved in the European experimental jazz/music scene. He regularly performs at international festivals/venues and lectures in improvised music at HE institutions. Christophe's research interests have also led him to work in the field of cognitive neuroscience, more specifically, examining the neural correlates of ambiguity (between self and other). In addition to his artistic pursuits, he is currently conducting behavioural/imaging (fMRI/EEG/TMS) research in the clinical psychology department at the University of Liverpool. The aim of this work is to shed light on mechanisms underlying agency in both health and psychosis, where self/other boundaries can become blurred.
Ben Dalton is currently investigating the theme of design for digital pseudonymity at the Royal College of Art, London. He is on research leave from the Faculty of Art, Environment & Technology at Leeds Metropolitan University, to undertake PhD research in to Digital Public Space as part of the AHRC Creative Exchange. Ben has recently shown work, presented talks and devised workshops exploring themes of digital identity performance at Time & Motion FACT Liverpool, FutureEverything Manchester, Today's Art The Hague, Abandon Normal Devices Liverpool, WWW2013 Rio de Janeiro, Sensuous Knowledge Bergen, and Designing Interactive Systems Newcastle. Ben has a background in ubiquitous computing and mobile sensor networks from the Massachusetts Institute of Technology Media Lab, and has assisted research in the Århus University Electron-Molecular Interaction group, University of Leeds Spintronics & Magnetic Nanostructures lab, and Jim Henson's Creature Shop, London. Over the last several years Ben has been a regular guest Professor at the Bergen National Academy of Art and Design, teaching in the school of design. He has recently completed two EPSRC funded research projects as co-investigator in to visualising pedestrian usage patterns in interactive urban spaces, and wearable computing sensors for ubiquitous computing applications. He is also currently co-directing the Data is Political project which explores the aesthetic, ethical and spatial dimensions of information and its relation to power, the production of knowledge, and construction of urban spaces.
Ben DaltonChristophe de BézenacpackhorsesuperpositiontalksTony O'Neill
Diffraction Patterns
Artist Vicky Ola creates a floor design around Prof. Ben Whitaker's sound sculpture mapping wave…
UnitCell: Hanging Balls
Filling bens balls with foam had not really worked out. Partly because of the difficulty…
Bodger: Start of the Week
The plan was fairly straight forward; using freely available materials from skips etc' I am…
Pub Events
Pub events, usually hosted upstairs in the Pack Horse Pub, Woodhouse Lane, Leeds, provide a platform for artist, scientist and makers to share their work and inspire collaboration.
The meetings are energetic and open, with problems, questions and suggestions welcomed in the spirit of learning from and helping each other to move work forward. The aim is simply to create and nurture conversations that may lead to new collaborations, which in turn result in the making of exciting new work.
The evenings involve three 10 minute talks from guest speakers from each of the art, science and maker disciplines. The emphasis is on process and work in progress or ideas for the future rather than completed projects.
Informal discussion follows, usually over a drink (or two).
We often have 'curiosities' as an inspiration for discussion. A curiosity can be a scientific sample, piece of equipment, antique, invention, tool or artwork that relates to the theme of the main presentations.
Superposition #004 – Textiles, bodging and mystery science
Superposition 006: Comics, Play and Material Culture

redpajama_set_name: RedPajamaCommonCrawl


text:
Gavinsblog.com
Estd. 2002. Politics, tech, startups, media, law, history, philosophy
E-voting takes the aura out of casting ballot inside a booth
The brave new world of official Internet voting got its launch here last week.
The New York Times editorial page tut-tutted about security and issued dire warnings. Secretary of State Terri Lynn Land, a Republican, inspected the Democratic Party's new voting machinery up close and personal.
And on or about Feb. 7 — but no later — 46,543 people cast votes by Internet in the state Democratic Party caucus.
Because I like to exercise my voting rights as often as allowed, I was one of them. (I voted in the 2000 Republican Party primary, as well.)
Unlike, say, taking a walk on the moon, the voting-by-computer experience was neither exciting nor memorable. Describing it as unremarkable would be inaccurate: It was remarkable for what it was not.
Shame she called it "Internet voting".
Author Gavin SheridanPosted on 18th February 2004 Categories e-Voting
Previous Previous post: Report: More e-voting systems to be used this fall
Next Next post: Speakers dissect e-voting concerns
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The "Racial Awareness at Waynflete" group (RAaW) was created for students who are interested in examining the impact of race at Waynflete, in Portland, and around the world. Students meet for lunch and activities during the school year. The group also sponsors a movie night and Martin Luther King Jr. activities, and is also involved in the school's New England Youth Identity Summit.
RAaW recently held its annual retreat where students deepened their understanding of race and got to know each other better.
Previous PostPrevious Save the date for the 2018 New England Youth Identity Summit!


text:
Друкпол () — бутанський футбольний клуб з міста Тхімпху. До 1996 році виступав під назвою «Королівська поліція Бутану». «Друкпол» 8 разів вигравав А-Дивізіон, більше, ніж будь-який інший футбольний клуб Бутану. Домашні матчі проводить на стадіоні «Чанглімітанг».

Історія

1980-1990-ті роки
У 1986 році «Друкпол» взяв участь у першому задокументованому розіграші чемпіонату Бутану, де виступав під назвою «Королівська поліція Бутану». Чемпіонат проходив за 1-коловою системою. Команда фінішувала на 4-му місці; в 9-ти зіграних матчах вона здобула 4 перемоги та 2-чі зіграла внічию.

Немає зафіксованих результатів будь-яких футбольних змагань у Бутані в період між 1987 та 1995 роками, тому невідомо, чи виступав «Друкпол» взагалі в цей період. Проте збереглися дані про те, що «Друкпол» виграв національний чемпіонат 1996 року, хоча відсутні результати матчів, щоб надати будь-яку додаткову інформацію, а їх перемогу в чемпіонаті не слід плутати з перемогою Бутанської телекомунікаційної компанії IECH FC, яка виграла восьмий чемпіонат Ліги Тхімпху того ж року.

«Друкпол» виграв наступні три титули, завдяки чому став першою командою офіційно зафіксованою командою в Бутані, яка виграла три і чотири титули поспіль, і єдиною командою на сьогодні, яка виграла п'ять чемпіонських титулів поспіль, хоча детальна інформація щодо цих сезонів відсутня.

2001-2005
2001 рік ознаменував офіційний початок A-Двізіону. «Друкпол» брав участь у Національній лізі Тхімпху, змаганнях, що складалися з команд з Тхімпху та Пхунчолінга. Жодних подробиць щодо цього розіграшу немає, але відомо, що це був відбірковий турнір до А-Дивізіону, за підсумками якого «Друкпол» разом із «Тхімпху» та «Паро» пройшли кваліфікацію. «Друкпол» виступав у групі А і вийшов у півфінал, на шляху до якого «Паро» та зігравши внічию з «Тхімпху». Однак у півфіналі вони програли «Друк Стар» з рахунком 0:1, а Дорджі відзначився єдиним голом на 21-й хвилині. Потім «Друкпол» з рахунком 0:4 поступився в матчі за третє місце «Тхімпху», автори голів — Сонама Джамтшо, Уґ'єн Дорджі, Део Кумар та Кінлай Дорджі. «Друк Стар» виграв національний чемпіонат.

Наступного сезону «Друкпол» повернувся до форми, вперше вигравши дивізіон «А», але свій шостий загальнонаціональний титул. Єдиними відомими результатами вище вказаного сезону для «Друкпола» є перемога над RSTA з рахунком 5:0 і поразка від «Тхімпху» з рахунком 1:5.

Другий титул поспіль команда завоювала у 2003 році, «Друкпол» протягом усього сезону не програв жодного матчу, виграв шість разів та зіграв внічию у двох із восьми матчів. Однак, незважаючи на домінування в бутанському футболі протягом останнього десятиліття, це буде останній титул команди за майже десять років.

Подробиць про сезон 2004 року небагато, хоча відомо, що «Транспорт Юнайтед» виграв A-Дивізіон. Невідомо, на якому місці в чемпіонаті фінішував «Друкпол», але, як певна втіха, команда все-таки виграла плей-оф за збереження місця в А-Дивізіоні та перемогла у фіналі «Їдзін».

Наступного сезону «Друкпол» знову не зміг виграти чемпіонта, цього разу команда поступилася одним очком переможцю турніру, «Транспорт Юнайтед». Вони лідирували в чемпіонаті по ходу турніру, виграли п'ять із шести матів, але програли «Транспорт Юнайтед» (0:1) й вище вказаний клуб випередив їх в турнірній таблиці завдяки перемоги в останньому турі над «Їдзіном» (2:1). Друкпол зміг захистити своє місце в А-Дивізіоні за підсумками плей-оф на вибування, після перемоги в серії післяматчевих пенальті (3:1) над «Їдзіном», а 8 вересня у фіналі плей-оф обіграв «Друк Старз» з рахунком 5:3, завдяки голам Уг'єна Тшетена, Пассанга Дорджи та хет-трику Ванг'яла Дорджи.

2006—2010
У 2006 році форма Друкпол виступив гірше, оскільки зміг фінішувати лише четвертими в А-Дивізіоні. Команду випередив «Транспорт Юнайтед», який виграв свій третій чемпіонський титул поспіль, а також «Роял Бутан Армі», який фінішував третім. Хто став срібним призером чемпіонату або чи зміг «Друкпол» захистити свій титул у плей-оф на вибування, не відомо.

У наступному сезоні «Транспорт Юнайтед» здобув четвертий титул поспіль, а «Друкпол» знову опинився на другому місці. Підсумкова кількість набраних «Друкполом» очок невідома, але відомо, що вони й «Транспорт Юнайтед» набрали по 28 очок напередодні останньої гри сезону, а «Транспорт Юнайтед» випередив свого конкурента завдяки кращій різниці забитих та пропущених м'ячів. Однак перемога з рахунком 20:0 над RIHS в останнбому турі, коли Пассанг Церінг відзначився 17-ма голами у цій грі, закріпила «Друкпол» на другому місці, але клуб знову втрив місце в Кубку президента АФК.

