text:
Pell City, AL (35125)
Cloudy early with peeks of sunshine expected late. High 44F. Winds W at 10 to 15 mph..
A few passing clouds, otherwise generally clear. Low 29F. Winds light and variable.
Pell City, Alabama
Bailey Lambert, a 14-year-old student at Duran Junior High, participates in the Alabama iCan program this week at the school.
Duran Junior High School eighth-grade students Corinne Hoover, Molly O'Dell, Nicole Williams and Bailey Lambert show off the devices they made during Alabama Power's iCan program at the school on Feb. 10.
editor's pick featured
Program introducing female students to careers in math and science
By JEFF THOMPSON editor@newsaegis.com
Duran Junior High student Bailey Lambert has been around engineering all her life. Most members of her family, she said, are either builders or ironworkers. Her dad owned a metalwork company, and both her older brothers have found their way into similar work.
She's not sure what she wants to do for a career yet, but she's leaning toward something that keeps both her brain and body active, something "hands-on" that keeps her "up and moving." Earlier this week, Alabama Power gave Lambert another opportunity to see if engineering might fit that description.
On Feb. 10, Alabama Power's iCan program visited Duran Junior High for the third time during the 2014-2015 school year. The program is aimed at exposing female middle school students to the field of engineering through hands-on training exercises.
About 20 eighth-grade students, including Lambert, are part of the group that meets in the library. They listened to a brief presentation from volunteers, female engineers from Alabama Power's Eastern Division in Anniston, before diving into a project. This week, they explored mechanical engineering by learning to craft a "grabber" out of paint stirrers, nuts, bolts, washers and glue.
Jacki Thacker, a communications specialist with Alabama Power's Eastern Division Office, said the program is designed to educate female students on the wealth of career possibilities available to them in the fields of math and science. In essence, iCan is a recruiting tool for the technical world.
"The world needs engineers," Thacker said. "They're involved in everything around us from our streets to electronics to our makeup. At Alabama Power, engineers make up most of our workforce."
Thacker said besides Duran, Alabama Power's iCan program is being conducted at four other schools in the area, but Duran is the only school in St. Clair County to offer it. She said at those schools, "90 percent of the girls we ask say they want to be a nurse or a teacher."
Around one of the tables at the iCan program, Bailey and her friends nod their heads in agreement when asked if the case is similar at Duran Junior High. Bailey said she's the only female student in the school's engineering club this year.
"I always though engineering was a man's world," Thacker said. "But at Alabama Power, our female engineers are numerous, and through the programs they have a great to become managers." For more on Alabama Power's iCan program, visit icanengineer.com.
"The world needs engineers. They're involved in everything around us from our streets to electronics to our makeup. At Alabama Power, engineers make up most of our workforce."
Jacki Thacker, Alabama Power
HODGES DEGARIS, Lena Aug 12, 1936 - Jan 4, 2021
MASSEY, Tootsie Jun 6, 1934 - Dec 23, 2020
On December 23, 2020 our sweet "Tootsie" died peacefully at home surrounded by her family. She was born June 6, 1934. Tootsie loved life and she loved her family and friends. Her favorite past-time was spending beautiful sunny days outside working in her yard, which was her grandmother's old…
BRADEN, Kyle Jan 14, 1982 - Dec 9, 2020
MCCLUNG, Patricia May 26, 1932 - Dec 4, 2020
WHITE, Eva Mar 9, 1945 - Nov 9, 2020
New Margaret Elementary principal settling in
6 of Alabama's U.S. Republicans voted against impeachment
Springville Fire Department receives vaccine
Covid-19 vaccine available Jan. 18 for 75 and up, first responders and law enforcement in AL
Leeds man charged in Capitol riot
Springville Happenings
Board Appreciation Month: Dr. Howard shares appreciation of board members
Pell City Bulletin
Demolition of Pell City jail underway
Coal City Corner
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A year later football fans from all corners of the earth will rush into our country, all of them will be eager to see the most important trophy of the World Cup 2018 in the hands of their team, and before that time, admire and die of delight at the sight of the coveted Cup will be residents of 24 cities of Russia. In their number hit and the inhabitants of Kursk.
September-November 2017 and May-July 2018 World Cup will be held on the road. Tradition to carry the trophy on the eve of the World Cup originated in 2006. This time the trophy will visit more than 50 states, but most time will be spent in Russia. By the way, the Russian route will be the longest in the history of such tours.
The cup will be exhibited in a special tent. Anyone can get there, but you cannot touch the trophy or see it without a protective glass. These are the rules of FIFA. But you can take a picture with the Cup using a special machine. The photo will be printed to you on site, and an electronic copy will be given.
In Kursk, the trophy was brought today – the goblet can be seen in the MEGHARIN shopping and entertainment center on the 6th floor. He will stay in our city for exactly three days. October 23 the Cup will go further.
The route of the tour across Russia is laid out in such a way that every third citizen of the country will be able to see the main trophy of the forthcoming World Cup 2018. The journey of the Cup will end in Moscow on June 14, 2018, before the start of the international football championship FMFA 2018.


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How SNOO Soothed One NAS Baby—and Helped Her Foster Mom Get More Sleep
By Happiest Baby Staff
When Judith Brownridge brought home Brogan, a foster baby going through withdrawal, she had some idea of what to expect. Judith has been fostering babies for a Local Authority Councilin Scotland for about 8 years. Brogan is her sixth foster baby and the second baby with Neonatal Abstinence Syndrome (NAS) that she had cared for. (NAS is a condition that occurs when a baby withdraws from certain drugs, such as opioids, and it's marked by extreme fussiness, shaking, and an inability to settle.)
With her first NAS baby, Judith recalls sleeping very little. She and her husband would have to take turns eating dinner so that one of them could hold the baby. "As soon as we'd put her down in a cradle or Moses basket, she would wake up and start crying again," Judith says. "That went on for about 4 months before she really got over her withdrawals and by that point she was 5 months old."
Then, Judith began to care for Brogan, who was severely withdrawn. "She was the worst NAS baby we'd seen for years in the neonatal unit where I work. She was really, really unsettled," says Dr. Mairi Wilson, MBChB, a clinical fellow in neonatology at Royal Alexandra Maternity Hospital. "She was crying all the time and jittering and shaking. No matter what you did she would be crying."
But this time there was one big difference in Judith's experience: She had the opportunity to use SNOO through the Royal Alexandra Maternity Hospital's neonatal unit.
"When SNOO was mentioned we thought, great! Maybe we'll get some sleep," Judith says.
From the start, Judith was impressed. "The baby would go to bed at around 9pm, but as soon as she was swaddled and sleeping in SNOO, she'd maybe only wake about once each night for a bottle," Judith says.
Soon, Brogan was sleeping through the night, from 7pm to 7am. Naps became easier too. "We could put her down and go to the toilet or make a coffee," Judith says.
And SNOO became a bit of a local celebrity in the process, drawing interest from others in the community.
"The health visitor was very impressed. The social worker wanted to see, so everyone was up and down looking in the bedroom," Judith says. "The social worker actually said she's the most content withdrawal baby she's ever seen. I think that's due to the SNOO."
While Judith acknowledges that it's difficult to compare two different NAS babies, based on her experience, she does believe that SNOO made a difference. "We would be happy to use SNOO again for our next baby and hope they can soon be used in hospitals to help NAS babies recover quicker," she says.
So, are Judith and her husband getting more sleep, too?
"We've got a 6-year-old as well, so maybe not too much…" Judith says with a laugh.
View more posts tagged SNOO, real stories
SNOO Has Been a 'Godsend' for This Busy Military Family
The Only Thing That Could Calm This NICU Newborn
One Mom's Postpartum Anxiety Eased with SNOO
Single Mom By Choice...One Woman's Journey
How One Mom Took on a Nightmare 3rd Trimester with SNOO
Three Babies, Three SNOOs...No Problem!
SNOO in the Workplace: Everyone Wins When New Parents Get More Sleep
For a New Dad Juggling 2 Jobs, Every Extra Bit of Sleep Is Priceless
Chip Gaines Gifts SNOO to Mom Who Struggled with Fertility
Safety Is Everything for Couple Whose Firstborn Died in Sleep

redpajama_set_name: RedPajamaCommonCrawl


text:
Tampa station unveils dizzying new logo design
WTSP, Tegna's CBS affiliate in Tampa, Florida, has done away with its longtime wavy logo in favor of a linear one that tricks the eye and almost causes a moiré effect (just try scrolling).
The station's new logo, shown above, was unveiled earlier in May and features the numerals one and zero drawn out using five lines, which could be read as "signals" or "lines of communication."
"We started by establishing a unique and ownable position for the station. In a noisy market filled with disjointed stories, they would offer 'deeper dives and sharper insights.' But that wasn't the only change. Since news wasn't the only type of programming they offered, we helped the team rally around a more appropriate name: 10 Tampa Bay," reads the case study of the project from Matchstic, the design firm that worked with WTSP.
The two numerals are spaced tightly together so that two of the outer concentric rings of the zero intersect with those in the one.
A quarter of the zero shape is used to form the "cap" of the one, which intersects with the five vertical lines that form the lower part of the upright numeral.
In addition, the station dropped its longtime red hue in favor of a teal-ish seafoam green and bold black.
Though the style has been radically altered, the logo has a similar footprint as that at several other channel 10 stations, including WBNS, KWTX and WPLG, as well as Australia's Channel 10.
The general shape of the numbers was also found on WTSP's air previously — quite some time ago, and as solid numbers instead.
Meanwhile, a bold, extended typeface spells out the city name with the CBS eye logo.
That's a 10. #10tampabay
A post shared by Rob Finnerty (@robfinnertywtsp) on May 21, 2020 at 2:00am PDT
The station is also attempting to rebrand itself as not just telling the news — but also explaining it and making it relevant.
Although the new logo has been added to all opens and other news graphics, the station still uses the same Tegna graphics package and music.
Overall, the new logo design is certainly eye-catching but also might be a bit too "edgy" — though its sister station, WXIA in Atlanta, also underwent a just as jarring, though decidedly blockier, redesign in January 2019.
Atlanta station gets chunky, less lively new logo design
The new design is also a bit problematic in that the multiple lines appear to "vibrate" even at larger sizes — and those lines quickly break down and can seem to merge when at low resolutions — including on the station's website, as shown below.
