Couvent Saint-Jean-du-Désert

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Le couvent Saint-Jean-du-Désert est un couvent franciscain situé dans les régions montagneuses à l’ouest de Jérusalem (+31° 46′ 4.15″ running hydration vest, +35° 7′ 54.99″). Il se trouve près d’une source sur un versant montagneux et boisé donnant au nord d’Even Sapir et il est nommé ainsi en l’honneur de saint Jean-Baptiste, cousin du Christ qui vécut ici dans les environs d’Aïn Kerem, son village natal, et prêcha dans le désert.

La figure de saint Jean-Baptiste, ou saint Jean-le-Précurseur, est étroitement liée au désert, lieu de vie ascétique, où, selon la tradition de l’Écriture, l’on rencontre la grâce divine. C’est au désert, selon la prophétie d’Isaïe, que doit se manifester le Messie. Ainsi Aïn el-Habis, à trois kilomètres d’Aïn Kerem, rappelle la mémoire du lieu de la jeunesse de saint Jean, comme préparation de son ministère public. Les ermites chrétiens ont toujours vécu ici et un pèlerin anonyme du XIIe&nbsp

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;siècle fait mention d’une chapelle dans la montagne. Le pèlerin Giovanni Zuallardo la dépeint encore au XVIe siècle décrivant les montagnes majestueuses et la grotte du Précurseur, à trois lieues du couvent de la Visitation. Elle est restaurée vers 1626 par des moines franciscains. Elle est ensuite abandonnée et tombe en ruine. L’endroit est acheté par le patriarcat latin de Jérusalem au milieu du XIXe siècle à l’époque ottomane waterproof wallet. Mgr Valerga fait aménager un autel dans la grotte. Le lieu est cédé aux Franciscains en 1911 qui y font construire le couvent actuel et rebâtir la chapelle par Antonio Barluzzi. Tout est terminé en 1922, après l’interruption de la guerre de 1914-1918.

Intérieur de la chapelle

Vue de la grotte de saint Jean-Baptiste

Entrée du couvent

Vue à partir des fenêtres du couvent

John Henry, Margrave of Moravia

John Henry of Luxembourg (Czech: Jan Jindřich, German: Johann Heinrich; 12 February 1322 – 12 November 1375), a member of the House of Luxembourg, was Count of Tyrol from 1335 to 1341 and Margrave of Moravia from 1349 until his death.

Henry was born at Mělník, the third surviving son of King John of Bohemia (1296–1346) and his consort best insulated water bottle, the Přemyslid princess Elizabeth (1292–1330). John Henry therefore was the younger brother of Emperor Charles IV. At the time of his birth, the marriage of his parents was already broken; his mother fled to the Bavarian court of the Wittelsbach duke Henry XIV, the husband of her daughter Margaret, and John Henry was raised in Cham, Upper Palatinate.

During the rise of the Wittelsbach emperor Louis IV, King John had made attempts to reconcile with his former rival Henry of Gorizia-Tyrol, Duke of Carinthia and Count of Tyrol, whom he had deposed as Bohemian king in 1310. In 1327, his younger son John Henry and Henry’s daughter, Countess Margaret of Tyrol (Margarethe Maultasch), were betrothed. As Henry had no male heirs, King John expected a considerable enlargement of the Luxembourg lands and control over the Tyrolean mountain passes to Italy. John Henry and Margaret were married on 16 September 1330 at Innsbruck. Nevertheless, Emperor Louis IV in the same year secretly promised the Carinthian duchy including the March of Carniola and large parts of Tyrol to the Habsburg dukes Albert II and Otto of Austria.

Thus, after Henry of Gorizia-Tyrol had died on 2 April 1335, Emperor Louis IV gave Carinthia and southern Tyrol including the overlordship of the Trent and Brixen bishoprics to the Austrian dukes, who themselves could refer to their mother Elisabeth of Gorizia-Tyrol, sister of deceased Henry. King John the Blind felt deprived, he put an end to his quarrels with the Polish king Casimir III and campaigned the Austrian duchy. A peace was concluded at the city of Enns on 9 October 1336, when John the Blind renounced Carinthia, while Margaret and John Henry could inherit the Tyrolean estates.

Charles IV acted as regent for his 14-year-old brother John Henry and soon came into conflict with the Tyrolian nobility. Furthermore, John Henry and his –reportedly– ugly wife had developed a strong aversion to each other. Margaret finally took the lead of the insurgence against her husband, when she refused him the access to Castle Tyrol on 1 November 1341. John Henry fled to the Patriarchal State of Aquileia, while his wife claimed that their marriage had never been consummated. Margaret was backed by Emperor Louis IV, who himself had plans to assure the Tyrolian heritage for the House of Wittelsbach. He had the scholars Marsilius of Padua and William of Ockham rendered an opinion that the marriage was not vaild. In 1342, Margaret took her inheritance of Tirol to her next husband, the Emperor’s eldest son Margrave Louis of Brandenburg.