2009 рік став кращим у порівнянні з попереднім сезоном, оскільки «Друкпол» фінішував на третьому місці, після «Друк Стар», який виграв свій другий національний титул, та «Їдзіна». Вони здобули розгромні перемоги над «Друк Атлетик» з рахунком 10:1 та 8:1, а також над Рігжунг з рахунком 9:0 та 6:0. Проте «Друкпол» також зіграв внічию у п'яти зі своїх тринадцяти ігор, відставши на десять очок від «Друк Стар». Вони також дійшли до півфіналу Клубного кубку чемпіоншипу, де програв у серії післяматчевих пенальті з рахунком 4:5, після нічиї (1:1) в основний час.

У наступному сезоні «Друкпол» покращив результати, оскільки вони зуміли покращити своє третє місце у попередньому році, зайняв друге місце, відстав від «Їдзіна» на дев'ять очок, який пройшов усі змагання без поразок. Перемога над «Транспорт Юнайтед» з рахунком 4:2 в останній тур сезону випередив «Транспорт» за різницею м'ячів, при цьому обидві команди здобули вісім перемог та зіграли в одну нічию у своїх дванадцяти матчах.

2011—2017
2011 рік став останнім сезоном, коли А-Дивізіон виступав у вищому футбольному дивізіоні Бутану. «Друкпол» опустився на третє місце в цьогорічних змаганнях, поступився переможця «Їдзіну» та «Зімдрі», які посіли друге місце, хоча цього сезону змагання проводилися за 1-круговою системою в очікуванні початку нової Національної ліги, подію, яку зрештою перенесли на наступний рік.

Протягом сезону 2012 року «Друкпол», який не перемагаюв в А-Дивізіоні протягом останніх восьми сезонів і декілька разів займаюв друге або третє місце, нарешті здобув ще один чемпіонський титул. У своїх десяти матчах вони виграли вісім поєдинків та ще одного разу зіграли внічию, при цьому абивали в середньому п'ять м'ячів за гру, включаючи перемогу над «Нангпа» з рахунком 19:0. Однак вони втратили можливість представляти Бутан у Кубку президента АФК 2013 року через появу нової Національної ліги, виграли лише шість із десяти своїх матчів у вище вказаному турнірі і в підсумкупосіли почесне друге місце в першому розіграші Національній лізі (поступився чемпіонським титулом «Їдзіну»).

«Друкпол» вилетіли з А-Дивізіону 2013 року, оскільки, будучи командою Королівської поліції Бутану, вони були потрібні на виборах у Бутані, які відбулися того року. Вони повинні були взяти участь у матчі плей-оф проти «Дзонгрі» за вихід до Національної ліги, але, схоже, цього плей-оф так і не відбувся, оскільки обидві команди виступали в Національній лізі. «Друкпол» фінішував четвертим із шести команд, виграв лише дві гри, а п'ять зіграв внічию.

Команда кваліфікувалася до Національної ліги Бутану 2014 року, після того як зайняла третє місце в А-Дивізіоні, пропустила вперед лише «Друк Юнайтед» і «Тхімпху Сіті». У Національній лізі «Друкпол» фінішував на четвертому місці, знову поступилися чемпіонам «Друк Юнайтед» та «Тхімпху Сіті», а також «Уг'єн Академі».

У липні 2017 року Федерація футболу Бутану відсторонила команду від усіх змагань за неправильне поводження та непокору рефері під час матчу. Тому клуб вирішив об'єднати свій персонал та гравців з «Тенсунгом», який підпорядковується Королівській армії Бутану.

Досягнення
  А-Дивізіон Бутану
  Чемпіон (8): 1996, 1997, 1998, 1999, 2000, 2002, 2003, 2012

Примітки

Посилання
 Профіль клубу  на сайті soccerway.com
 Профіль клубу  на сайті transfermarkt.com
 Профіль клубу  на сайті soccerpunter.com
Футбольні клуби Бутану
Футбольні клуби, засновані 1986


Steve has been helping people protect and capitalize on their ideas for more than 19 years. He has helped clients secure hundreds of U.S. and international patents as well as both U.S. and international trademarks and copyrights. His professional network of contacts in Europe, North America, South America, and Asia have aided clients with business opportunities throughout the world.
Steve is the Chairman of the Pennsylvania Bar Association's Patent Committee.
His pro bono practice includes representing children during all phases of family court; he has served as guardian ad litem for dependent children within the Philadelphia Family Court system.
Steve has owned his own law firm and practiced intellectual property law for 15 years at two large Philadelphia law firms, and is currently an attorney at Spruce Law Group, LLC.
When he's not working, Steve has quite a few activities to keep him busy. His first joy is doing any activity with his family: His wife of 23 years Julia, their daughter Erin, and dog Caspian. Together they love the outdoors and any adventure vacation, spending at least some portion of every summer split between surfing, paddle boarding, and swimming on the Jersey Shore and hiking and exploring the Adirondacks near Big Moose Lake.
Steve is an avid reader, getting through a few books a week but in the fall, that pace falls off when Steve bears the suffering, but enjoys the community, that comes with being a long-time Buffalo Bills fan.


text:
Nato nella prefettura di Gifu, ma originario di Ōtsu nella prefettura di Shiga, è conosciuto per essere l'autore del manga , edito dal 2009 al 2014 sulla rivista Weekly Shōnen Jump e consolidatosi come una delle serie a fumetti più seguite in Giappone. Beelzebub è la sua prima opera a lungo termine, opera che ha riscosso grande successo e che è stata pubblicata in numerosi paesi all'estero.

È stato l'assistente di Toshiaki Iwashiro, l'autore di Psyren, altra opera pubblicata sulle pagine di Shonen Jump.

Opere
 2003, storia breve (45 pagine)
, 2004, storia breve (49 pagine)
, 2005, storia breve (49 pagine)
, 2009-2014, 28 volumi
, 2017, 4 volumi
 2020-2021, 5 volumi

Note

Voci correlate
Weekly Shōnen Jump

Collegamenti esterni


I asked some friends to chime in with requests, and there's a number of them here: Underworld, Severed Heads, Celebrate The Nun, L.A. Style, and Q-Feel. I'm always happy to take requests providing you understand the format.
The version of Greater Reward is my own re-edit, done several years ago with Tom Ellard's blessing. Severed Heads is a very important group for me, to the point that I have the cover of Bulkhead tattooed on my arm.
Mmm… Skyscraper I Love You is dedicated to the one and only Skyscraper, Mr. Mark D. Hurte. The genderfuck drag he was doing in Lexington in the '80s and '90s would be right at home on RuPaul's Drag Race today.
Categories: The Beat Bash | Tags: Bronski Beat, Celebrate The Nun, Crystal Trip, Eartha Kitt, Hubert Kah, L.A. Style, Marc Almond, Q-Feel, Revenge, Severed Heads, Underworld | By: Jeb.


text:
Q: Magento - Add Shipping Postcode to Order Grid How would I go about getting the customers shipping postcode to be displayed in a column in the order grid?
Thanks!

A: Create yourself a custom module and overwrite <sales_order_grid>
In your Grid.php you need to do 2 different things:

*

*Tell Magento where to find the postcode

*Tell Magento where to put it
The best way to tell Magento where to find the info is the setCollection function. This function is called from within _prepareCollection so you don't have to mess that function up.
public function setCollection($collection)
{
    parent::setCollection($collection);
    $collection->getSelect()
        ->join(
            array('address' => $collection->getTable("sales/order_address")),
            'main_table.entity_id = address.parent_id AND address.address_type = "shipping"',
            array('postcode')
        );
}

Here you did a join and defined that the info can be found with the alias 'postcode'
Now all that is left is to tell Magento where to put it. Just override the _prepareColumn function:
protected function _prepareColumns()
{
    parent::_prepareColumns();

    $this->addColumn('postcode',
        array(
            'header'    => Mage::helper('sales')->__('Postcode'),
            'index'     => 'postcode'
        )
    );

    return $this;
}

index refers to the name you set in the setCollection function.
If you want to put the column to a specific place, you should use addColumnAfter()
Hope that helps

A: In your model Grid,
in _prepareColumns() function make sure
    $this->setData('column_filters',array('shippingpostcode' => 'mymodule/sales_order_filter_shippingpostcode'));
    $this->addColumn('shippingpostcode', array(
        'header'=> Mage::helper('sales')->__('Shipping Postcode'),
        'width' => '80px',
        'type'  => 'text',
        'index' => 'shipping_postcode', //you would need this field in your order table
        'renderer' => 'mymodule/sales_order_renderer_shippingpostcode',
    ));

and create a class
Mymodule_Model_Sales_Order_Render_Shippingpostcode extends Mage_Adminhtml_Block_Widget_Grid_Column_Filter_Abstract

and in the function getHtml you can return whatever value you want to render on Grid.

redpajama_set_name: RedPajamaStackExchange


(Posted 9/5/18) Monarch butterflies, with their iconic orange and black-patterned wings resembling stained glass, are arguably one of the most loved and recognized insects in North America. Unfortunately, populations have experienced steep declines in recent years. A major factor is loss of their host plants, milkweeds, along their migration route.
Hear what your colleagues and neighbors had to say about the 2018 RWBJV Info Seminar in these short audio clips. Then, plan to join them in 2019 to learn, network, exchange information, and have a great time!