WTSP had used an oval-shaped icon, with a sweeping wave, dating back to 2002. It briefly dropped it from 2008 to 2010 during a social media-driven newscast branded under "10 Connects" — but that iteration still used a bold red oval and italic numbers.
A bit of that wave is still hinted at in the uppermost stroke of the one — as well as the repeating line concept overall.
This version of the WTSP logo was used from 2002 to 2008 and again from 2010 to 2017.
As a way to make the logo work a bit better with Tegna's flat, geometric and pattern-based graphics package, the logo was simplified in 2017 by blowing it up and reversing it out of a solid rectangle — along with the CBS eye in the upper left.
The new logo manages to incorporate the circular footprint of the eye logo better.
As part of Tegna's efforts to simplify station logos along with its redesigned graphics package, WTSP switched to an outsized version of the logo reversed out of a solid rectangle.
Overall, viewers have mixed opinions of the look on social media — some like it, and some hate it.
logo design, Matchstic, tampa, tampa bay, Tegna, wtsp
Branding, Broadcast Design, Broadcast Industry News, Featured


Glass Enhancements has been serving the area of Gurnee with top notch window film installations as well as commercial window tinting, home window tinting, and residential window tinting. Glass Enhancements has been a family owned business since we were established in 1993. We have a team of proficient window film installers who're ready to take on any window film installation. Throughout the Gurnee area, Glass Enhancements has been installing a large amount of window films with satisfied customers as a result! Our Gurnee customers continue to recommend us to their family and friends because of our outstanding home window tinting service.
Gurnee, Illinois is a village in Lake County with a populace of 31,290 people and it is part of the Chicago Metropolitan Area. Our customers from Gurnee know that when they come to Glass Enhancements they will receive the most courteous service with top of the line window film installations. Glass Enhancements is renowned for having an incredible high level of standards and are always giving our 100% to provide welcoming customer service. The same goes for each window film installation, commercial window tinting, home window tinting or residential window tinting projects.
Glass Enhancements is always working with our customers helping them get the best top shelf products when it comes to window film services. For over 20 years, we have been offering our clients excellent residential window tinting products, guaranteeing they are satisfied happy. Glass Enhancements has done an incredible amount of window film installation on many residential, commercial, and present day structures throughout the Gurnee area. Call (877) 313-3456 or visit our website for more information on residential window tinting or commercial window tinting today!


text:
Owens Corning Reports First-Quarter 2012 Results
First Quarter in Line with Company's Expectations; On Target for Adjusted EBIT Growth in 2012
-- Improvement in U.S. Housing Market and Global Industrial Production Growth Supported Volume Gains in all Three Businesses
-- Repositioning of European Composites Assets on Track
-- Board of Directors Authorized New Share Repurchase Program for up to 10 Million Shares
TOLEDO, Ohio, April 25, 2012 /PRNewswire/ -- Owens Corning (NYSE: OC) today reported that consolidated net sales increased 9 percent to $1.35 billion in the first quarter of 2012, compared with $1.24 billion in the same period last year.
First-quarter 2012 adjusted earnings, based on the company's expected full-year effective tax rate of 25 percent, were $11 million, or $0.09 per diluted share, compared with $27 million, or $0.22 per diluted share, during the same period last year. The company reported a net loss of $46 million, or $0.38 per diluted share, compared with net earnings of $24 million, or $0.19 per diluted share, in the first quarter of 2011. (See Tables 1, 2 and 3 for a discussion and reconciliation of these items.)
"Owens Corning delivered results in line with our expectations for the quarter," said Chairman and Chief Executive Officer Mike Thaman. "We continue to be confident that we will grow adjusted EBIT in 2012.
"As compared to last year, Roofing volumes grew significantly, but margins were compressed due to asphalt cost inflation," Thaman said. "We expect another year of strong financial performance in Roofing based on our current outlook for volumes and pricing."
Consolidated First-Quarter 2012 Results
Owens Corning's primary safety metric improved by 23 percent over the company's full-year 2011 performance.
First-quarter adjusted earnings before interest and taxes (EBIT) were $43 million in 2012 compared with EBIT of $61 million in the first quarter of 2011. In the first quarter of 2012, the company had certain items that were not the result of current operations. Before adjusting for these items, Owens Corning's first-quarter 2012 EBIT was a loss of $12 million. (See Table 2 for a reconciliation of these items.)
Volume growth in all three businesses drove nine-percent revenue improvement in the first quarter of 2012 over the same period last year.
2012 Repurchase Program
Owens Corning today announced that its Board of Directors has authorized the company to repurchase up to 10 million additional shares of Owens Corning's outstanding common stock. Under a previously announced share repurchase program, 3.7 million shares continue to be available for repurchase.
Although there continues to be uncertainty in the macro-economic outlook, Owens Corning expects to grow adjusted EBIT in 2012 based on an improving U.S. housing market and continued growth in global industrial production.
Despite weakness in the European glass fiber reinforcements market, the company believes that global glass reinforcements demand will continue to grow in 2012.
As previously announced, the company is taking actions in its Composites segment to balance supply and to improve the sustainable competitive position of its European assets. In the first quarter, the company made progress in implementing these actions to transform its Composites operation into a global network of low-delivered-cost assets and to position the business to return to double-digit margins in 2013. In conjunction with these actions, the company anticipates incurring approximately $130 million in charges in 2012 through early 2013.
In the Building Materials segment, the company expects another year of strong financial performance in Roofing based on its current outlook for volumes and pricing. The company continues to believe Insulation will significantly narrow losses in 2012 on improved U.S. housing.
Cash taxes are expected to be about $30 million in 2012, due to the company's $2.3 billion U.S. tax net operating loss carry forward. The company estimates a long-term effective tax rate of 25 percent to 28 percent based on the blend of effective tax rates for its U.S. and non-U.S. operations. The effective book tax rate for 2012 is expected to be about 25 percent on adjusted earnings.
The company expects general corporate expenses to be between $110 million and $120 million in 2012. General corporate expenses include corporate staff and other activities that support the operations. Expenses will be higher in 2012 primarily due to increased pension expense and higher year-over-year incentive compensation costs.
Depreciation and amortization expenses are expected to be as much as $320 million in 2012, excluding the impact of the restructuring actions in Europe.
Capital expenditures in 2012 are expected to be about $350 million.
Next Earnings Announcement
Second-quarter 2012 results will be announced on Wednesday, August 1, 2012.
First-Quarter Conference Call and Presentation
11 a.m. Eastern Daylight Time
All Callers
Live dial-in telephone number: U.S. 1-866-804-6924 or International 1-857-350-1670
(Please dial in 10 minutes before conference call start time.)
Live webcast: http://www.owenscorning.com/investors
Telephone replay available through May 2, 2012: U.S. 1-888-286-8010 or International 1-617-801-6888
Replay of webcast also available at: http://www.owenscorning.com/investors
To view the slide presentation during the conference call, please log on to the live webcast at www.owenscorning.com/investors
About Owens Corning
Owens Corning (NYSE: OC) is a leading global producer of residential and commercial building materials, glass-fiber reinforcements and engineered materials for composite systems. A Fortune® 500 Company for 57 consecutive years, Owens Corning is committed to driving sustainability by delivering solutions, transforming markets and enhancing lives. Founded in 1938, Owens Corning is a market-leading innovator of glass-fiber technology with sales of $5.3 billion in 2011 and about 15,000 employees in 28 countries on five continents. Additional information is available at www.owenscorning.com.
This news release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. These forward-looking statements are subject to risks, uncertainties and other factors that could cause actual results to differ materially from those projected in these statements. Such factors include, without limitation: economic and political conditions, including new legislation or other governmental actions; levels of residential and commercial construction activity; competitive factors; pricing factors; weather conditions; our level of indebtedness; industry and economic conditions that affect the market and operating conditions of our customers, suppliers or lenders; availability and cost of energy and materials; availability and cost of credit; interest rate movements; issues related to expansion of our production capacity; issues related to acquisitions, divestitures and joint ventures; our ability to use our net operating loss carry-forwards; achievement of expected synergies, cost reductions and/or productivity improvements; issues involving implementation of new business systems; foreign exchange fluctuations; research and development activities; difficulties in managing production capacity; labor disputes; and, factors detailed from time to time in the company's Securities and Exchange Commission filings. The information in this news release speaks as of the date April 25, 2012, and is subject to change. The company does not undertake any duty to update or revise forward-looking statements. Any distribution of this news release after that date is not intended and will not be construed as updating or confirming such information.
Owens Corning and Subsidiaries
Consolidated Statements of Earnings
(in millions, except per share amounts)
Mar. 31,
Marketing and administrative expenses
Science and technology expenses
Charges related to cost reduction actions
Other (income) expenses
EARNINGS (LOSS) BEFORE INTEREST AND TAXES
EARNINGS (LOSS) BEFORE TAXES
Less: Income tax expense
Equity in net earnings of affiliates
Less: Net earnings attributable to noncontrolling interests
NET EARNINGS (LOSS) ATTRIBUTABLE TO OWENS
$ (46)
EARNINGS (LOSS) PER COMMON SHARE ATTRIBUTABLE TO
OWENS CORNING COMMON STOCKHOLDERS
$ (0.38)
WEIGHTED-AVERAGE COMMON SHARES
Owens Corning follows the authoritative guidance referring to "Noncontrolling Interest in Consolidated Financial Statements," effective January 1, 2009, which, among other things, changed the presentation format and certain captions of the Consolidated Statements of Earnings and Consolidated Balance Sheets. Owens Corning uses the captions recommended by this standard in its Consolidated Financial Statements such as net earnings attributable to Owens Corning and diluted earnings per common share attributable to Owens Corning common stockholders. However, in the preceding release Owens Corning has shortened this language to net earnings and earnings per share (or a slight variation thereof), respectively.
EBIT Reconciliation Schedules
For purposes of internal review of Owens Corning's year-over-year operational performance, management excludes from net earnings attributable to Owens Corning certain items it believes are not the result of current operations. The adjusted financial measure resulting from these adjustments is used internally by Owens Corning for various purposes, including reporting results of operations to the Board of Directors, analysis of performance, and related employee compensation measures. Although management believes that these adjustments result in a measure that provides it a useful representation of its operational performance, the adjusted measure should not be considered in isolation or as a substitute for net earnings attributable to Owens Corning as prepared in accordance with accounting principles generally accepted in the United States.