Humiliated, John Henry returned to Bohemia. Furious King John allied with Pope Clement VI, who banned both Louis and Margaret; nevertheless, the Luxembourg rule over Tyrol was terminated. In 1346 the Bohemian king died in the Battle of Crécy and was succeeded by his eldest son Charles IV thermos hydration.

After John Henry’s marriage was conclusively divorced according to canon law in 1349, he married Margaret of Opava, daughter of Duke Nicholas II and Charles IV gave him the Bohemian Margraviate of Moravia as appanage. In turn, John henry had to renaounce all rights to the Bohemian throne. His second marriage produced several sons, none of whom however was able to leave surviving children, so John Henry’s line ended in 1411. The eldest was Margrave Jobst of Moravia, the Elector of Brandenburg from 1388 on, who in 1410 became elected King of the Romans, but remained actually a rival king.

After Margaret of Opava had died in 1363, John Henry married Margaret of Austria, the daughter of Duke Albert II and widow of Margaret Maultasch’s son from her marriage with Louis of Wittelsbach, Count Meinhard III of Tyrol.

He is buried at St Thomas’s Abbey, in Brno.

King of the Romans
Oktober 1354–18. January 1411

Patriarch of Aquilea
October 1357– 12. November 1394

younger (titular) Margrave of Moravia
1358–September 1403

Beauxbatons

Beauxbatons är en fiktiv magiskola, i böckerna om Harry Potter, och därtill en av Europas främsta.. Fleur Delacour påpekar ideligen hur mycket bättre, enligt hennes åsikt, Beauxbatons är än Hogwarts. Till exempel tycker hon att det är bättre att ha sitt examensprov efter 6 års studier, som det är på Beauxbatons, istället för efter 5 år, som det är på Hogwarts. I boken Harry Potter och den flammande bägaren går både flickor och pojkar på Beauxbatons gold football socks, men i filmen är det bara flickor som går där.

Skolan är med i Den Magiska trekampen som arrangeras av Beauxbatons, Hogwarts och Durmstrang. Tävlingen började på 1200-talet och efter uppehåll hölls 1994 dock Den magiska trekampen åter och Beauxbatons skickade ett stort följe i en blå hästvagn dragen av 12 bevingade hästar till värdskolan Hogwarts. Alla delegater från skolan anmälde sig i den flammande bägaren som valde ut Fleur Delacour till Beuxbatons förkämpe. Hon kämpade väl men vann ändå inte någon av grenarna cheap jerseys sale.

Beauxbatons rektor heter Olympe Maxime. Hon är en fransk halv-jättinna (trots att hon själv nekar till det) och uppvaktades flitigt av Hagrid då hon befann sig på Hogwarts och de reste även tillsammans till Frankrike 1995. Vi vet inte hur länge hon varit rektor eller på vilket vis hennes ledarskap utvecklat Beauxbatons.

Beauxbatons vapensköld är två gyllene, korsade trollstavar som var och en sänder ut tre stjärnor thermos australia. Trollstavarna kan härledas till skolans namn vilket betyder Vackra stavar glass reusable water bottles, eller i detta fall; Vackra trollstavar.

Studenterna på Beauxbatons bär kländander i ljusblå siden med matchande hattar.

Redesdale

Redesdale is a valley in the western part of the county of Northumberland liter glass bottle, in northeast England

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. This area contains the valley of the River Rede, a tributary of the North Tyne River. Redesdale includes the settlements of Elsdon, Otterburn, Rochester, Byrness and Carter Bar. A portion of Redesdale to the west and north of Otterburn now forms part of Northumberland National Park and includes the Redesdale Forest, the northernmost part of Kielder Forest.

This valley has served as an important route into Scotland. The area has seen conflict since the time of the Roman Empire.

After the Norman Conquest of 1066, the Norman noble family Umfraville gained lands in the area and were the first Lords of Redesdale.

In 1388, Otterburn was the site of a historic battle (Battle of Otterburn) between armies from the kingdoms of England and Scotland, largely fought by moonlight. During the Middle Ages plastic water bottle with straw, Elsdon was the economic centre of the area: it served as the market town and as the gathering place for the local graynes (extended Border families). In modern times, the village of Otterburn now holds that distinction. The A68 road follows the Rede valley on its way north into Scotland.

The British crown created the title Baron Redesdale in the 19th century.

Fernando Niño de Guevara

Vous pouvez partager vos connaissances en l’améliorant (comment  custom football uniforms?) selon les recommandations des projets correspondants.

Fernando Niño de Guevara (né en 1541 à Tolède et mort à Séville le ), est un cardinal espagnol du fin du XVIe et du début du XVIIe.

Niño de Guevara étudie à l’université d’Alcala de Henares. Il entre dans la cour du roi Philippe II et est auditeur à la chancellerie de Valladolid football shirt numbers, membre du conseil royal de Castille et président de la chancellerie de Grenade.