Castle will return to ABC on February 1, but the series is surrounded by buzz at this time. Both the ABC powers that be and the men in charge of the current season of the series are wondering what will happen next on the series. Will a ninth season happen?
TV Series Finale reported yesterday that Paul Lee, ABC President, is willing to spin-off Castle if the stars of the series, Nathan Fillion and Stana Katic, left the series.
Hawley would like the series to continue with the same cast, but he made it clear that the writers need to know what the future of the series so that they can plan the final episodes of this season, Episodes 21 and 22.
In addition to the planning for season nine, Hawley revealed that all the currently open storylines on the series right now will be closed out by the end of this season eight. That would allow season nine to go back to the "case of the week" format.
Are you a fan of Castle? Is time for the series to end, or do you want to see more? Tell us what you think.
How can I learn the specifics of a prop I saw (a painting) in S6-Ep9?
The painting appears to be a post-modern abstract, dominant colors in the red-orange range, about 4′ X 4′. It is seen in that episode's scened in the leased apartment.
I will continue to watch season 1-7 on DVD because it was the best show on tv for 7 years. No other show could touch it for drama, laughs and Stana's (Beckett's) heart warming smile.
Us UK viewers are 2 episodes behind you in the USA which is good because I'm on holiday ( Sorry on vacation) when the last 2 episodes are shown over here. So I will not see how they kill Beckett off.
I want to remember Beckett as a smart beautiful detective with a wonderful smile not a corpse.
This is still my favorite show of the week. PLEASE don't cancel Castle!! And don't get rid of the characters that we have come to know and love. Leave Castle as is and bring it back!!
Yes. Yes. You've got it. So…Castle Fans Unite !! You have nothing to lose but your delusions that celebrity actors are not Prima Donnas. We've been betrayed and manipulated. WE forgot that actors act the roles written by writers. WE MUST not forget that writers write characters and plots that please the low-cunning, feral executives of prime time TV programming. We're angry but it's over. Our anger may reflect the anger of millions of Castle Fans who never expressed their feelings in writing as we have. But we're through.
Stana, Jon and Seamus in a new show called Mrs Castle without silly Nathan's input.
Will it be LokSat or the motorcycle that kill Beckett?


When it comes to blow-drying our hair in the morning, let's not kid ourselves – we all end up doing the same thing! We turn our head upside down, blast the hair dryer through our wet hair then flick it back and finish with a brush. Did you know that this actually causes your hair to become fluffy and frizzy?
Here are my tips on how to give your hair the 'perfect blow dry' with a few easy steps… even if you're in a hurry.
Shampoo your hair. I recommend using La Biosthetique shampoo (appropriate to your hair type).
Once your hair's washed, gently squeeze your locks in your towel to reduce moisture.
Use La Biosthetique Shape Therm-O-Flat heat protection gel which is perfect protection from the damaging effects of heat styling, apply a small amount to your towel dried hair. I recommend La Biosthetique Essential HYDRATING FLUID which works in conjunction with the Therm-O-Flat heat protection gel.
Blow-dry your hair from the top (no brush yet), working down to the ends making sure the cuticle (outside layer of the hair) is dried downwards. This will reduce some of the fluff and frizz. The nozzle of your hairdryer gives your hair better direction.
Section your hair starting from the back of your neck. Blow-dry from the roots to the tips – work your brush into ends to smooth out your hair. For longer hair, use large, round brush. For shorter hair, use either your fingers or a small round brush depending on the desired outcome.
Repeat for each section until you reach the top, making sure each section you blow-dry isn't wider than the width of your brush.
Once you blow-dry the final layers at the top, use the hairdryer on a hot heat and finish with a cool heat, as this helps the hair take the shape, giving your hair a smoother finish.


Pre-heat oven to 350 degrees. Start preparing this recipe by cutting the apple in half and removing the core and seeds. In a small bowl, add cinnamon, nutmeg, vanilla powder, and stevia, mix well. Top the apples with the mixture of spices. Bake for 10 minutes in the oven or until apple halves are softened. Then, place the apples on a non-stick grill for 60-90 seconds per side to get some nice grill marks.
This recipe is allowed on the VLCD phase of the diet (also known as Phase 2 or the 500 calorie phase). This recipe equals 1 serving of fruit.


Say goodbye to head lice with a one-time treatment you can feel good about. No more harsh over-the-counter products, pesticide shampoos, or messy home remedies that just don't work. Our approach and treatment is safe, all natural, and non-toxic. We eliminate head lice finally, sending you away 100% lice free, guaranteed or your money back .
Our expert technicians are trained to handle even the toughest cases of lice, using a method that is safe and all-natural. Treatment is not complete until every bug has been removed! Our company provides removal services in Kendall at our child-friendly salon location or by convenient house call. We also offer our clients flexible, extended clinic and house call hours to include evenings and weekends. Contact our office for an appointment the very same day.


text:
Можа́йский район — административно-территориальная единица (район) и одноимённое муниципальное образование (муниципальный район), существовавшие в Московской области России до февраля-марта 2018 года.

8 февраля 2018 года Законом Московской области № 1/2018-ОЗ от 27 января 2018 года, соответствующее муниципальное образование Можайский муниципальный район было преобразовано в муниципальное образование Можайский городской округ.

17 марта 2018 года район как административно-территориальная единица был упразднён и преобразован в город областного подчинения Можайск с административной территорией.

Административный центр — город Можайск.

Район был образован в 1929 году.

География
Площадь района составляет 2626,88 км². Район граничит с городским округом Шаховская, Рузским, Волоколамским и Наро-Фоминским городскими округами Московской области, а также с Гагаринским и Тёмкинским районами Смоленской области, Износковским и Медынским районами Калужской области.

Климат
Климат умеренно континентальный. Средняя температура января −10 °С, июля +18 °С. Осадков 450—650 мм в год. Вегетационный период составляет около 170 дней. Климатические условия благоприятны для возделывания зерновых, зернобобовых, овощных (картофеля, столовой свеклы, моркови и др. овощных культур), а также многолетних трав и кормовых культур.

Рельеф
Район расположен в пределах Смоленско-Московской возвышенности, что обусловливает преобладание холмистого рельефа. Высочайшие холмы (до 310 м) — близ Уваровки. К югу от Минского шоссе — среднехолмистый рельеф с глубоко врезанными речными долинами. Выделяются крупные холмы на правобережье Протвы близ границы с Калужской областью.

Гидрография

В районе берут своё начало реки Москва (с притоками Иночь, Искона, Колочь), Протва (с притоком Берега и др.), Руть, Лужа, Воря. Здесь создан один из основных резервов водопополнения запасов питьевой воды города Москвы — Можайское водохранилище, протянувшееся более чем на 20 км. Район является крупнейшей зоной питания артезианского бассейна всей области.

На северо-востоке района вблизи деревни Топорово расположено Топоровское озеро, которое входит в перечень особо охраняемых природных территорий местного значения. Озеро естественное, образовано в результате термокарстовых явлений.

Природные ресурсы
Район богат крупными лесными массивами (леса занимают 42 % площади района). На севере района леса еловые и елово-широколиственные, на юге — в основном берёзовые и осиновые. Значительную площадь занимают также луга, сенокосы и пастбища. В районе — большие запасы гончарных глин, песчано-гравийное месторождение (близ села Дровнино). Живописная природа Можайского района, большие лесные массивы, обилие водоёмов благоприятны для проведения климатотерапии и лечения. На территории района имеются минеральные источники.

История

XIII—XVIII века
Можайские земли впервые упомянуты в летописи под 1231 годом, однако многочисленные археологические памятники — городища, стоянки, курганы — свидетельствуют о том, что окрестности современного Можайска были заселены уже в эпоху неолита.

В XIII в. город принадлежал Смоленскому княжеству, а в 1303 г. был присоединён к Москве и долгие годы являлся важным укреплённым пунктом на западных границах московских владений. В 1389—1493 гг. Можайск — центр удельного княжества, где чеканились собственные монеты, основывались монастыри. В XVI в. он становится значительным торгово-ремесленным центром и упоминается как «город Можавевск на речке Мжае».

Из рода московских князей первым князем Можайска был сын героя Куликовской битвы Дмитрия Донского Андрей (1389—1432). Позднее городом управляли наместники из Москвы, а последним можайским князем был Андрей Углицкий (1481—1491).

Можайск являлся резиденцией великих московских князей, здесь бывали: Иван Грозный, Борис Годунов, имелся государев двор, а также палаты царицы, двор патриарха.

В XIV веке Можайск пережил пору расцвета. Он был одним из религиозных центров Русского государства, благодаря особо почитаемой иконе Николы Можайского.

В начале XVII в. город оказался в центре событий польско-литовской интервенции, летом 1618 г. более 1,5 тыс. казаков отражали в Можайске атаки осадивших город польских войск королевича Владислава. В 1626—1633 гг. можайским воеводой был герой народного ополчения, освободившего Москву от интервентов, Д. М. Пожарский.

В 1624—1626 годах в Можайске был выстроен каменный кремль по образцу московского Китай-города с двумя воротами и шестью башнями.

Бородинское сражение

Можайск тесно связан с событиями Отечественной войны 1812 г. В 12-и километрах западнее города расположено Бородинское поле — место крупнейшего сражения русских войск с армией Наполеона, в котором участвовало 250 тыс. человек. В настоящее время здесь расположен Бородинский военно-исторический музей-заповедник.

Вклад Можайского уезда заключался в формировании первого егерского и первого пехотного полков Московского ополчения, которые состояли преимущественно из жителей Можайского и соседнего с ним Рузского уездов. Уезд выставил в помощь армии 1900 ратников-ополченцев. В городе функционировали госпитали, строились провиантские военные магазины, склады, цейхгаузы. Под городом активно действовали армейские партизаны и крестьянские партизанские отряды.

Наполеоновская армия дважды проходила через Можайск: 28 августа, после Бородинского сражения по дороге в Москву, и в октябре 1812 года, отступая на запад. В период отступления армии Наполеона в октябре 1812 года казаки атамана М. И. Платова успешно атаковали у села Колоцкое, которое находится примерно в 10 километрах к западу от Бородина на Смоленской дороге, арьергард противника.

12 июля 1929 года Постановлением ВЦИК «О составе округов и районов Московской области и их центрах» был образован Можайский район с центром в городе Можайске.