Adjusting items are shown in the table below (in millions):
Charges related to cost reduction actions and related items
Total adjusting items
The reconciliation from net earnings attributable to Owens Corning to Adjusted EBIT is shown in the table below (in millions):
NET EARNINGS (LOSS) ATTRIBUTABLE TO OWENS CORNING
Income tax expense
Less: adjusting items from above
ADJUSTED EBIT
EPS Reconciliation Schedules
(in millions, except per share data)
For purposes of internal review of Owens Corning's year-over-year operational performance, management excludes from net earnings attributable to Owens Corning certain items it believes are not the result of current operations. The adjusted financial measures resulting from these adjustments are used internally by Owens Corning for various purposes, including reporting results of operations to the Board of Directors, analysis of performance and related employee compensation measures. Although management believes that these adjustments result in measures that provide it a useful representation of its operational performance, the adjusted measures should not be considered in isolation or as a substitute for net earnings attributable to Owens Corning as prepared in accordance with accounting principles generally accepted in the United States.
A reconciliation from net earnings attributable to Owens Corning to Adjusted Earnings and a reconciliation from diluted earnings per share to adjusted diluted earnings per share are shown in the tables below:
RECONCILIATION TO ADJUSTED EARNINGS
Net earnings attributable to Owens Corning
Adjustment to remove adjusting items net of tax
Adjustment to tax expense to reflect pro forma tax rate*
ADJUSTED EARNINGS
RECONCILIATION TO ADJUSTED DILUTED EARNINGS PER SHARE
ATTRIBUTABLE TO OWENS CORNING COMMON STOCKHOLDERS
DILUTED EARNINGS PER COMMON SHARE ATTRIBUTABLE
TO OWENS CORNING COMMON STOCKHOLDERS
Adjustment to tax expense to reflect a pro forma tax rate*
ADJUSTED DILUTED EARNINGS PER SHARE
RECONCILIATON TO DILUTED SHARES OUTSTANDING
Weighted-average shares outstanding
used for basic earnings per share
Non-vested restricted shares
Options to purchase common stock
Diluted shares outstanding
* Pro forma tax rates used were 25% in 2012 as this is the expected full-year effective tax rate, and, 21% in 2011 as this was the effective tax rate of the Company in 2011.
(in millions)
Dec. 31,
Receivables, less allowances of $18 at Mar. 31, 2012 and $15 at Dec. 31, 2011
Property, plant and equipment, net
Other non-current assets
LIABILITIES AND EQUITY
Long-term debt - current portion
Long-term debt, net of current portion
Pension plan liability
Other employee benefits liability
OWENS CORNING STOCKHOLDERS' EQUITY
Preferred stock, par value $0.01 per share (a)
Common stock, par value $0.01 per share (b)
Additional paid in capital
Accumulated earnings
Accumulated other comprehensive deficit
Cost of common stock in treasury (c)
Total Owens Corning stockholders' equity
TOTAL LIABILITIES AND EQUITY
10 shares authorized; none issued or outstanding at Mar. 31, 2012 and Dec. 31, 2011
400 shares authorized; 135.3 issued and 121.6 outstanding at Mar. 31, 2012; 134.4 issued and 120.9 outstanding at Dec. 31, 2011
13.7 shares at Mar. 31, 2012 and 13.5 shares at Dec. 31, 2011
NET CASH FLOW USED FOR OPERATING ACTIVITIES
Adjustments to reconcile net earnings to cash provided by operating activities:
Gain on sale of businesses and fixed assets
Provision for pension and other employee benefits liabilities
Stock-based compensation expense
Other non-cash
Pension fund contribution
Payments for other employee benefits liabilities
NET CASH FLOW USED FOR INVESTING ACTIVITIES
Additions to plant and equipment
Proceeds from the sale of assets or affiliates
NET CASH FLOW PROVIDED BY FINANCING ACTIVITIES
Proceeds from senior revolving credit and receivables securitization facilities
Payments on senior revolving credit and receivables securitization facilities
Payments on long-term debt
Net increase (decrease) in short-term debt
Purchases of treasury stock
Effect of exchange rate changes on cash
Net increase in cash and cash equivalents
Cash and cash equivalents at beginning of period
CASH AND CASH EQUIVALENTS AT END OF PERIOD
Segment and Business Information
The table below provides a summary of net sales, EBIT and depreciation and amortization expense for the Composites segment (in millions):
% change from prior year
EBIT as a % of net sales
Depreciation and amortization expense
The table below provides a summary of net sales, EBIT and depreciation and amortization expense (in millions) for the Building Materials segment
and our businesses within this segment (in millions):
Total Building Materials
Corporate, Other and Eliminations
The table below provides a summary of EBIT and depreciation and amortization expense for the Corporate, Other and
Eliminations category (in millions):
General corporate expense and other
SOURCE Owens Corning


Below you can see a short list of customers who trusted Thermicroll®. These are just a few of the Italian companies that have chosen our industrial closures from a wide range of industrial doors. Discover our insulated industrial shutters and industrial roll-up doors.
Companies that have chosen Thermicroll industrial closures.
The companies that have selected us are our best business card and a source of pride. We at Thermicroll know very well what it means to help solve logistical problems!
Engineers, technicians, consultants, researchers and developers form a dynamic and highly problem-solving oriented team. For any need, we are always ready to listen to customers' needs.
During the operational phases, we ensure that the customer can rely on a staff of technicians and professionals to follow him step by step in all situations. From the design of speed doors to their construction, we analyse the customer's needs on a case-by-case basis and follow them through all stages of the process.
From the first steps of your choice to the complete realization and installation of the industrial closure, we never neglect technical assistance during and after the sale.
Finally, there is no staff member, from the technical office to the commercial network, who is not a professional specialized in his field. Our production department works almost 24 hours a day to make our industrial closures suit every need.
Every day, our vehicles travel all over the country to reach our customers and deliver the required products. In the same way, our assembly teams travel miles and miles to install the new industrial closures and ensure technical assistance to our customers.
This list is constantly updated, so we hope to be able to add your company logo soon!
Details and descriptions of the installations can be found in our case histories.
For a quick and free quote in 24 hours please contact us.


text:
mod explorer;
pub use explorer::explorer::Explorer;

mod explorer_factory;
pub use explorer::explorer_factory::ExplorerFactory;
pub use explorer::explorer_factory::ExplorerFactoryImpl;

mod monte_carlo_explorer;
mod random_explorer;

#[cfg(test)] mod random_explorer_test;

redpajama_set_name: RedPajamaGithub


It is a moon cake case. The special thing about it is that it is red and red means good in Chinese culture. We have this cake in October, for the festival celebrating the harvest of the year. Family members get together and have dinner.
This item was submitted by Jiaqi Li.


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HGSCEA publications
HGSCEA MEMBER PUBLICATIONS
Publications for the past five years are listed below.
Marsha Morton, "Max Klinger's Brahmsphantasie: The Physiological Sublime, Embodiment, and Male Identity," in Nineteenth-Century Art Worldwide, Vol. 21, Issue 1, Spring 2022.
Morgan Ridler, "Color and Architecture: Walter Gropius and Bauhaus Wall Painting Workshop in Collaboration, 1922-1926," Architectural Histories, 10 no. 1 (2022): 1-27.
Isabel Rousset, 'The Kleinhaus and the politics of localism in German architecture and planning, c. 1910', Urban Planning 7:1 (2022), 254–66
James A. van Dyke, "Modernism and the State: German Art Academies in Crisis during the Weimar Republic," Kunstchronik (Munich) 75, no. 5 (May 2022): 218-26.
Andres Zervigon, "Visual Explosion in the Weimar Era's Print Media." In Material Modernity: Innovations in Art, Design and Architecture in the Weimar Republic, edited by Deborah Ascher Barnstone and Maria Makela, 115-139. London: Bloomsbury, 2022.
Jenny Anger "Sonja Sekula and 'Art of the Mentally Ill.'" American Art 35, no. 1 (2021): 94-113.
____."Midcentury Multiplicity." In A Future We Begin to Feel: Women Artists 1921-1971, edited by Emma Wippermann, 20-25. New York: Rosenberg and Co., 2021.
____."Henryk Berlewi, Mechano-Facture, 1924." In Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939: The Merrill C. Berman Collection, edited by Jodi Hauptman and Adrian Sudhalter, 146-51. New York: Museum of Modern Art, 2020.
Eva Forgacs "Cezanne and the Bauhaus", in Judit Gesko, ed., Cezanne to Malevich. Arcadia to Abstraction, Museum of Fine Art, Budapest, 2021.
Keith Holz,"Witness to Global Realignments and Human Suffering: Oskar Kokoschka in Post-War London." In: Sites of Interchange: Modernism, Politics, and Culture in Britain and Germany, 1919-1951." Edited by Lucy Wasensteiner. Series: German Visual Culture, Vol. 8. Series editor: Christian Weikop. New York and Frankfurt: Peter Lang Publishing, 2021, 283-302.
____."Oskar Kokoschkas Amerika Kampagne," & "Oskar Kokoschka's American Campaign." In: Oskar Kokoschka: New Perspectives. Edited by Régine Bonnefoit and Bernadette Reinhold. Berlin: deGruyter Verlag, 2021, 168-186, 187-203. (print & e-book editions)
____."Handicrafts under duress: interwar representations in word and image of German Bohemian glass workers." In: Modern Realist Approaches across the Czechoslovak Scene, 1918-1945. Ivo Haban & Anna Habanová, eds., Stephan von Pohl, translator. Liberec: Regional Art Gallery & Liberec: National Heritage Institute, English edition, 2021, 130-147.
Elizabeth Otto "Leni Riefenstahl's Nazi Neoclassicism: Olympia." A Modernist Cinema: Film Art from 1914 to 1941. Ed. Scott W. Klein and Michael Valdez Moses. Oxford: Oxford University Press, 2021, 259–78.
____."Sofie Korner: Die Pionieren" and "Lotte Rothschild: Ein Leben auf der Suche nach der Zukunft," Vergessene Bauhaus-Frauen: Lebensschicksale in den 1930er und 1940er Jahren, ed. Anke Blümm and Patrick Rössler. Weimar: Klassik Stiftung Weimar & Universität Erfurt, 2021, 30–33, 70–75.