Можайский район в Великую Отечественную войну
Летом 1941 года, когда возникла угроза захвата Москвы, по решению Государственного Комитета Обороны началось строительство Можайской линии обороны, на рубежах которой советские войска противостояли воинских соединениям армии группы «Центр».

В октябре 1941 гитлеровские войска направили основные усилия на вывод своих войск к Минскому шоссе, по которому планировалось прорваться к Москве. Особенно тяжёлые бои имели место в районе Ельни, д. Артёмки. C 13 по 18 октября немецкие войска непрерывно предпринимали безуспешные штурмы позиций Можайской линии обороны. Советские части задержали на пять дней продвижение немецких войск на Можайском направлении. Но 18 октября, прорвав оборону, на улицы Можайска ворвались фашистские войска.

Во время оккупации на территории Можайского района действовали четыре партизанских отряда. В Можайске есть улица, названная в их честь, — улица Красных Партизан.

19 января, совершив обход Можайска с севера и юга, к городу подступили войска 5-й армии, создав угрозу окружения немецко-фашистских войск, и вынудили тех к поспешному отступлению. Рано утром 20 января город был взят штурмом с трёх сторон и освобождён.

В 1960 году к району были присоединены территории упразднённого Уваровского района.

История административного деления
Можайский район был образован 12 июля 1929 года в составе Московского округа Московской области. В состав района вошли город Можайск и ряд сельсоветов бывшего Можайского уезда Московской губернии:
 из Борисовской волости: Борисовский, Коровинский, Сивковский, Судаковский
 из Бородинской волости: Бородинский, Валуевский, Горячкинский, Ельнинский, Ковалевский, Семеновский, Старосельский, Юдинский
 из Верейской волости: Пушкинский, Шаликовский
 из Глазовской волости: Аксановский, Антоновский, Бычковский, Глазовский, Горетовский, Збышковский, Мышкинский, Перещаповский, Поздняковский, Поминовский, Троицкий
 из Елмановской волости: Архангельский, Ваулинский, Гальчинский, Губинский, Крюковский, Кутловский, Марьинский, Сокольниковский, Шустиковский, Юрловский
 из Карачаровской волости: Андреевский, Карачаровский, Копцовский, Милятинский, Хатанковский
 из Клементьевской волости: Клементьевский, Макаровский, Пуршевский, Ратчинский, Холмский
 из Кукаринской волости: Александровский, Вяземский, Гавшинский, Ильинский, Колычевский, Криушинский, Кукаринский, Новосуринский, Отяковский, Рыльковский, Соколовский, Тесовский, Тетеринский, Ченцовский, Ямской
 из Щелковской волости: Облянищевский.

20 мая 1930 года из Можайского района в Верейский район были переданы Архангельский, Крюковский и Шустиковский с/с.

1 апреля 1931 года был упразднён Гальчинский с/с. Вскоре был упразднён Андреевский с/с.

5 апреля 1936 года были упразднены Антоновский, Бычковский, Гавшинский, Ельнинский, Збышковский, Ильинский, Ковалевский, Колычевский, Копцевский, Коровинский, Макаровский, Ратчинский, Рыльковский, Соколовский и Старосельский с/с. Судаковский с/с был переименован в Андреевский.

В 1938 году Холмский с/с был переименован в Макаровский.

4 января 1939 года в новый Осташёвский район были переданы Карачаровский и Хатанковский с/с. 17 июля были упразднены Горетовский, Облянищевский и Пушкинский с/с.

16 января 1941 года из Рузского района в Можайский был передан Настасьинский с/с.

15 февраля 1952 года был упразднён Семёновский с/с.

14 июня 1954 года были упразднены Александровский, Валуевский, Вяземский, Горячкинский, Губинский, Криушинский, Макаровский, Марьинский, Новосуринский, Отяковский, Перещаповский, Поздняковский, Поминовский, Пуршевский, Тетеринский, Троицкий, Ченцовский и Юдинский с/с. Образованы Красноиншинский, Павлищевский и Чертановский с/с.

7 декабря 1957 года из упразднённого Осташёвского района в Можайский район был передан Болычевский с/с, но уже 31 декабря он был передан в Волоколамский район.

7 августа 1958 года был образован Поздняковский с/с. Одновременно были упразднены Андреевский, Красноиншинский, Милятинский, Мышкинский, Настасьинский и Шаликовский с/с. Чертановский с/с был переименован в Кожуховский.

21 мая 1959 года были упразднены Аксановский и Тесовский с/с. 3 июня был упразднён Уваровский район. Из его состава в Можайский район вошли рабочий посёлок Уваровка и сельсоветы: Астафьевский, Бурмакинский, Вешковский, Горбуновский, Дегтярёвский, Дровнинский, Замошинский, Ивакинский, Колоцкий, Некрасовский, Нововасильевский, Новопокровский, Порецкий, Преснецовский, Синичинский, Слащевский и Хващевский. 8 августа были упразднены Бурмакинский, Горбуновский, Ивакинский, Колоцкий, Некрасовский и Сокольниковский с/с. Кутловский с/с был переименован в Губинский, Слащевский с/с — в Семеновский.

20 августа 1960 года были упразднены Дегтярёвский, Павлищевский, Поздняковский и Сивковский с/с.

31 июля 1962 года были упразднены Астафьевский и Преснецовский с/с. Образован Колоцкий с/с.

1 февраля 1963 года город Можайск отнесен к категории городов областного подчинения (Указ Президиума Верховного совета РСФСР) (Ведомости Верховного Совета РСФСР. - 1963. - № 5 (227) от 7 февраля. - С. 161-162).

1 февраля 1963 года вместо Можайского района был образован Можайский укрупнённый сельский район, но уже 13 января 1965 года Можайский сельский район преобразован в Можайский район (Указ Президиума Верховного совета РСФСР) (Ведомости Верховного Совета РСФСР. - 1965. - № 3 (329) от 18 января. - С. 68-71). В его состав вошли р.п. Уваровка и сельсоветы Борисовский, Бородинский, Ваулинский, Глазовский, Губинский, Дровнинский, Замошинский, Клементьевский, Кожуховский, Колоцкий, Кукаринский, Нововасильевский, Порецкий, Семёновский, Синичинский, Хващевский, Юрловский и Ямской.

24 октября 1973 года был упразднён Нововасильевский с/с. Образован Павлищевский с/с.

30 октября 1986 года был упразднён Хващевский с/с.

3 февраля 1994 года сельсоветы были преобразованы в сельские округа.

1 февраля 2001 года город Можайск утратил статус города областного подчинения (Закон Московской области от 17 января 2001 года № 12/2001-ОЗ, "Подмосковные известия", № 20, 01.02.2001).

16 марта 2018 года рабочий поселок Уваровка отнесен в административное подчинение городу Можайск (Постановление Губернатора Московской области от 1 марта 2018 года № 75-ПГ, Официальный Интернет-портал Правительства Московской области http://www.mosreg.ru, 16.03.2018) и упразднены сельские поселения Борисовское, Бородинское, Горетовское, Дровнинское, Замошинское, Клементьевское, Порецкое, Спутник и Юрловское (Постановление Губернатора Московской области от 1 марта 2018 года № 76-ПГ, Официальный Интернет-портал Правительства Московской области http://www.mosreg.ru, 16.03.2018).

17 марта 2018 года Можайский район упразднен и вместо него образована новая административно-территориальная единица Московской области — город областного подчинения Можайск с административной территорией.

 Муниципальное устройство
С 2006 до 2018 года в Можайский муниципальный район входили 11 ныне упразднённых муниципальных образований (2 городских и 9 сельских поселений):

8 февраля 2018 года Можайский муниципальный район и все входившие в его состав сельские и городские поселения были упразднены и объединены в муниципальное образование Можайский городской округ

17 марта 2018 года район как административно-территориальная единица области упразднена и преобразована в город областного подчинения Можайск с административной территорией

Население

 Урбанизация
В городских условиях (город Можайск и рабочий посёлок Уваровка) проживают  % населения района.

Демография
За 1 квартал 2015 года Можайский отдел ЗАГС зарегистрировал 362 акта гражданского состояния о рождении — 193 мальчика и 169 девочек, что на 31 ребёнка больше, чем за аналогичный период 2014 года. Число первых детей в семьях, составило 153, вторых — 134, третьих — 47, четвёртых — 12, пятых — 13, шестых — 1, седьмых — 2. У трёх пар родились двойняшки. 62 ребёнка родились у одиноких матерей. Популярными именами среди мальчиков стали: Максим, Михаил, Егор; среди девочек: Мария, Елизавета, Анастасия.

Населённые пункты

В Можайском городском округе 358 населённых пунктов:

Общая карта
Легенда карты:

Экономика
Можайский район имеет аграрно-рекреационную специализацию. Промышленные предприятия сосредоточены преимущественно в городе Можайске.

Промышленность
Можайский район имеет многоотраслевую промышленность, выпускающую десятки наименований различной продукции. Обрабатывающая промышленность представлена 42 предприятиями крупного, среднего и малого бизнеса. Крупнейшие промышленные предприятия:
 ОАО «Можайский полиграфический комбинат»
 ОАО «Можайский МИЗ» (медико-инструментальный завод)
Лёгкая промышленность:
 ЗАО «Франт» (пошив одежды)
Промышленность строительных материалов:
 ООО «Бородино-пласт» (водонапорные трубы из полиэтилена)
 ДОАО «198 КЖИ».
 ЗАО «Кселла-Аэроблок-Центр Можайск» (газобетонные блоки YTONG)
 ООО «Озон» (производство бетона)
Предприятия пищевой промышленности:
 ЗАО ЗСМ «Можайский»
 ОАО «Можайский мясокомбинат»
 ЗАО «Бородино» (безалкогольные и слабоалкогольные напитки)
 ЗАО «Памрост»
 ООО «Можайский Шампиньон»
 Торговый дом «Родное поле»
 ММП «АИДА»
 Молокозавод в п. Уваровка
С середины 2007 года выпускает строительные материалы из ячеистого бетона совместное российско-германское предприятие ЗАО «Кселла-Аэроблок-Центр Можайск». Поскольку район обладает крупными лесными ресурсами, развита лесная промышленность (вывоз древесины, изготовление пиломатериалов). Заканчивается строительство мини — завода по переработке молока ООО «Колхоз Александрово».

Сельское хозяйство
Животноводство имеет молочно-мясную направленность; развито картофелеводство. В 2005 году в районе насчитывалось свыше 390 сельскохозяйственных предприятий. Можайский район по достигнутым показателям в сельском хозяйстве входит в первую десятку районов Московской области. Сельскохозяйственное производство района ориентировано на производство качественного сырья для предприятий молочной и мясной промышленности. В сложившейся структуре посевных площадей особое место отведено производству кормов: 80 % посевных площадей занимают кормовые культуры. Урожайность зерновых составляет 22,7 ц/га, валовое производство в 2008 году составило свыше 9000 тонн.

Социальная сфера
В районе (2005) — 6 больниц, один роддом, 8 аптек, 44 общеобразовательных заведения, 4 профессиональных училища, школа искусств, музыкальная школа.

В селе Порецкое функционирует санаторий Службы внешней разведки.

Органы власти
Структуру органов местного самоуправления Можайского муниципального района составляют:
 Совет депутатов Можайского муниципального района (представительный орган); состоит из 17 депутатов, избираемых на муниципальных выборах на основе всеобщего, равного и прямого избирательного права при тайном голосовании сроком на 5 лет.
 Глава Можайского муниципального района; избирается гражданами, проживающими на территории Можайского муниципального района и обладающими избирательным правом, на основании всеобщего, равного и прямого избирательного права при тайном голосовании сроком на 5 лет;
 Администрация Можайского муниципального района (исполнительно-распорядительный орган);
 Контрольно-счётная палата Можайского муниципального района (контрольный орган).

По результатам выборов 1 марта 2009 года Совет депутатов Можайского района имеет следующий партийный состав:

Глава Можайского района

 Афанасьева Лидия Семёновна — с 21 января 2016 года по н.в..
 И. о. главы ММР Поночевный Илья Игоревич — с 19 декабря 2015 года по 20 января 2016 года.
 Чёрный Александр Владимирович — с 9 сентября 2013 года по 18 декабря 2015 года (отставка).
 Беланович Дмитрий Михайлович — с 2 марта 2009 года по 25 июня 2013 года (отставка).
 Насонов Владимир Владимирович — с 2000 года по 1 марта 2009 года.
 Ерёменко Геннадий Николаевич — с 1981 по 2000 года.

Средства массовой информации
Выходят общественно-политические издания «Можайск Сегодня», газета городского поселения Можайск — «Можайские вести», «Новая жизнь» и «Можайское обозрение», а также газета «Рекламная неделька». Действует радиостанция «Можайское радио 101,5 FM».
Есть телеканал «Можайское телевидение».

Транспорт
Через район проходят Московско-Смоленская железная дорога, Минское и Можайское шоссе, связывающие район со столицей.

Побратимы
У Можайского района установлены побратимские отношения с 6 районами и одним городом в Чехии.

Достопримечательности
 Никольский собор (1802—14)
 Петропавловская церковь (1849—52)
 Церковь Иоакима и Анны (XVIII в.)
 Ансамбль Лужецкого монастыря (основан в 1408)
Ансамбль Бородинского поля (Государственный военно-исторический музей-заповедник) включая Спасо-Бородинский монастырь
 Церковь Смоленской иконы Божией Матери в селе Бородино
 Дом-музей художника С. В. Герасимова
 Пореченский парк с уникальной дендрологической коллекцией
 Историко-краеведческий музей
 Колоцкий женский монастырь
 Усадьба Бестужевых-Рюминых
 Замри-гора
 Долина Славы

Факты

 В восемнадцатой главе «Письмо почтальона Печкина» книги Эдуарда Успенского «Дядя Фёдор, пёс и кот» указывается, что Печкин в своём письме подписывается так:

По-видимому, имеется в виду Можайский район Московской области.

 В честь 190-летия со дня рождения Карла Тюрмера в Порецком участковом лесничестве Бородинского филиала ГКУ «Мособллес», в лесах, созданных в 1871 году, установлен памятный камень с надписью: «Великому лесоводу-экспериментатору К. Ф. Тюрмеру от современных лесоводов в честь 190-летия».

См. также
 Административно-территориальное деление Московской области

Примечания

Ссылки

 Официальный сайт Можайского муниципального района
 Археологические находки в Можайске и Можайском районе
 Памятники архитектуры Можайского района
 Храмы Можайского района