Isabel Rousset, 'Those Who Live in Glass Houses Shouldn't Throw Stones' in Activism at Home: Architects Dwelling between Politics, Aesthetics and Resistance, eds. Janina Gosseye and Isabelle Doucet (Berlin: Jovis, 2021), pp. 27–37
Sherwin Simmons ""Malerische Dichtungen": Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner"Zeitschrift für Kunstgeschichte, vol. 84, no. 3, 2021, pp. 379-407. https://doi.org/10.1515/ZKG-2021-3004
Andres Zervigon "The Timeless Imprint of Erna Lendvai-Dircksen's Face of the German Race." In Photography in the Third Reich: Art, Physiognomy and Propaganda, edited by Christopher Webster. Cambridge (UK): Open Book Publishers, January 2021.
Rosemarie Haag Bletter, "Mx. Gropius: Nonbinary Doings at the Bauhaus," review of Jana Revedin's Jeder Hier Nennt Mich Frau Bauaus: Das Leben der Ise Frank (Cologne: Dumont, 2018) in West 86th: A Journal of Decorative Arts, Design History, and Material Culture (vol. 26, no 2) Fall-Winter 2019, pp. 309-13. [expanded version of essay published in A Book for Mary, 2020].
____. "Strangers in a Strange Land: Bruno Taut and Charlotte Perriand as Design Consultants in Japan," Book for Mary: Sixty on Seven [ Festschrift for Mary McLeod], Irena Lehkozivova and Joan Ockman, eds. (Brno, Czech.: Quatro Print, 2020) 68-80.
____."Strangers in a Strange Land: Bruno Taut and Charlotte Perriand as Design Consultants in Japan," West 86th:A Journal of Decorative Arts, Design History, and Material Culture (27:2) Fall-Winter 2020 [published in 2021].
Elizabeth Cronin "Modern Children by Modern Women" in The New Women Behind the Camera, ed. Andrea Nelson (Washington, D.C.: National Gallery of Art, 2020), 115-125.
Elizabeth Cronin and Jessica Keister, "Polar Expeditions: A Photographic Landscape of Sameness?" in Proximity and Distance in Northern Landscape Photography: Contemporary Criticism, Curation and Practice, eds. Darcy White and Chris Goldie (Bielefeld: Transcript, 2020), 35-55.
Eva Forgacs "The New Aesthetic of the Late Nineteen Twenties. Reconsidering the Periodization of the Interwar Avant-Gardes," Acta Historiae Artium, Vol. LXI, Budapest, Akadémiai Kiadó, 2020.
_____."The Inconceivable Reality. Amateur Photography and Professional Painting", Moritz Baßler, Ursula Frohne, David Ayers, Sascha Bru and Benedikt Hjartarson eds., Realisms of the Avant-Garde,Berlin, Boston, DeGruyter, 2020.
_____."The Bauhaus Paradox. Creativity, freedom, and the lasting legacy of the Bauhaus in Hungary", in Dora Hegyi, Zsuzsa Laszlo, eds.: Creativity Exercises: Emancipatory Pedagogies in Art and Beyond, Berlin: Sternberg Press, 2020.
Juliet Koss. "Liubov Popova, Production Clothing for Actor No. 7, 1922," in Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939, ed. Jodi Hauptman and Adrian Sudhalter. New York: Museum of Modern Art exh. cat., 2020, 64-67.
_______."Red Flags," invited response to "The Future of Avant-Garde Studies: A European Round Table, 2010" (with Wolfgang Asholt, Peter Bürger, Éva Forgács, Benedikt Hjartarson and Piotr Piotrowski, moderated by Hubert van den Berg), Journal of Avant-Garde Studies 1 (inaugural issue, July 2020).
Irena Kossowska "Reframing National Identity: Official Art Exhibitions on Tour in Central and Eastern Europe" in Terms. Proceedings of the 34th World Congress of Art History (eds. Shao Dazhen, Fan Di'an, LaoZhu (Zhu Qingsheng), Comité International d'Histoire de l'Art (CIHA), Central Academy of Fine Arts, Peking University, 15-19.09.2016, Beijing: The Commercial Press, 2020).
_______."A Quest for a 'New Man': Bruno Schulz and Giorgio de Chirico" in the sixth volume of the series European Avant-Garde and Modernisms Studies titled Realisms of the Avant-Garde (eds. Moritz Baßler, Benedikt Hjartarson, Ursula Frohne, David Ayers and Sacha Bru, Berlin: De Gruyter 2020; DOI: https://doi.org/10.1515/9783110637533)
Rose-Carol Washton Long "Is the Blaue Reiter Relevant for the Twenty-First Centruy? A Discussion of Anarchism, Art, and Politics." In The Blaue Reiter. Edited by Dorothy Price. Manchester: Manchester University Press, 2020: 15-33.
Megan R. Luke, "The Factotum of Industry: Max Klinger's Beethoven," kritische berichte 48, no. 3 (2020): 81–94.
Elizabeth Otto "ringl + pit and the Queer Art of Failure," October 173 (Sept. 2020): 37–64. https://bit.ly/3m5sKq8 .
Isabel Rousset, 'The Worker's House', Architectural Theory Review 24:1 (2020), 46–68
James A. van Dyke, "German Art and War in the Year 1932," Oxford German Studies, 49, no. 4 (December 2020): 336-62. Special issue: Aftermath – German Culture in the Wake of World War I, edited by Catherine Smale and Tara Talwar Windsor.
____. "On Masculinity and Male Sexuality in Ernst Ludwig Kirchner's Soldiers' Bath," Art History 43, no. 5 (November 2020): 892-926.
Andres Zervigon "Photography, Truth, and the Radicalized Public Sphere in Weimar Germany." In Photography and Its Publics, edited by Melissa Miles and Edward Welch. London: Bloomsbury, January 2020.
____. "Is Photomontage Over?" Special issue of History of Photography coedited with Sabine Kriebel (University College Cork, Ireland). Zervigón's article "The Photomontage Activity of Postmodernism" is published along with the coauthored introduction. January 2020.
____. "L'image prolétarienne entre agitation politique et sobriété réaliste. L'Arbeiter Illustrierte Zeitung et le mouvement photographique ouvrier allemand," in special issue devoted to worker photography, Transbordeur Nr. 4 (2020): 38-49.
____. "Fünf Finger hat die Hand." Essay on the John Heartfield poster of the same name for catalog accompanying the exhibition "Engineer, Agitator, Constructor – The Merrill C. Berman Collection at MoMA," Museum of Modern Art, Spring 2020.
____. "Produktive Beziehungen. John Heartfield und Willi Münzenberg."Essay for the catalog accompanying the exhibition Fotografie plus Dynamit. Zeitschnitt, curated & edited by Angela Lammert, Akademie der Künste, Berlin, March 2020, 38-45.
"Talking About the Bauhaus: Rosemarie Haag Bletter, Barry Bergdoll, and Mary McLeod," Architectural Record, June 2019.
Kathryn Brush, "Carl Georg Heise and the USA: New Perspectives on the History of Harvard's Germanic Museum and Lübeck's Museum für Kunst- und Kulturgeschichte," Marburger Jahrbuch für Kunstwissenschaft 45 (2018/19), pp. 7-60.
Jay A. Clarke, "Kollwitz, Gender, Biography, and Social Activism," Käthe Kollwitz: Prints, Process, Politics, ed. Louis Marchesano (Getty Research Institute, 2019), 40-56.
Elizabeth Cronin, "Heimatfotografie in Tirol 1938-1945: Eine flexible Sicht der Dinge" in Zwischen Ideologie, Anpassung und Verfolgung: Kunst und Nationalsozialismus in Tirol (Innsbruck: Tiroler Landesmuseen, 2019), 252-261.
Eva Forgacs, "The International of the Square. Reception of the Russian Avant-Garde Abroad 1920s-1970s", in Silvia Burini, ed.: Translations and Dialogues: The Reception of Russian Art Abroad, Europa Orientalis, No. 31, Salerno, 2019, pp. 207-216.
Susan Funkenstein, "Paul Klee and the New Woman Dancer: Gret Palucca, Karla Grosch, and the Gendering of Constructivism," in Bauhaus Bodies, eds. Elizabeth Otto and Patrick Rössler. (New York: Bloomsbury Academic, 2019, 145-67)
Philip Goad, Ann Stephen, Andrew McNamara, Harriet Equist, Isabel Wünsche (ed.), BAUHAUS DIASPORA: Transforming Education through Art, Design and Architecture, Melbourne: Melbourne University Publishing; Sydney: Power Publications, 2019.
Tomasz Grusiecki, 'Michał Boym, the Sum Xu, and the Reappearing Image'. Journal of Early Modern History 23, no. 2/3 (2019): 296–324.
Charlotte Healy, "Knotted, Woven, Unraveling: Textile as Structure in the Work of Paul Klee," in Textile Moderne / Textile Modernism, ed. Burcu Dogramaci (Cologne: Böhlau, 2019), 119–30.
Keith Holz, "Why defend Degenerate Art?" in Arte Degenerada – 80 Anos: Repercussões No Brasil. Edited by Helouise Lima Costa and Daniel Rincon Caires. Museu De Arte Contemporânea da Universidade de São Paulo, 2019, 47-65.
Rose-Carol Washton Long, "Dangerous Portraits? Lotte Jacobi's Photos of Uzbek and Tajik Women," Women's Art Journal , fall/winter 2019, pp. 14-23.
Kristina Jõekalda A Socialist Realist History? Writing Art History in the Post-War Decades. Eds. Krista Kodres, Kristina Jõekalda, Michaela Marek. (Das östliche Europa. Kunst- und Kulturgeschichte 9.) Köln, Weimar, Wien: Böhlau Verlag, 2019, 280 pp
Kristina Jõekalda, "Monuments as a Responsibility: Baltic German Learned Societies and the Construction of Cultural Heritage around 1900." Zeitschrift für Ostmitteleuropa-Forschung / Journal of East Central European Studies 2019, vol. 68, no. 2, pp. 189–222.
Sharon Jordan "He is a Bridge: The Importance of Friedrich Nietzsche for Ernst Ludwig Kirchner" essay in Jill Lloyd and Janis Staggs, editors, Ernst Ludwig Kirchner (New York: Neue Galerie and Prestel Verlag, 2019). Exhibition catalogue published in conjunction with the retrospective Ernst Ludwig Kirchner, on view at the Neue Galerie New York until mid-January 2020.