Муниципальные районы, упразднённые в 2018 году


text:
Each season, BAC invites writers into the studio to interview our Resident Artists. The resulting BAC Story essays offer an intimate behind-the-scenes look at the creative process.
BAC Story by Tatyana Tenenbaum
Hadar Ahuvia
A soft pulsing unison is emitted from a group of dancers in a line, holding hands. I observe as Mor Mendel expertly transmits dance steps to Oren Barnoy, Raha Behnam and Zavé Martohardjono. Throughout Mor's instruction, a chorus of syncopated voices drones lightly in the background: who was here first / they were here first / was I here first / how does it bloom.
Mor is Israeli but she didn't grow up doing Israeli folk dances. However, after working with Hadar for several years, the steps appear to have deeply embedded in her body, in her muscle memory.
Hadar Ahuvia sits elsewhere at a table, pouring over a manuscript as the vibrations and textures of her dance wash over her. Much of this material has been used in her work before. When material from one's own work becomes a new sort of trope to be complicated, referenced, and re-written, it is a serpent eating itself.
The group is learning a complicated sequence of steps and text phrases based on the Yemenite step[1]. Each spoken phrase is a slight alteration of the previous, mirroring the way meaning might be obscured through a process of transmission. A string of words connects through their feet and the poetry gains new context through repetition.
Hadar tells me that she is recovering from a hip flareup a few days ago. "I could barely walk," she says. She is convinced it is connected to a bike accident she had a few years ago, right before she left for a trip to Israel/Palestine to do humanitarian work. Through our friendship I also know that the trip stirred deep wounds between her and her Zionist family. "Now this stuff is finally getting into my work, and [the hip flareup] comes back." The stuff she is talking about—it's not the conflict in Israel/Palestine per se, but rather, the embodying of the conflict within her own family and how she has begun to unwind it.
Everything You Have is Yours, Hadar's previous work, was a performance-lecture whose purpose was to artfully illustrate how Zionism built a nation through embodied ideology. It drew attention to cultural nuances that most Americans, and especially American Ashkenazi[2] Jews, could likely miss, having low literacy on the many ethnic and cultural lineages embedded within Israel/Palestine. But it is the personal connections—the fact that Hadar's grandfather was a literal pioneer of the Zionist Kibbutz movement, or that her mother performed in a semi-professional folk dance troupe, that make Hadar's stakes in this information so real, so gut-wrenchingly tangible.
In The Dances are for Us Hadar attempts to foreground these personal stakes, while at the same time involving a larger group of collaborators in conversation, dance, and song. Her collaborators have varied backgrounds: some Jewish, some not. Some have relationships to folk dance and some do not. Raha takes scrupulous notes. Autumn Leonard, having just arrived, begins to get the new sequence down.
The group begins to dance a hora, a circle dance enjoyed at social occasions by Jews in Eastern Europe before and during the settling of Palestine. I enjoy watching the coexistence of many divergent physicalities. What gives a dance like this its unity and cohesion? Is it the stomping of feet? A decided posture, perfected by all? Or could it be said that a shared intention, a social contract like an invisible thread connecting hearts and minds, is enough?
Hora was practiced by Zionists before the founding of the state. It was danced by Jews who were not yet Israeli. This imagined diasporic dance provides a backdrop for Hadar's personal narrative. She operates with dry humor, imbibing a character modeled after a male Israeli dance instructor. This alter-ego is a way for Hadar to morph; to inhabit a persona in order to subvert it.
Her story drifts between contexts and places. She starts in Hawai'i, where her Israeli family moved when she was in high school. There she pokes fun at Jews for Jesus who attempt to perform Israeli folk dance without the requisite credentials, or chutzpah. She narrates a family trip to the Gilboa mountains in Israel. She balances her reverence with the descriptive smell of cow manure. Her voice begins to change and soften as she questions the authenticity of her own memory and truth: "why this" and "why that?"
As the group dances, Hadar's virtuosic commentary continues to shift the meaning of the repetitive steps. Her telling becomes a reparative midrash[3] for a dance whose meaning has long been incorporated into a set of truths. I pause to reflect. Isn't that what Jewish thought does? Continually question, debate, and complicate the well worn narratives, songs, and texts—if text could be considered a dance, a kind of text of the body? I am fascinated by the deep vestiges of Jewishness inside this making.
But not all Jews are the same. I remember being taught Israeli folk dances in elementary school by one of my classmate's mothers. As an American Jew, I was confused. Was I supposed to feel some affinity to this tradition? The Israelis I knew were nothing like me. Their bodies were erect and confident and they spoke in loud voices. I remember bristling at the Israeli exchange student in my middle school. Her voice was too loud, her spine too erect. My own Jewish body felt meek in comparison. Her confidence embarrassed me.
Through Hadar's work I have learned that this Israeli body, this sabra[4] body, was meticulously constructed. It was made through erect, collectivist ideologies, manual labor, farming, military service… and dance. It might surprise you that dance could serve as a vehicle for such profound social transformation. However, for those who devote their lives to fine-tuning their bodies and nervous systems through somatic work, the potency of this proposal is not a stretch. This is what is so captivating about watching Hadar's work unfold. The viewer experiences for themselves the implicit persuasion of embodied narratives taking hold.
This essay flows forth at a time when many of us with power and privilege are being asked and challenged to put words to the supremacies we have inhabited, unchecked for so long. With much reflection, I realize that my body exudes another kind of socialized confidence: a confidence accrued through White Privilege. This very real, very tangible confidence is seated in the embodied knowledge that my body will be safe, in almost any context; that my thoughts and ideas will be taken seriously, in almost any context… Does my confidence embarrass you?
"There are no equivalencies, but there are parallels," interjects Hadar.
Israeli folk dance has many sources, some more overtly acknowledged than others. Much like our American melting pot myth, this cultural construct obscures the historical power dynamics and multi-ethnicities imbedded within it. The Ashkenazi founders of the folk dance movement modeled their music and dance on those observed from Bedouin, Palestinian, Yemenite Jews, Druz, and other peoples whose cultures emerged from thousands of years of desert dwelling. The culling of these sources was an overt effort by Zionists to affirm their "native-ness."
Hadar is of Ashkenazi descent. Her lineage traces the very power and privilege she is trying to deconstruct. Can a performance be a part of equalizing power? There is a moment when all the performers leave the stage and Hadar plays the music of a Palestinian dabke[5]. We are left to imagine, or contemplate, the void. It is not a perfect solution, and during the showing Hadar receives mixed feedback.
There is a general consensus that this moment can't restore power to a people who aren't in the room. But perhaps it can deflate the confidence of a narrative that props up those in power? So what does decolonization really mean? Does it mean physically leaving? Or does it mean, as I have heard it suggested by several Indigenous scholars, restoring power and equalizing the imbalances in our social and environmental ecology?
Questions of authority continue to surface. Hadar is trying to be transparent about her own limitations—the absence of origin, pure source, or even objectivity. "We're not searching for an authentic moment. It's about how the dances were used."
At one point, an archival video shows Rivka Sturman, one of the folk dance movement's founders. I can't help myself—I am delighted by the image of this 80-something woman, surrounded by masses, all dancing her creations. Autumn calls this the "swan song moment." "You get to see her humanity," says Raha. "Tenderness," says Zavé. "I associate [Hadar] with her."
There is still a troubling sense that the information is one-sided. "There are no images to associate with source material," says Raha. "Any time you have one voice in documentary, that voice starts sounding 'correct,'" Autumn points out.
In regards to the moment when Palestinian dabke music plays for an empty stage, Zavé adds that "the imagination is colonized." They offer an alternate meditation: As we begin to conjure a source in its absence, can we instead, draw attention to our colonized minds?
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Tatyana Tenenbaum is the daughter of a fiber artist, granddaughter of Broadway producers, and great-granddaughter of Hungarian and Ukrainian Jewish immigrants who settled in New York City/Lenapehoking. She grew up doing community musical theater. Over the past decade she has performed and collaborated with Yoshiko Chuma, Daria Faïn, Jennifer Monson, Levi Gonzalez, Emily Johnson/CATALYST, Andy Luo & lily bo shapiro, Hadar Ahuvia, the DOING AND UNDOING collective, and Juliana May.
[1] A Israeli folk dance step based on the dances of Yemenite Jews. It was observed, appropriated and codified by folk dance founder Rivka Sturman, an Ashkenazi Zionist.
[2] Ashkenazi is a term for Jews of central or Eastern Europe descent.
[3] Midrash is a Judaic practice of providing extra commentary on biblical texts.
[4] Sabra is the desert prickly pear, a symbol chosen to represent the new Jew, born in Israel who had shed the physical and psychological trappings of the diaspora.
[5] Dabke is a folk dance practiced throughout the Levant, including in Lebanon, Syria, Palestine, and Jordan. It is also the source on which the Israeli folk dance step Debka was based.
BAC Story by Brian McCormick
Ellen Cornfield
Portal begins with an eruption — male, upward thrusting — a percussive, rolling rat-a-tat-tat of drums explodes out of the movement. Andreas Brade's music, composed for the dance, responds to the action, from minimal and soothing to cacophonous, as needed.
The seven strong, blithe dancers of Cornfield Dance devour the space in the John Cage & Merce Cunningham Studio, fully committed to the athletic demands of the choreography, powered by their vigorous joy for the craft. It's the kind of imprimatur that signals a master at work, and Ellen Cornfield's reputation precedes her.
The choreographer, who danced for Merce Cunningham from 1974-1982 and taught at Cunningham Studio for 30 years, may fit diagonally on some dance genealogy tree, but she has also made her own distinct mark. There is a brand identity to the technique that is unmistakable. However, fresh eyes, like those of the students in the BAC After School program, see it on its own merits. In a visit with Cornfield during her residency, the teens watched her company rehearse. They saw, "formalism with flair, and flights of fancy. Quirky, rhythmic, gestural phrases woven into broadly abstract works with exciting choreography. Cute moments that hint at a story."
Cornfield developed Portal, her latest work, during her BAC Space residency this spring at BAC, while also working on spacing and refinements for two other works (Close Up and Pas de Detour) for the company's performances at the Harkness Dance Festival. In the second part of her residency, Cornfield worked with collaborators Glen Fogel, Mark Brady, and Jordan Strafer to create a video version of Portal, featuring the architecture and spaces of the BAC building. The costumes for Portal, by Karen Young, visually reflect the space and the surrounding cityscape through their patchwork design of angular shapes in a narrow range of gray shades. Cornfield described the natural light streaming down in shafts through the closed shades of the studio on bright afternoons as "magical."
A new version of Close-Up (2017), presented at Cornfield's BAC Space showing and reworked during her residency, was inspired by her company's performance at the Yale Center for British Art in 2018, where the company performed the dance in five separate gallery rooms simultaneously. "Experiences have taught me to embrace the unexpected," Cornfield said. This new version, performed in decades-old unitards, is her homage to Merce's "Events," which were made up of bits of material from different works put together for a unique performance. At BAC, she and her dancers rearranged the original stage work into a condensed version, presented side by side at the same time.
Cornfield said she saw her dancers perform "deeper into the work and more confidently with their own gifts and abilities," at their BAC studio showing — a result of "the supportive physical environment and the level of saturation in the work that was made possible through the residency."
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Brian McCormick is part-time Assistant Professor at The New School teaching graduate courses in Media Studies, and an adjunct lecturer at CUNY Lehman College teaching Theater. He is contributing editor at Gay City News, and has written for The New York Times, The Advocate, Dance Magazine, Dance Studio Life, and BAMbill. Since 2003, he has taught for Arts Connection's Teen Reviewers and Critics (TRaC) program, and in 2019 received the Linda LeRoy Janklow Teaching Artist award. He leads the BAC After School program, established in 2012. Brian served on the New York Dance and Performance "Bessie" Awards selection committee from 2002-2012, and is currently on the Board of Directors of Pentacle/Dance Works, Inc.
BAC Story by Elena Hecht
Schoen Movement Company
With spring sunlight filtering through the large warehouse-style windows of Baryshnikov Arts Center's John Cage & Merce Cunningham Studio, Emily Schoen watches her six dancers as they work through an ensemble section of her newest piece, See Me In Your Eye.
The dancers, in two lines of three, walk, rock, twirl, and hop forward and backward, the lines slowly exchanging and then re-exchanging places like the ebbing and flowing of a tide.
"I'm interested in those moments when people change their mind in life. Because I think even in this age, in this space where we live, it's harder and harder for people to soften to new information," Schoen tells me later.
The dancers lean against and away from each other, heads supported by hands, a leg grasped as a dancer tilts to break free. They mirror each other in couples before splitting the space as two groups of three, a brief distance between them before they magnetically reconvene as a single unit in the corner.
The piece brings together dancers from the U.S. and Tunisia, where Schoen traveled twice in 2017 — first with Larry Keigwin and then a few months later to create her own work, Here We Are, a 30-minute piece that serves as the foundation — or as Schoen describes it, the "putty" — for See Me In Your Eye.
The soundtrack of the piece is composed largely by Curtis Macdonald with additional music by Simon Broucke, a Tunisian hip hop song by KATYB, and stories recorded by each of the dancers sprinkled throughout. This means that even as the dancers' movements cohesively entwine, the piece toggles between cultures and languages, at once a reminder of both the cross-cultural exchange happening on stage and of the dancers' individuality and humanity.
"The goal of this is for us to be ourselves, and for people to see us as ourselves and to get us as this unit of international diversity," Schoen says. "Basically just presenting a full human experience."
As I watch the dancers, I find myself wondering: if I did not know who was Tunisian and who was American from the outset, would I be able tell? And to what extent do these signifiers even matter? Further, what is it to be defined as being "from" somewhere? When speaking to Schoen's Tunisian dancers, the fluidity of borders is clear — one dancer is originally from Algeria; one spent 9 months living in Houston; one studied in Paris and briefly danced in Finland.