Marsha Morton, "Rudolf von Eitelberger and Leopold Carl Müller: Constructing a Genre of Viennese Orientalism" in Rudolf Eitelberger von Edelberg: Netzwerker der Kunstwelt, Eva Kernbauer, Kathrin Porkorny-Nagel,Raphael Rosenberg, Julia Rüdoger, Patrick Werkner, and Tanja Jenni, eds.., Vienna: Böhlau Verlag, 2019, pp. 291-312.
Eleanor Moseman "Navigating Partnership: German Surrealist Ellida Schargo von Alten, Richard Oelze, and Cross-Fertilization in the Visual Arts," was published in Feminist German Studies 34 (2019): 75-100.
Dorothy Price and Camilla Smith (eds.) 'Weimar's Others: Art history, alterity and regionalism in inter war Germany' Special Issue Art History 42.4 September 2019 (Wiley Blackwell)
https://arthistoryjournal.org.uk/issues/september-2019/
Morgan Ridler, "Dörte Helm, Margaret Leiteritz, and Lou Scheper–Berkenkamp: Rare Women of the Bauhaus Wall-Painting Workshop," In Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism's Legendary Art School, edited by Elizabeth Otto and Patrick Rössler, (Bloomsbury Academic, 2019) 195-216.
________. "Paint it Red: The Squares, Cubes and Doors of the Bauhaus" Source: Notes in the History of Art (Spring 2019).
Sherwin Simmons, "Under the Flicker of Arc Light: Color in Ernst Ludwig Kirchner's Paintings of Berlin, 1912-14." Essay in exhibition catalogue Ernst
Ludwig Kirchner, ed. by Jill Lloyd and Janis Staggs, Neue Galerie, New
York City, October 3, 2019 – January 13, 2020, pp. 62-84.
James A. van Dyke, "Style," Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (special issue: "Keywords for Marxist Art History Today," ed. Andrew Hemingway and Larne Abse Gogarty) 21 (2019): 149-56.
____. "On the Possibility of Resistance in Two Silverpoints by Otto Dix," in: Art and Resistance in Germany, ed. Elizabeth Otto and Deborah Ascher Barnstone (New York: Bloomsbury Visual Arts, 2019), 151-72.
____. "Dix und die Illustrierte Moderne," in: Egger-Lienz und Otto Dix: Bilderwelten zwischen den Kriegen, ed. Helena Pereña and Astrid Flögel, exh. cat. Tiroler Landesmuseen, Innsbrück and Zeppelin Museum, Friedrichshafen (Munich: Hirmer, 2019). 137-49.
Isabel Wünsche, "Terra incognita? Die erste australische Bauhaus-Ausstellung 1961 in Melbourne," in Bauhaus ausstellen, ed. Franziska Bomski, Hellmut Th. Seemann and Thorsten Valk, Göttingen: Wallensteinverlag 2019 (Jahrbuch der Klassik Stiftung Weimar), 219-238.
_____. "die abstrakten hannover – utopian designs for a new world," in Groups, Coteries, Circles and Guilds. Modernist Aesthetics and the Utopian Lure of Community, ed. Laura Scuriatti, Frankfurt Main: Peter Lang, 2019, 225-247.
Andres Zervigon "Photography Studies and Germany" in the feature "Forum: Visual Studies—The Art Historian's View," The German Quarterly 92.2 (Spring 2019), 266-268
Andres Zervigon "Ontology or Metaphor?" in Photography and Ontology: Unsettling Images, eds. Donna West Brett and Natalya Lusty (London: Routledge Books, 1919), 10-23.
Eric Anderson, "Dreams in Color: Sigmund Freud's Decorative Encounters," in Elana Shapira, ed., Design Dialogue: Jews, Culture and Viennese Modernism(Vienna: Böhlau, 2018), 161-178.
Jenny Anger. Four Metaphors of Modernism: From Der Sturm to the Société Anonyme (University of Minnesota Press 2018)
Deborah Ascher Barnstone, Elizabeth Otto, Art and Resistance in Germany (Bloomsbury Visual Arts, 2018)
Jean Marie Carey, "The Tempest and the Savages: Franz Marc, Hugo Ball, and a Decisive Moment in Expressionist-Dada Theater with a Special Appearance by August Macke" in The Empty Mirror (February 2018).
Elizabeth Cronin, "Paris 1937: Promoting Austria Abroad" Austriaca. Cahiers universitaires d'information sur l'Autriche no. 83 (Dec 2016), 103-116. (belatedly published in 2018)
Eva Forgacs, "Vajda az Európai avantgárdban és azon kívül" (Vajda in the European avant-garde and outside it) in György Petőcz, ed.: Vajda Lajos. Exhibition in the Ferenczy Cultural Center, Szentendre, 2018. Bilingual catalog.
________."Suprematism: a Shortcut into the Future: the Reception of Malevich by Polish and Hungarian Artists during the Inter-War Period", in Christina Lodder, ed., Celebrating Suprematism. New Approaches to the Art of Kazimir Malevich, London: Brill, 2018.
Tom Grusiecki 'Uprooting Origins: Polish-Lithuanian Art and the Challenge of Pluralism'. In Globalizing East European Art Histories: Past and Present, ed. Beáta Hock and Anu Allas, 25–38. New York: Routledge, 2018.
Charles Haxthausen, "Handbook," along with translation of Carl Einstein's prospectus for his "Handbook of Art," in: Neolithic Chidlhood: Art in a False Present, c. 1930, ed. Anselm Franke and Tom Holert, exh. cat. Berlin: Haus der Kulturen der Welt/ Diaphanes Verlag, 2018, 22–33, 129–131.
Keith Holz, "Questions of German-Bohemian Art and New Objectivity." Opuscula historiae atrium 67, no. 2. Masaryk University, Brno, December 2018, 16-25.
Keith Holz, "The United States tour of 20th Century (Banned) German Art / Ausstellungstournee 20th Century (Banned) German Art durch die USA." London 1938. Martin Faass and Lucy Wasensteiner, eds. Berlin: Villa Max Liebermann and London: Wiener Library. Zurich: Nimbus Verlag, 2018, 214-233.
Keith Holz, "Not only biographies: a brief institutional history of German and Austrian exiled artist groups," in INSIDERS/OUTSIDERS: Refugees from Nazi Europe and their Contribution to British Culture. Edited by Monica Bohm-Duchen. London: Lund Humphries, 2018, 214-225.
Rebecca Houze, "Emilie Bach (1840-1890): Education Reformer, Critic, and Art Embroiderer in the Era of Franz Joseph I." In Design Dialog: Der jüdische Beitrag zur Wiener Moderne/ Design Dialogue: Jews, Culture and Viennese Modernism. Edited by Elana Shapira. Vienna: Böhlau Verlag, 2018.
Kristina Jõekalda, Cherished and Perished Monuments: Some 19th-Century Cases of Renovation in the Baltic Heimat. – Stephanie Herold, Anneli Randla, Ingrid Scheurmann (Eds.). Re-Nationalisierung oder Sharing Heritage? Wo steht die Denkmalpflege im europäischen Kulturerbejahr 2018. (Veröffentlichungen des Arbeitskreises Theorie und Lehre der Denkmalpflege e.V. 28.) Holzminden: Verlag Jörg Mitzkat / Heidelberg: arthistoricum.net, 2018, pp. 32-41.
Andrew McNamara, Ann Stephen, and Isabel Wünsche, "Refugees and émigrés to Australia, 1930-1950: Three cases of light, colour and material studies in the Antipodes under the shadow of fascism and war," in Migration Processes and Artistic Practices in Wartime, Lisbon: Artistic Studies Research Centre (CIEBA), Faculdade de Belas-Artes da Universidade de Lisboa, 2018, 271-289.
Morgan Ridler "Hinnerk Scheper and Lou Scheper-Berkenkamp's Architecture and Color: Bauhaus Wall Painting in the Soviet Union," Translation and Introduction, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, 25 no 1 (Spring–Summer 2018)
Isabel Rousset, 'Satirical Representations of the Bauhaus Architect in Simplicissimus Magazine' in Fashioning Professionals: Identity and Representation at Work in the Creative Industries, eds. Leah Armstrong and Felice McDowell (London: Bloomsbury, 2018), pp. 103–20
Sherwin Simmons, "'Notched with a Pocket Knife on a Table's Edge': George Grosz's Answer to War Graphics, 1914-16," in special (Dada, War and Peace) of Dada/Surrealism, no. 22 (2018). E-Journal at the University of Iowa
https://urldefense.proofpoint.com/v2/url?u=http-3A__ir.uiowa.edu_dadasur_&d=DwIDaQ&c=HUrdOLg_tCr0UMeDjWLBOM9lLDRpsndbROGxEKQRFzk&r=Kd6o8WhIWsa08o8FIIG1LL36mij24K_EIEGOJzu-VLk&m=ceA3ZO2btWH9cKrNKeOQZo-NtHHBaqCRDg5IGmwqg0I&s=R4DX5CyyZ51kKMvzJHrA_3xLqir2xID7EqVJaCqO1cQ&e=
_______. "The Dancer's Revenge: Dance/Pantomime and the Emergence of Ernst Ludwig Kirchner's Fantasy Pictures, 1912-15," Dance Chronicle. Studies in Dance and the Related Arts, Vol. 41, no. 2, (2018), pp. 121-57.
Joyce Tsai Laszlo Moholy-NagyPainting after Photography, (University of California Press 2018)
Isabel Wünsche, The Routledge Companion to Expressionism in a Transnational Context, (Routledge 2018)
_____. "The Novembergruppe Writes Absolute Film History," in Freedom: The Art of the Novembergruppe 1918-1935, exh. cat., Berlin: Berlinische Galerie, 2018, 168-175.
_____. "'Der Absolute Film.' Matinee der Novembergruppe und Ludwig Hirschfeld-Macks Reflektorische Farbenspiele," in Novembergruppe 1918: Studien zu einer interdisziplinären Kunst für die Weimarer Republik, Münster: Waxmann, 2018 (Veröffentlichungen der Kurt-Weill-Gesellschaft Dessau Bd. 10), 169-180.
_____. "Lebendigkeit und Unsterblichkeit in der Kunst der Organischen Schule der russischen Avantgarde," INTERJEKTE 12, 2018, 25-32.
http://www.zfl-berlin.org/publikationen-detail/items/unsterblichkeit.html
_____. "Von der Metaphysik zur Psychophysik: Reflexionen zum Wesen des künstlerischen Schaffensprozesses in den kunsttheoretischen Schriften von Nikolaj Kulbin und Wassily Kandinsky," in Literatur und menschliches Wissen, ed. Helena Ulbrechtova, Frank Thomas Grub, Edgar Platen, and Siegfried Ulbrecht, Berlin: Kulturverlag Kadmos, 2018, 194-215.
Megan Brandow-Faller (Ed.) Childhood by Design: Toys and the Material Culture of Childhood, 1700-Present, (Bloomsbury 2017)
Carey, Jean Marie. "Affen in Eden" in Avenue, Vol. 4 (September 2017).
_____. "To Never Know You: Archival Photographs of Franz Marc and Russi Marc in Antennae: The Journal of Nature in Visual Culture, Vol. 41 (September 2017).
_____. "Between Something and Nothing: Franz Marc's Authorial Ether" in The Empty Mirror (July 2017).
_____. "Alfred Flechtheim: Kunsthandler der Moderne" in Journal of Visual Art Practice, Volume 17, Issue 3 (August 2017)
Tom Grusiecki 'Foreign as Native: Baltic Amber in Florence'. World Art 7, no. 1 (2017): 3–36.
Rebecca Houze, " 'A Revelation of Grace and Pride': Cultural Memory and International Aspiration in Early Twentieth-Century Hungarian Design." In Expanding Nationalisms At World Fairs: Identity, Diversity And Exchange, 1851-1915. Edited by David Raizman and Ethan Robey.London: Routledge, 2017.
Frauke V. Josenhans, Marijeta Bozovic, Joseph Leo Koerner, Megan R. Luke, and Suzanne Boorsch. Artists in Exile: Expressions of Loss and Hope. (New Haven: Yale University Art Gallery, 2017).
Vittorio Magnago Lampugnani and Rainer Schützeichel (Eds.) Die Stadt als Raumentwurf Theorien und Projekte im Städtebau seit dem Ende des 19. Jahrhunderts, Berlin/Munich: Deutscher Kunstverlag, 2017
Sabine T. Kriebel and Andrés Mario Zervigón. Photography and Doubt. (London: Routledge, 2017).
Marsha Morton, "Picturing the Perils of Greed: Kladderadatsch and the 1873 Financial Crash," Journal of Illustration, vol. 4, issue 2, Fall 2017.
Eleanor Moseman, "Die Zukunft der Vergangenheit: Richard Oelze and Post-War Reflection," appeared in the Zeitschrift für Kunstgeschichte 80 (February 2017): 126-155.
Øystein Sjastad, Christian Krohg's Naturalism, (University of Washington Press 2017)
James A. van Dyke, "Paul Mathias Paduas Leda mit dem Schwan, zeitgeschichtlich betrachtet," in: vermacht. verfallen. verdrängt. Kunst und Nationalsozialismus, ed. Christian Fuhrmeister, Monika Hauser-Mair, Felix Steffan, exh. cat. Städtische Galerie Rosenheim (Petersberg: Michael Imhof Verlag, 2017), 55-64.
____. "Dix Petrified," in: Art and War (German Visual Culture series), ed. Deborah Ascher Barnstone and Barbara McCloskey (Oxford: Peter Lang, 2017), 103-27.
____. "On the Challenge of Nazi Art," German Quarterly 90, no. 3 (2017): 366-8.
Andres Mario Zervigon. Photography and Germany. (London: Reaktion Books, 2017).
Isabel Wünsche, "Natural Phenomena and Universal Laws: The Organic School of the Russian Avant-garde," in Natural-Unnatural: Organicity and the Avant-garde, ed. Paulina Kurc-Maj und Aleksandra Jach, exh. cat., Lodz: Museum Sztuki, 2017, 185-206.
_____. "Transgressing National Borders and Artistic Styles: The November Group and the International Avant-Garde in Berlin during the Interwar Period," in Art/Histories in Transcultural Dynamics, Late 19th to Early 21st Centuries, Munich: Wilhelm Fink, 2017, 291-307.
Shulamith Behr, "Ludwig Meidner, Exile, Creativity and Holocaust Awareness", in exh. cat. Eavesdropper on an Age – Ludwig Meidner in Exile (Horcher in die Zeit – Ludwig Meidner im Exil), English–German edition, ed. Museum Giersch der Goethe-Universität and Jüdisches Museum der Stadt Frankfurt (Munich: Hirmer, 2016), pp. 148-165.
Shulamith Behr, "Performing the wo/man: the 'interplay' between Marianne Werefkin and Else Lasker-Schüler", in Marianne Werefkin and the Women Artists in her Circle, ed. Tanja Malycheva and Isabel Wünsche, (Leiden/Boston: Brill/Rodopi, 2016), pp. 92-105.
Benus, Benjamin, and Wim Jansen. "The Vienna Method in Amsterdam: Peter Alma's Office for Pictorial Statistics." Design Issues 32, no. 2 (2016): 19-36.
Bourneuf, Annie. Paul Klee. L'ironie à l'œuvre, ed. Angela Lampe (2016).
_____. R. H. Quaytman, Chapter 29: Haqaq (Tel Aviv: Tel Aviv Museum of Art, 2016).
Dadaglobe Reconstructed. With Contributions by Adrian Sudhalter, Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner, and Karl D. Buchberg. University of Chicago Press, 2016 http://press.uchicago.edu/ucp/books/book/distributed/D/bo23398461.html
Carey, Jean Marie. "The Indexicality of Animalisierung: Remediating Franz and Russi Marc," in Antennae: The Journal of Nature in Visual Culture, Volume 37. (December 2016) (forthcoming).
_____. "Eyes Be Closed: Franz Marc's "Liegender Hund im Schnee"," in TextPraxis: Digitales Journal für Philologie 12 (May 2016). [ http://www.uni-muenster.de/Textpraxis/sites/default/files/beitraege/jean-marie-carey-eyes-be-closed.pdf ]
Cronin, Elizabeth. "Traditional Modern becomes a Modern Tradition: Heimat Photography in Austria" in Anti:Modern; Salzburg inmitten von Europa zwischen Tradition und Erneuerung, ed. Sabine Breitwieser (Munich: Hirmer, 2016), 288-292.
Eisman, April. "From Double Burden to Double Vision: The "Doppelgaenger" in Doris Ziegler's Paintings of Women in East Germany," in The Doppelgaenger (German Visual Culture 3), ed. Deborah Ascher Barnstone (Oxford: Peter Lang, 2016) 45-66.
Forgacs, Eva. "On Terminology" Umeni (Prague) 2016/1.
Grusiecki, Tomasz, 'Connoisseurship from Below: Art Collecting and Participatory Politics in Poland-Lithuania, 1587–1648', Journal of the History of Collections, first published online 1 July 2016, doi: 10.1093/jhc/fhw021
Haxthausen, Charles W. "Renaissance Reconsidered: Carl Einstein on De Cimabue à Tiepolo, 1935," in: Historiographie der Moderne: Carl Einstein, Paul Klee, Robert Walser und die gegenseitige Erhellung der Künste, edited by Michael Baumgartner, Andreas Michel, and Reto Sorg, Munich: Wilhelm Fink Verlag, 2016 (September 2016).
_____. "Les genres parodiques de Klee," in: Paul Klee: l'ironie à l'œuvre ed. Angela Lampe (catalogue of an exhibition at the Musée National d'Art Moderne, Centre Georges Pompidou, Paris, April 2016), 159-165. [ English Version: "Klee's Parodic Genres," in: Paul Klee: Irony at Work, Munich: Prestel Verlag, 2016 159-164.]
Huebner, Karla. "Inter-War Czech Women's Magazines: Constructing Gender, Consumer Culture and Identity in Central Europe," Women in Magazines: Research, Representation, Production, and Consumption, Sue Hawkins, Nicola Phillips, Rachel Ritchie, S. Jay Kleinberg, eds. Routledge, 2016, 66-80.
Malycheva, Tanja, and Isabel Wünsche. Marianne Werefkin and the Women Artists in Her Circle.Amsterdam: Brill/Rodopi, 2016. http://booksandjournals.brillonline.com/content/books/9789004333147.
Sawicki, Nicholas Ed. Friedrich Feigl, 1884-1965. Contributions by Rachel Dickson, Zuzana Duchková, Arno Pařík, Sarah MacDougall, and Nicholas Sawicki. Arbor Vitae and Galerie výtvarného umění v Chebu, 2016.http://cupress.cuni.cz/ink2_ext/index.jsp?include=podrobnosti&id=312253
James A. van Dyke, "Otto Dix's Triptych The War," Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (special issue: "Hauptwerke politischer Kunst im 20. Jahrhundert/Icons of 20th-Century Political Art," ed. Andrew Hemingway and Norbert Schneider), 18 (2016): 25-35.
____. "Franz Seraph von Lenbach, Portrait of Prince Otto von Bismarck (1884-90)," in: Spotlights: Collected by the Mildred Lane Kemper Art Museum, ed. Sabine Eckmann (St. Louis: Mildred Lane Kemper Art Museum; distributed by the University of Chicago Press, 2016), 91-94.
Versari, Maria Elena, "Introducation" to Futurist Painting Sculpture (Plastic Dynamism) by Umberto Boccioni. Translated by Richard Shane Agin and Maria Elena Versari. Getty, 2016
Wünsche, Isabel and Wiebke Gronemeyer Ed. Practices of Abstract Art: Between Anarchism and Appropriation. With contributions by Isabel Wünsche, Naomi Hume, Rose-Carol Washton Long, Viktoria Schindler, Aarnoud Rommens, Nieves Acedo del Barrio, Gordon Monro, Birgit Mersmann, Dorothea Schöne, Elena Korowin, Marilyn Martin, Wendy Kelly, Wiebke Gronemeyer, Pamela C. Scorzin. Cambridge Scholars Publishing, 2016. http://www.cambridgescholars.com/practices-of-abstract-art
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New dinosaur species, Titanosaur has its heart on tail: Discovered
NH Bureau Friday, 15 February 2019 09:14:54 AM
New Delhi : Imagine an animal's heart on its bum? Yes, scientists have discovered a new dinosaur species which used have heart in its tail. Palaeontologists say that this enormous beast had heart-shaped tail bones.
The new dinosaur species has been discovered in Tanzania which explains how ecosystems evolved on the African continent during the Cretaceous period. The dinosaur named Mnyamawamtuka moyowamkia is another member of the large, long-necked Titanosaur sauropods, said researchers at the Ohio University in the US.