Schoen is "not trying to make a political statement," and yet when pushed further she adds, "maybe the political statement is that it's not political. We can exist together, we can live together, without it being some message or some signpost in the sand, some marker of who you are…. We can have our culture, we can accept other peoples' cultures, we can live together, right? So, yeah, maybe it's political because it's not."
In the studio, the dancers spend time problem-solving a lift. They work on small phrases built from another ensemble piece and then they take time to learn each other's phrases, the studio echoing with intermittent laughter.
"The beauty of this piece is quite simple: very different people coming together and giving of themselves and being open to people who are different from them through dance," Schoen says. "It's simple and I think it's inherently beautiful in the physicality and the vulnerability that comes out of that."
Visit Schoen Movement Company's Residency Page
Elena Hecht is currently finishing an M.F.A. in creative writing at Columbia's School of the Arts. She has attended the Bread Loaf Writers' Conference and her writing has appeared in Dance Magazine, Columbia College Today, and The New York Times. She is currently working on a novel loosely based on her grandparents' lives during WW2 as well as a book centered around an art project she created in her sister's memory. When not writing, Elena can probably be found dancing and has performed the work of David Neumann, Gabriel Forestieri, Zoe Scofield, Rami Be'er, Daniel Gwirtzman, Stephanie Liapis, and Ming Wong.
BAC Story by Ariana Reines
Joseph Keckler
A conversation between Spring 2019 BAC Space Resident Artist Jospeh Keckler and poet, playwright, and performing artist Ariana Reines.
Conversation begins late.
Ariana Reines: That gave me time to eat some lamb off the bone. I don't eat meat generally but…
Joseph Keckler: Only off the bone when you do? Good policy.
AR: Only off the bone, marinated for six hours in Malbec by a former veterinarian, in a country where meat is a kind of religion. You can see it's affecting me neurologically. I do have some questions prepared though! I've always wanted to ask you this, and it is the most clichéd question that gets asked of artists, but I mean it in the most expansive way possible: how did you discover your voice?
JK: It was more gradual, not a singular moment. I decided to cover a Cab Calloway song for the 4th grade talent show. My parents were recently recalling that I started to practice it and sounded very off-tune and — the implication — talentless. But then something clicked and I suddenly was hitting the notes, and sort of "channeling" Cab Calloway, is how they put it — their only explanation for my sudden ability to sing on pitch. As a teenager I started taking voice lessons because I would sing various dirges at the piano very aggressively and become hoarse after only one song, so I needed to learn technique. My voice teacher at that time, Fay Smith, who just passed away this year at 90, wanted me to have an opera career, and when I was a child I was really into Mel Blanc, the Warner Brothers voice actor, and always doing all this vocal shapeshifting stuff. My facility for that was apparent before the facility for singing.
AR: That's fascinating. For whatever reason I prefer thinking of your art in terms of mediumship than mimetic camp.
JK: Yes, I don't think of it in those terms. Then again, how do you define camp these days? What's a contemporary example? To me there's an overlap between absurdity and divinity that might be present in a camp performance but not summed up by it.
AR: That's very well said. I agree, camp is an antiquarian term. I've noticed that in my life when absurdity is present I trust that divinity is too. Without some kind of sick joke or a kind of impossible hilarity present, I don't trust reality. So yes, camp feels like an antiquated thing, but I do feel that as a performer you acknowledge that tradition mildly, without making a thing about it. Pardon my double use of "thing." I am high off pork (pork followed the lamb). So how long is Let Me Die?
JK: I think it's a cool 75. I originally envisioned it as an austere museum piece, durational. I realized that has its own aura of cliché and is not really what I do. Rather than being a solo, there will be three very enchanting singers performing much of the piece. I will be a sort of master of ceremonies.
AR: And how did you run into "Arianna's Lament?"
JK: Right, Let Me Die is titled after Monteverdi's "Lasciatemi Morire," also known as "The Lament of Arianna." It was among the first arias I sang when I started to study voice. It's a longing for death, an appeal to the gods, after she (Arianna, or Ariadne) has been abandoned on the island of Naxos. And it's the only part of the opera that has survived. So, I like the way in which she is doubly stranded, the way this is a singing fragment. I also like that this is one of the first pieces you learn in classical voice, implying that to learn to sing is to learn to die. It was only after I asked you to have this conversation that I realized the subconscious connection I'd already made between Arianna, and you, Ariana. And you said you actually sang that aria too?
AR: I did, when I was a beginner singer. I used to have more of a voice but I became too sad to use it except for extreme circumstances. I grew up in a house that had lots of music in it. My mom studied piano with a student of Liszt and I began playing very young, by ear. I'm a lazy person by nature and I was a very happy little dancer composer. When my parents split up and my mom became schizophrenic, I suppose you could say my life became more "operatic."
JK: Does your mother still play?
AR: No, she no longer plays. She is a homeless person now. She plays my heartstrings.
I think you're right that learning to sing is like learning to die, and it's what is so sacred about great singers. The great singers, with their mouths wide open—I think a lot of darkness can fly in. I'm thinking about what killed Whitney Houston, Billie Holiday, Amy Winehouse, Chet Baker, etc. Maybe Kurt Cobain. Obviously it can be argued that drugs killed these people. But I feel there is something else going on, connected to the heart, and the sorrow in people, which they inhaled for us, and returned to us with such overwhelming sensitivity. There are other singers who died of our darkness, and of course there are the great singers who manage to survive the sorrow of their audience.
JK: "They inhaled for us" — that is interesting to me also and something I'm thinking about in this project: opera's origins in tragedy and tragedy's origins in sacrifice. There is a sacrificial aspect of performing.
AR: It is something beyond mere technique. And the dangerous, "mediumistic" part of the art, it seems to me.
JK: It is the Sonnet to Orpheus: "real singing is a nothing breath, a god blowing…"
AR: Yes! It sounds to me as though you have a clearheaded understanding of the danger in what you do, and also its power, what it gives to people. What I love about the way you combine talking and singing in your performances is that your voice is literally an instrument of shock. People don't listen to this kind of music that much these days, and we're not used to hearing voices like yours. There's a genial kind of, I don't know, Brechtian disruption going on when you hurl that sound at people. They just lose their shit and do not know what to do with themselves. It is somehow a punk rock gesture. I love it.
JK: I love that description. It is easier to mess with people in contexts where they're not coming to see me and don't know anything about me… It's harder to do at my own shows, but I try.
AR: That's probably something great about being a "multimedia" artist. I love showing up where nobody expects anything.
Visit Joseph's Residency Page
Ariana Reines is a poet, playwright, and performing artist. Her newest book is A Sand Book, out this June from Tin House. She has created performances for the Whitney Museum, Swiss Institute, Le Mouvement Biel/Bienne, and many more. She wrote the Obie-winning play TELEPHONE.
BAC Story by Dan O'Neil
Terrence O'Brien
My first visit finds Terrence O'Brien – Terry, in the room – and a group of actors around a table, deep in discussion. There are collisions between unexpected pieces. One actor questions the direction of the conversation of the work, saying, "I'll just put my bias on the table." What is the impact of the work? "Let's turn over the rock and see what's under there." Terry says.
Nail on the head versus opening the question. Unpacking materials without fully unpacking. Examining the difference between killing and fucking. Free range conversations veer across politics. Is it an exchange? Is it a space to advocate for a point of view? Are we just going to be animals, or are we going to evolve?
"What I like…" Terrence posits from the point of view that there are certain things in the text that he likes and wants to maintain. "I don't want to 'sort of.' That's me, though."
Actors attempt to paraphrase the intention of characters. One performer feels strongly about adding certain ideas (such as evolution). Solutions versus not solving but still moving forward.
Of this time and particular place – how do the female voices in the work exist within the context of the current moment and modality? Is the future better than the present?
You can have two people looking at one thing with two completely different points of view, so, as Terry asks, "How do we make that work?" Upon suggestion, the men attempt to share a speaking role using Organic Intuitive Consensus.
My second visit: the table is now in the middle of the room, chairs on either side. The crew is a bit larger, a few new faces amid the recognizable ones. Terry, from the table in the corner, leans towards the action, stops it, stands up and joins the actors at the table for a few adjustments and comments, and returns to his table. There is general experimentation coupled with fine tuning. "If it doesn't work, you'll probably know right away," Terry says.
There are women in masks. Some of the masks are wrong. They use them anyway to get used to the added element. Back and forth staging – incremental pieces put in place, then solidified. "That seemed a little cluttered. Let's try it again." The complexity of five men standing and escorting three women to sit with them at a table.
Means by which to interject a directorial voice: "Maybe – I'm wondering if – Let's try – See what that does – Any thoughts about this? – Let's get some other opinions on this."
Tell, don't tell.
After a break, they lie in a circle and play storytelling games. Ways to create a shared thought environment, to listen, to participate fully in something while thinking on one's feet (or back, as it were). The assignment: you're the pirate. A preacher has told you that you're behaving obscenely. One sentence per person. Sentence by sentence, the actors, using variations on pirate voices (one seems Irish), end up telling a surprisingly coherent tale as the pirate recruits the preacher to join the ship's crew. "I've got quite a few positions other than missionary that you can fill."
The work continues, now with an intermingling of gender, the three women taking over male roles at times, other times standing outside of the action. It's somewhat of a challenge to understand what is an interjection and what is source text. "Okay, okay, let's back up a bit." Solving for source versus interjection – "Try addressing it to someone specific when you're one of the supernaturals." General versus particular. "On the other hand, it's going really well. Let's go back."
Visit Terrence's Residency Page
Dan O'Neil is an NYC-based writer who grew up on a farm in northwestern Minnesota, where he learned to drive a tractor, use a chainsaw, and identify various star constellations. Notable recent projects include: Librettist on The House of Influence, an experimental opera composed by Alec Hall and performed in a parking garage in Harlem in 2018, Oblivion Falls, an in-process dance with text composition with Designated Movement Co., and Bear Slayer, developed through a 2016 Project Residency by Ars Nova and also presented as part of ANT Fest 2015. Leadership roles include Theater Editor of Culturebot and co-artistic director for Designated Movement Co. Education: B.A. in performance from the University of Minnesota and an M.F.A in dramatic writing from Carnegie Mellon University.
BAC Story by Elliot B. Quick
Morgan Green + Milo Cramer
Every day in courthouses across the country, thousands of potential jurors are asked a similar litany of questions. Transcriptions of the process pass from court stenographer to an online database, and into the hands of Morgan Green and Milo Cramer, two Brooklyn-based theater artists.
Green and Cramer spend three weeks in a rehearsal studio collaging those words and recording their own performances of the transformed texts. On one November afternoon in that same studio, those recordings are played into the ears of actors, who speak the text in front of an audience. Performance. Transmission. Transformation. Performance.
In the American justice system, voir dire (French for "to see to speak") is the process by which a judge interrogates a jury pool in order to learn of their potential biases. Green was fascinated by the process when she was called for jury duty and sat for voir dire, watching a room full of strangers share some version of themselves in an experience that is mandatory, coldly bureaucratic, and intimate all at once. Though she wasn't selected for the jury, she describes the experience as life-affirming: "I felt like an individual. I felt like a citizen."
Cramer was similarly excited by the inherent drama of voir dire. He describes it as like striking "formal gold," providing the pair with a compelling, prefabricated structure through which to interrogate both the ideals of the American judicial system and its failings. What's remarkable about their work thus far is how much voir dire rhymes with the act of making theater: a process of truth-seeking in which individuals perform themselves in miniature in a high stakes environment.
In their workshop presentation, Robert Johanson stands at a table, speaking the text of the judge: "No one is here to judge anyone as a person," he says directly to the audience, arousing that often-divisive dread that this might be one of those Audience Participation Shows. Eventually, LaToya Lewis, who sits in the front row while her face is live-streamed onto a television, begins to speak the collaged text of all the potential jurors, preserving the inaccuracies and failures of the transcription process: "I think that the inaudible. I think it all comes down to high inaudible." Though the presentation is simple, faithful to the voir dire process, whatever truth was revealed in the original courtroom may be just out of reach.
On the other side of their residency, Green and Cramer point to the balance of audience participation as their most pressing decision point. They both admit that they tend to hate audience participation: "Your defense mechanisms go up," says Cramer. In one of their presentations, Green describes watching an audience member sitting behind Lewis who saw his face appear in the live video feed and slowly shifted in his seat until he moved out of frame.
And yet the questions they're asking about how audience participation works its way into their piece also most clearly parallel the questions they're asking about the justice system: To what extent is participation mandatory? What is at stake when one participates? What are we honest about and what do we hide when we perform ourselves to a room full of strangers? "Maybe what my preferences and tastes are in theater go against what this piece needs to be," says Green. "We're open to that."
Visit Morgan + Milo's Residency Page
Elliot B. Quick is a dramaturg, producer, director, and educator who received an MFA in Dramaturgy and Dramatic Criticism from the Yale School of Drama. He has worked as a Literary Associate with Playwrights Horizons, Yale Rep, and Page 73, and as an Editorial Associate for The Civilians' Extended Play. As a freelance dramaturg and director, his work has been seen at the Sharon Playhouse, the Under the Radar Festival, the Invisible Dog, Ojai Playwrights Conference, The Access Theater, The Fisher Center at Bard College, and the Edinburgh Festival Fringe. He currently teaches at the Maggie Flanigan Studio and at SUNY Purchase College.