Palaeontologists spent five years so that they could dig out all of the bus-size dinosaur's fossilized bones and teeth. And the discovery of this semi complete 100-million-year-old Titanosaur reveals more about how Titanosaurs in Africa were related to their cousins in South America.
"It's pretty cute," said study lead researcher Eric Gorscak, a research associate at the Field Museum of Natural History in Chicago and an assistant professor at Midwestern University just outside Chicago. "[The vertebra] has these two prominent bumps on the top corners … and at the bottom it kind of comes down to a point, so it gives it that heart outline. It looks like the emoji of the heart."
It was in 2004, when researchers discovered the first few M. moyowamkia fossils in the Mtuka River bed in southwest Tanzania. Mnyamawamtuka moyowamkia (Mm-nya-ma-wah-mm-too-ka mm-oh-yo-wa-mm-key-ah), which means "beast of the Mtuka" and "heart of the tail," respectively, in Swahili, was a big beast, but it wasn't done growing yet.
The Titanosaur's vertebrae indicates that it was fairly young, like a teenager but it's unclear how it died. The teenage Titanosaur likely weighed up to about 1.6 tons (1.5 metric tons), stood about 5 feet (1.5 m) tall at the hips and measured about 25 feet (7.6 m) long from head to tail, Gorscak and O'Connor said
Researchers are still learning about this new dinosaur species. More updates are yet to come up. Till then, stay tuned!
Titanosaurs in Africa
new dinosaur species in Tanzania
size of Titanosaur
weight of Titanosaur
new dinosaur discovered
Published : Friday, February 15, 2019 09:11 [IST]
Pulwama terror attack: What is Jaish-e-Mohammed
WhatsApp users can now control who can add them to groups


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Home / News / Gadgets Releases / Nokia Lumia 525 India pricing revealed, to be available soon
Nokia Lumia 525 India pricing revealed, to be available soon
Posted by Sushil Kumar | Jan 8, 2014 | Gadgets Releases |
In addition to the launch of Lumia 1320 in India, Nokia has also disclosed the pricing of its mid-range Lumia 525 smartphone for the country. According to the company, the Nokia Lumia 525 will be sold at a price of 10,399, and will be available soon in the Indian market.
Being considered as the successor of previously launched Lumia 520, the new Lumia 525 was announced at the 6th Annual Strategy Sharing Summit in Goa last year. The phone runs on latest Windows Phone 8 platform and is powered by 1GHz dual-core Qualcomm Snapdragon S4 processor (MSM8227) with Adreno 305 GPU. It boasts 4-inch IPS display offering 800 x 480 pixels resolution, and includes 1GB RAM, 8GB internal memory and 5MP rear shooter with 720p HD video recording support.
The phone packs 1430 mAh battery, FM radio, 64GB expandable memory support with microSD card and usual connectivity options including 3G, Wi-Fi, Bluetooth 4.0, and GPS.
Nokia Lumia 525 in Several colour options
Key specifications of Nokia Lumia 525:
4-inch IPS display bearin 800 x 480 pixels resolution
1GHz dual-core Qualcomm Snapdragon S4 processor (MSM8227) with Adreno 305 GPU
Windows Phone 8 OS with Lumia Black
1GB RAM, 8GB internal memory, up to 64GB expandable memory with microSD
5MP Auto Focus camera with 720p HD video recording
9.9 mm thick and weighs 124g
3G, WiFi 802.11 b/g/n, Bluetooth 4.0, GPS / aGPS
like other Lumia smartphone, it also comes in several colour variants including glossy Orange, White, Yellow and matte black colors along with exchangeable shells.
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PREVIOUS NEXT CONTENTS SUMMARY ISSUE HOME
3. The Evidence of Historic Maps12
There are, regrettably, no early plans at a reasonably large scale of either the wider St Jude's development itself or, indeed, of individual buildings within it. We can dismiss from the outset a range of cartographic material that, while of some use for the street layout and street names, do not show many individual buildings, but simply, for the most part, undifferentiated blocks of developed land. The Bristol maps of John Rocque (c. 1740) and Benjamin Donne (1773) both fall into this category. As we have already noted, the 'second edition' of Millerd's map is usually dated to around 1710 and, unlike the 1673 edition, it shows the Frome Bridge, which lay at the north-western end of Wade Street, but it shows no element whatsoever of Nathaniel Wade's St Jude's development itself, under way before 1707. On balance, the likelihood is that Millerd simply ignored the new streets for his later edition, perhaps because it was peripheral to the city, and also, unlike the splendid and prestigious new Queen Square, it was (notionally at least), in the final analysis, a humble development of workers' and artisans' dwellings.
The earliest plan of the site that could in any sense be said to show any meaningful detail is Plumley and Ashmead's map of 1828, which purports to show the individual properties fronting Wade Street and Little Anne Street, and also shows two new blocks of buildings running parallel with Wade Street, away from the street frontage (Figure 4) (Mason 2013, 3). One is a row of buildings running north-west from the Swan With Two Necks public house, fronting onto a narrow alleyway later known as Swan Court, and running between Little Anne Street and Little George Street. The second is a shorter cul-de-sac, formed by two rows of five small dwellings, running north-west from the northern side of Little Anne Street, later known as Pratten's Court (Mason 2013). Historic map evidence shows that at some point between 1918 and 1935, the two most northerly houses on either side of the court, nos 5 and 6, were removed, necessitating a renumbering of the remaining houses on its north-eastern side.
Figure 4: Extract from map of Bristol by Plumley and Ashmead 1828, showing excavation site outlined in red. Indicative only, best fit to this survey. Source: Bristol City Council
What we cannot know from this, or any of the other maps alone, is whether or not Pratten's court was an element of the original, early 18th century layout, although it seems unlikely. The ceramic assemblage from contexts sealed beneath hard surfaces within what we know to have been Pratten's Court, is, unfortunately, not very helpful in this respect in terms of precision (Appendix 2). What is striking in particular about this map is the surprisingly high level of open space behind the street frontages even at this relatively late date (we should bear in mind that the first Ashmead survey dates to a period some 120 years after the earliest elements of the development began to be laid out). It seems clear that Ashmead intends us to understand that these open spaces were, at this date, gardens rather than yards. Note also the small alleyway that runs north-east/south-west off the north-eastern side of the Wade Street frontage, within the site boundary, and which from later maps was encroached upon by buildings, although still with (probably covered) access from the street. The surface of this little alley may well have been identified in the post-excavation watching brief stage of this project (Figure 3; and see later).
It is interesting that this earliest of the Ashmead surveys shows the plot boundaries behind the Wade Street frontage as running north-west/south-east, and so by inference, they pertain not to the properties actually fronting onto Wade Street, but to those at the south-western end of the Little Anne Street frontage. This seems intuitively incorrect, since we would reasonably expect plot boundaries to run in the same direction as the sides of the buildings behind which they lie. The establishment of plot lengths of 80ft (24.4m) in the earliest phases of the development, would, as we have already suggested, see the tenement boundaries of those premises fronting on to Wade Street running all the way back to the site's main spine wall (Context 1043).
Figure 5: Extract from tithe map of St Phillip and St Jacob parish, 1847, showing excavation site outlined in red. Indicative only, best fit to this survey. Source: Bristol City Council
The tithe map for St Philip and Jacob out-parish dates to 1847 (BRO EP/A/32/10), and historically, the excavation site fell within it until the construction of St Jude's church in 1849 (Figure 5). The map shows no apportionment numbers for the Wade Street estate, and pretty much the same lay-out of buildings as at the time of the early Ashmead plan (Smith and Erskine 2000). 13 The open spaces remain as before, although unlike Ashmead c.20 years earlier, the tithe map does not make it absolutely clear whether these remained as gardens to this date, or had been laid down to hard surfaces by then.
Figure 6: Extract from Ashmead's map of Bristol of 1855, showing excavation site outlined in red. Indicative only, best fit to this survey. Source: Bristol City Council
There were two further editions of Ashmead's Bristol survey, the first dated to 1855 (Figure 6). There had by this time been few changes in the extent of building on the site, although an open area shown fronting onto the south-eastern side of Little George Street, at its south-western end, has become rather more encroached upon by the construction of two small buildings that may just be 'new' outhouses or sheds relating to existing houses fronting onto Wade Street and Little George Street, respectively. These buildings are shaded light grey, indicating a non-domestic use, as opposed to the pink shading for a house or other dwelling. At this date also, the main spine wall running south-east/north-west, and which appeared to be the earliest built element on the excavation site (Context 1043), has buildings set off from its south-western side along its entire length, but on its north-eastern side there is but one, the remainder being open garden or yard surfaces, except for a building at its north-western end, fronting onto Little George Street.
The Ashmead map was revised again some 20 or so years later, in 1874, and there is very little change discernible in the site layout since the earlier date (Figure 7). One of the few noticeable changes is the disappearance of a large outhouse or shed from the north-eastern (rear) side of the row of smaller houses that front onto Wade Street.
Because Bristol was a major city, and by the late 19th century had been so for a very long time, we are fortunate that when the First Edition of the OS map appears, in 1881-2, it is immediately available as a town plan, at the very large scale of 1:500 (Figure 8). This of course gives an unprecedented level of detail, although the OS maps should not be regarded as invariably completely accurate, especially away from the street frontages. 14 Much of the internal, open space that had characterised the site over half a century earlier, in 1828, had been heavily encroached upon. Although it is impossible to be certain, these spaces had probably ceased to be gardens by the time of Ashmead's second edition map, and had by that time probably long been appropriated for hard-surface yards and standing. Over some of the site that could be seen clearly in section, there had been the intermittent development of a dark, organic, cultivation-type deposit underneath the hard surfaces, 15 the best explanation for which is probably that these were garden soils, having been developed either out of original, unworked pasture grounds, or imported and lain on top of a dumping/levelling layer that marks the beginning of systematic development on this site.