Accelerometers can help food processing and packaging companies improve production line efficiency.
While food manufacturing has many similarities with other parts of the process industry, there is one key difference: many of the raw materials it uses are naturally prone to spoilage. This means that serious production problems, such as those created by machine breakdowns, can cause more than a simple delay. In some cases, it can mean ordering a whole new batch of raw materials, which is not an ideal way to drive efficiency.
Many food processing companies — well aware of the need to prevent unscheduled machine downtime — have already introduced predictive and preventive maintenance regimes. These aim to detect and solve machine problems such as failing components before they begin to cause problems. However, some maintenance is still performed when equipment has already begun to degrade. In this situation, a sudden failure can cause unexpected downtime while the run-up to that downtime will have seen a steady decrease in plant efficiency.
Progressive manufacturers know that a proactive maintenance program raises efficiency by reducing the likelihood of an unplanned shutdown. Even if these proactive programs are only applied to individual applications, rather than the entire plant, it can still have a positive effect on profits.
Many food and beverage companies already use condition monitoring techniques such as vibration monitoring, which uses an array of sensors (or accelerometers) to monitor and predict the "health" of rotating machinery to boost efficiency. By spotting the early signs of failure in machine components, it helps to ensure that maintenance is performed at exactly the right time — and well before component failure leads to an expensive machine breakdown.
The HS-100 is available in stainless steel versions that meet strict food industry hygiene standards.
Vibration monitoring is probably the most widely used predictive maintenance technique in manufacturing and is similarly popular in food processing. It picks up anomalies in rotating components like bearings, gears and motors by comparing their vibration signature with a "standard" signature. Any small variation, which is easily detectable by modern sensors, indicates a potential problem that can be acted on before it turns serious.
Applying it to rolling bearings, for instance, will pinpoint which components are due to fail and when they will fail. This allows timely replacement of parts and avoids downtime. Although the rolling elements and their movements are very small, vibration monitoring equipment can pick up these movements and supply readings to maintenance engineers, allowing them to make informed decisions on when and how to repair or replace equipment.
Rolling bearings typically produce small degrees of vibration when they are working normally but start emitting higher frequencies when faults develop. It is these higher frequencies that help to identify damage.
higher-level system for continuous monitoring.
Accelerometers have become increasingly easy to install and use. Increased demand for them from all sectors of engineering, including food, has driven manufacturers to adapt and enhance their products, and make accelerometers suitable for an expanding range of applications. The best modern accelerometers are robust and reliable, with stainless steel sensor housings to prevent ingress of moisture, dust, oils and other contaminants. They operate over a wide temperature range and measure both high and low frequencies with low hysteresis characteristics and high levels of accuracy.
There are two main categories of vibration sensors: AC accelerometers and 4-20mA accelerometers. Although both operate under the same principle, there are subtle differences between them that engineers need to be aware of. AC accelerometers are typically used with data collectors to monitor higher value assets, such as wind turbines. And 4-20mA sensors are commonly used with programmable logic controllers (PLCs) to monitor lower value assets, such as motors, fans and pumps, making them most applicable to the food industry.
Both can detect imbalance, bearing condition and misalignment, but AC accelerometers can also identify cavitation, looseness, gear defects and belt problems. While 4-20mA devices offer a cost-effective alternative — when AC components are not required — their performance can be enhanced. Hansford Sensors' HS-500 modules, for instance, can be inserted into the circuit between the accelerometer and the data collector to boost the level of data acquisition.
The HS-420S side-entry accelerometer is sealed to IP68, making it ideal for use in process applications.
Modern vibration sensors and associated equipment are built to withstand challenging conditions. For example, a stainless steel 100mV/g AC sensor is an ideal solution for most food and beverage manufacturing equipment. It can be supplied as either a top- or side-entry component and is available with stainless steel enclosures that meet strict food industry hygiene standards.
However, there are times when a more specific sensor specification is required. For example, vibration monitoring of low-speed bearings requires a greater degree of care and experience because the signals they generate are harder to detect. However, some sensor models enable accurate, repeatable readings at low speeds when fitted on the input and output ends of a drive shaft. Such sensors are particularly appropriate for applications such as fans, which may alternate between fast and slow rotational speeds depending on the amount of cooling required.
A vibration sensor offers a simple but powerful form of condition monitoring that has been compared to the check engine warning light in a car. If it detects a problem, it prompts a maintenance technician to perform root cause analysis on the machine to determine what is affecting its performance. Ignoring the warnings in order to continue production can lead to unplanned downtime and major repairs, which will cost far more than a short, planned period of preventive maintenance.
Tools like this help plant operators to increase efficiency by allowing maintenance engineers to move to duties that boost profitability rather than carrying out frequent maintenance on non-critical machines. A good vibration monitoring system helps process industry operators to keep semicritical machine assets up and running, because a single component failure can hold up an entire production line. Vibration monitoring is a powerful tool wherever it is installed, but is most valuable in preventing downtime on lines that include any kind of bottleneck.
This, as much as anything, makes it an ideal investment in the food and beverage industries.
To specify vibration monitoring equipment correctly, engineers must ask the right questions from the start, and this is best done in consultation with a supplier that has experience in applying the technique to a range of sectors.
In addition to initial questions such as, "What is the vibration level and frequency range that is to be measured?", engineers need to consider environmental conditions such as temperature, humidity and the presence of corrosive chemicals (which can include those used to clean food machinery).
Predictive maintenance based on vibration monitoring can be applied across the food processing industry. However, in addition to the overall benefit of preventing downtime, there are a few emerging areas where it could prove particularly useful.
Food safety: Consumers are as conscious as ever of food safety but want this to be achieved without the use of excessive additives. High-pressure processing (HPP) is an increasingly popular way of banishing bacteria, but requires robust machinery that runs under more punishing conditions. In such circumstances, components are more prone to wear and tear, which raises the risk of machine failure. Incorporating predictive maintenance, including vibration monitoring, into HPP lines is a way of raising performance while ensuring longer lifetimes with reliable production.
Packaging automation: According to the 2017 Trends in Food Processing Operations report, food industry engineers are increasingly looking to ensure better synchronization between packaging and processing operations so that upstream processing mishaps do not cause downtime on the packaging line. To achieve this, processing companies will need to ensure the reliability of their upstream machinery, an area in which vibration monitoring has a long track record. At the same time, says the Association for Packaging and Processing Technologies (PMMI), machinery manufacturers are incorporating automated maintenance scheduling into their latest models — a sure sign of the growing importance of predictive maintenance regimes within the sector.
Vibration monitoring of food and beverage manufacturing equipment provides early-stage indication of potential problems.
Predictive maintenance and vibration monitoring are established technologies that are well proven in the manufacturing and process industries. Their ability to detect early component failure — at both low and high speeds — along with the availability of affordable, reliable sensors — will increasingly help food processing companies avoid the cost of unplanned downtime.
Martin Armson heads up the U.S. operations for Hansford Sensors based in South Carolina. Armson has a mechanical engineering degree. He first became involved in the vibration monitoring industry in the 1980s. Since then, Armson has worked with several leading companies before joining Hansford Sensors in 2017.
I read here that besides vibration analysis for machines, accelerometers can also help monitor active volcanoes (https://visaya.solutions/article/wishiknew-difference-between-accelerometer-and-proximity-sensor/). What's the difference in the materials used for the food industry and for harsh environments such as a volcano?