Figure 8: Extract from OS First Edition 1:500 plan, 1881-82, showing excavation site outlined in red. Contemporary house numbers indicated so far as they are known. Source: Bristol Record Office
A further two larger buildings had by this time been constructed north-west of Pratten's Court, and several of the Pratten's Court dwellings, and the two most recently constructed, have adjoining wash-houses or out-houses. The L-shaped arm of a further building north-west of Pratten's Court appears to have been demolished by this date, and further infilling has occurred between Pratten's Court and Swan Court. The 1881-2 map shows a second public house, on the opposite side of Little Anne Street from the study area, at the corner of Little Anne Street and Wade Street, recorded as 'The Berkeley Arms', and functioning as a pub until at least 1910 (Smith and Erskine 2000, 5-6). Adjacent to the excavation site, Bristol trade directories list a further two public houses fronting Wade Street, 'The Ship', on the corner of Wade Street and Little George Street, and 'The Sportsman's Arms', still surviving as the Al Baseera Islamic centre, immediately to the south-east. Both are recorded in 1880 (Smith and Erskine 2000, 6), but oddly, neither is identified as a pub on the OS 1:500 plan. Further traders occupying the site's Wade Street frontage at this date include a tin-plate worker, a tobacco-pipe maker and a boot-maker (Smith and Erskine 2000); see Appendices).
Comparison of the 1881-2 OS map with a local authority Compulsory Purchase plan of 1935, together with its accompanying property descriptions (BRO Modern Records 8160A; Figure 9) shows that the sites of no fewer than four properties, 20 and 22 (together forming the Sportsman's Arms pub), 24, and 26, have been set back from the Wade Street frontage by some 4m. One large building has been constructed on the formerly open yard area on the south-west side of Swan Court, while immediately north of Pratten's Court, the plan shows two rows of probable wash-houses or latrines abutting the northern property boundary.
Figure 9: Extract from compulsory purchase order plan, 1935, showing excavation site outlined in red. Note that the street line formerly encompassing numbers 20-26 Wade Street had by this date been stepped back. Source: BRO Modern Records 8160A
The First Edition OS plan also shows 24 Wade Street (not numbered), flanked by covered alleyways, leading to a rear yard and small outbuilding. The documents associated with the 1935 plan list 26 Wade Street as a messuage or dwelling house, and describe two further messuages or dwelling houses [which] were formerly known as 1 and 2, Buss Court Wade Street. These are the two larger buildings first noted on the First Edition OS map (Figure 8), just north-west of Pratten's Court. The above buildings are not present on the Compulsory Purchase map of 1935, which shows a large shaded area obscuring the area of the former nos 24 and 26, and the land to the rear. The remaining dwellings fronting Wade Street have also been re-numbered by this date (Smith and Erskine 2000, Figure 6). The Compulsory Purchase order of 1935 paved the way for the demolition of housing which had, by that time, come to be considered as inadequate. A preliminary examination of 19th-century census material indicates that, from at least 1871, a small group of houses collectively known as Barrow Court, occupied a site to the rear of 20 and 22 Wade St, roughly where the Al Baseera Bristol Islamic Centre is now, abutting the excavation site on its north-west side. Access to this court was made presumably via the alley shown between nos 22 and 24. Neither Buss Court nor Barrow Court appear to be identified by name on any map of this area that we have so far been able to examine, but census records appear to show clearly that Buss Court was in existence by 1891, and perhaps earlier; as we can infer from records that describe 'cottages to the rear of no. 26'.
Bristol researchers in general are fortunate in that they have available to them a major, large-scale cartographic source covering the late 19th and into the first half of the 20th century. These are the Goad insurance plans housed at the Bristol Record Office (35033; 40904; and 43885). Regrettably, however, for reasons that are not entirely clear, this key source fails in this specific instance, because it seems as though none of the properties actually within the excavation site, indeed in the entire block bounded by Wade Street, Little George Street, Little Anne Street, and Eugene Street, were recorded on any of the Goad maps; the point is made clear by Figure 10. Since even the earliest of the Goad maps (BRO 40904/2) was subject to revision up to 1939, a reasonable assumption might simply be that the entire block containing the excavation site had by that date been almost entirely cleared of buildings, following the compulsory purchase process for the area that is documented in BRO Modern Records 8160A. However, as Figure 10 indicates, although it shows no detail whatsoever, the Goad revision up to 1939 does label the north-eastern Wade Street frontage, bounded by Little Anne Street and Little George Street, with the caption 'Dwellings and Shops'. This suggests very strongly that on the eve of the war, at least this part of the street block remained in use and occupied, and for whatever reason(s) the buildings were not recorded in detail; perhaps because they had already been earmarked for removal, a process to which the advent of war put a temporary halt. 16
Figure 10: Extract from Goad insurance plan, revised up to 1939. Position of excavation outlined in red. Source: BRO 40904/2
Properties all around the excavation site are, however, recorded on the Goad maps, and most notable is the appearance of 17 Wade Street, shown clearly on the map as being of three storeys, fronting the road, but with two later extensions of two storeys and one storey respectively as one moves away from the street frontage. The roof was tiled, and the premises were in dual use as a shop and dwelling. Oddly, no. 17 appears on the map revised up to 1961 (BRO 35033/2a), but not on that revised only up to 1939 (BRO 40904/2), which has this number crossed out and its site left blank. There could be any number of reasons for this, but perhaps the premises were simply not insured at the earlier date. The survival of 17 Wade Street as a standing building today seems remarkable, along with the public house, the Swan With Two Necks, in Little Anne Street.
It is apparent then, that the clearance of the block, of which the excavation site forms merely the south-west corner, took place in fits and starts, rather than being a wholesale removal carried out over a relatively short space of time. By the early 1950s however, even before the site had been fully cleared, a certain amount of rebuilding had already taken place; a new building (since demolished) appears to have been erected just south of the former Sportsman's Arms pub, now the Al Baseera building. Interestingly, the areas to the east and north of the site, although not the site itself, had a predominantly industrial character at the time of the local authority compulsory purchase map, with a factory, malthouse and warehouse shown to the south of Little Anne Street, and an oil and chemical (colour) works to the north of Little George Street. This fact may give some indication of at least part of the original rationale behind Wade's development venture on his Lamb Ground/Crotwells estate, as at least in part a scheme to provide labour for nascent industrial concerns in the immediate area. Leech remarks on how both Wade himself and other contemporary development promoters were:
prominent members of the Quaker elite, many of whom were closely linked to various industrial concerns. The houses built in the new streets of these developments were within easy walking distance of a number of Quaker-owned industrial concerns … possibly the houses of these new developments accommodated some of the workers in these various industries. If so, they would have been a vehicle for recycling the capital invested in these industries, through workers' wages paying rents, which then became landlords' profits (Leech 2014, 57).
We have already indicated that the defining characteristic of this little development was that it at least appears from the outset to have been a working-class, artisanal community, but with a planned, grid layout of streets, and in fact it could be said that of the first, early 18th-century building phase, it is actually the street plan itself that is the earliest surviving artefact.
However, having been razed in the course of so-called 'slum clearance' in the years on either side of the Second World War, the study site was effectively frozen at the point at which all surface trace of the occupying buildings was removed, but while redevelopment subsequently proceeded apace all around it, this site remained untouched, apart from occasional tampering with the surface, such as some ground reduction since 2000 for car parking.
It is the planned, artisanal nature of the site and its wider context that presents the primary interest, and indeed it has been compared with the well-known early industrial housing in the Trinity area of Frome (by Roger Leech - quoted in Smith and Erskine 2000, 8). Wade Street and its environs had clearly already become a community of note by the early 18th century, at which time no less a figure than Daniel Defoe observed how
There is one remarkable part of the city where the liberties extend not at all, or but very little outside the city gate. Here and nowhere else, they have an accession of new inhabitants; and abundance of new houses, nay some streets are built, and the like 'tis probably would have been at all the rest of the gates, if liberty had been given (quoted in Leech 2014, 41).
12. This brief review of the historic map evidence is site wide. However, for a rather more detailed analysis of two specific properties within the site boundary, relating to pipe makers who were working there in the 19th century, see the specialist report on the clay tobacco pipe material from the site, Appendix 3.←
13. It is unclear why the entire area of the St Jude's development was apparently not rated for tithe. It is unlikely to be anything to do with the relatively late date at which the development was established – by the mid-1840s, all of the area encompassing the later Edward, Harleston and Winsford streets, a few hundred metres to the north-east of the excavation site, was rated for tithe, and yet in 1828, at the time of Ashmead's first edition map, this whole area on the eastern side of Pennywell Lane, was a large, triangular piece of open and completely undeveloped pasture ground, with a few (?orchard) trees. If the land on which Wade built his new development had always been tithe free, one reason may have been that it had at some point belonged to a monastic or other collegiate religious institution, which might render the land exempt from tithe; farmland newly assarted from woodland, or drained and reclaimed from fen or marsh, was also very often considered to be quit of tithes (Aston 2000). In the case of the excavation site and its environs, there does not at present seem to be any evidence either way.←
14. This fact has been well known to professional archaeological surveyors for some time. See for, example, Stuart Ainsworth's comments during the Time Team survey of the Boulton and Watt works at Soho, Birmingham; Time Team Series 4, Episode 3, first broadcast 19 January 1997.←
15. A good example of which would be Context 1114, seen in section underneath the cobbled surface in Area A of the site.←
16. We should note, however, that the Goad map revised up to 1961 (BRO 35033/2a) also shows this same part of the north-eastern Wade Street frontage between Little George Street and Little Anne Street, and containing the excavation site, as 'Dwellings and Shops'. This would seem to indicate that even as late as 1961, standing buildings, used and occupied, survived here. It is possible that this is explained merely as a failure of revision in this part of the map; however, it is borne out to some extent by the fact that an OS 1:1250 map revision of 1951 clearly shows numbered, standing buildings along this part of the Wade Street frontage, suggesting continued occupation and use. Numbers 38, 36, 30 and 28 Wade Street are depicted. Numbers 34 and 32 are still shown as standing, but are not numbered. The Ship Inn at 18 Wade Street, the Sportsman's Arms occupying 20 and 22 Wade Street (but numbered only 20 on this map), and the Swan With Two Necks at 12 Little Anne Street, all survive, as did, at this late date, the property next door to it to the south-west, 10 Little Anne Street. The entire north-eastern two-thirds of the site had, though, been cleared by this date, including of course Pratten's Court. Later OS maps show that the site had been fully cleared by 1963, so this may suggest that the Goad revision to 1961 was correct to show 'Dwellings and Shops' still standing on the south-western part of the site in that year. Mason remarks that the major phase of demolition along Little Anne Street, Wade Street itself, and within Pratten's Court, seems to have occurred between 1949 and 1961 (Mason 2013, 3-4).←
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