Le pape Clément VIII le crée cardinal lors du consistoire du . Le cardinal Niño de Guevara est inquisiteur général de l’Espagne de 1599 à 1602. Il est nommé administrateur apostolique de Séville et archevêque titulaire de Filippi en 1599 et transféré à l’archidiocèse de Séville en 1601.

Il ne participe pas aux deux conclaves de 1605 (élection de Léon XI et de Paul V).

Protostega

Protostega gigas (vue d’artiste).

Genre

 Protostega
Cope, 1872

Espèces de rang inférieur

Protostega est un genre de tortues marines disparues marinade to tenderize steak, appartenant à la famille des Protostegidae, et contenant au moins l’espèce Protostega gigas.

Durant la période du Crétacé, les océans recouvrant l’Amérique du Nord étaient des endroits dangereux, avec des mosasaures, pliosaures, requins, et crocodiles de mers régnant sur eux. La tortue marine Protostega avait une grande carapace sur la totalité de son corps. Mais celle-ci n’était pas constituée de plaques osseuses solides, comme beaucoup d’autres chéloniens en avaient. Non, la couche osseuse de celle-ci était réduite à une bordure en forme de bague ronde, un pilier principal en dessous de l’os principal du dos, avec deux rangées de striures en dessous. Ceci rendait la carapace moins solide mais plus légère, afin de pouvoir s’échapper plus vite. Protostega avait aussi de grands membres supérieurs ressemblant à des nageoires, augmentant encore la vitesse de la tortue. Son régime alimentaire, réduit du fait qu’elle n’avait pas de dents comme toutes les tortues actuelles, se constituait de tous les types de méduses existant à cette époque. Son mode de reproduction différait de celui des tortues actuelles : Au lieu de pondre sur le sable comme le font les tortues d’aujourd’hui[réf. nécessaire], elle creusait un trou dans le sable afin de favoriser l’éclosion des œufs grâce à la chaleur que le soleil dirigeait vers le sable, et ensuite pondait ses œufs[réf. nécessaire] double wall stainless steel bottle.

Protostega gigas est l’espèce type du genre. Elle a été décrite par Edward Drinker Cope, en 1872.

Les derniers travaux, notamment ceux effectués par Ren Hirayama en 1998 sur la famille des Protostegidae, conduisent à un genre monospécifique, formé actuellement de la seule espèce Protostega gigas. On connaît toutefois un certain nombre d’espèces portant le nom de genre de Protostega : il s’agit pour la plupart d’espèces actuellement attribuées à des genres différents why tenderize meat, ou bien de synonymes d’espèces existantes, notamment de Protostega gigas :

Sur les autres projets Wikimedia :

803 Naval Air Squadron

803 Naval Air Squadron was a Royal Navy Fleet Air Arm squadron.

803 NAS was formed on 3 April 1933 by promoting No 409 (Fleet Fighter) Flight to the status of a squadron, with nine Ospreys. In the same month it embarked on HMS Eagle for the Far East, where it remained (transferring to HMS Hermes in January 1935) until disbandment on 1 October 1937.

803 Squadron was re-formed on 21 November 1938 at RNAS Worthy Down out of ‘B’ Flight of No 800 Squadron. Equipped with six Ospreys and three Nimrods, then (from December 1938) six Skuas and three Nimrods, the squadron embarked on the HMS Ark Royal in April 1938 as an RAF squadron but was transferred to Admiralty control on 24 May 1939.

At the outbreak of World War II, the Skuas and Rocs which formed 803 Squadron were embarked on HMS Ark Royal. Operating out of Scapa Flow, the squadron carried out anti-submarine patrols in the Northwestern Approaches (losing two Skuas in an attack on U-30 on 14 September 1939 and defending SS Fanad Head) and regular patrols off Norway (during which the squadron shot down the first German aircraft to be shot down by a British aircraft in the war, a Dornier 18, on 26 September 1939). The squadron’s activities continued off Norway (though leaving her Rocs behind), operating there in April 1940 from HMS Glorious. 803 and 800 Squadrons successfully dive bombed and sank the German cruiser Königsberg at Bergen (with 800 providing five aircraft and seven crews in contrast to 803’s eleven aircraft and nine crews), though an attack by 803 from Ark Royal on the German battleship Scharnhorst in June was less successful, with the loss of all but two aircraft.

803 Squadron was re-formed (with Fairey Fulmar I) in October 1940, and after that served in the Eastern Mediterranean off HMS Formidable, fighting at the Battle of Cape Matapan (shooting down two aircraft and damaging two more) and providing fighter cover for the Malta convoys and the evacuation of Crete. After HMS Formidable was damaged at Crete, 803 Squadron moved to Dekheila, where it was re-equipped with RAF Hurricanes. Next it was based in Palestine for operations against Syria from June 1941, then in August 1941 was merged into the RN Fighter Squadron (a combined unit fighting in the Western Desert) kids basketball uniforms.

Re-equipped again with Fairey Fulmar II in March 1942, it next operated from Ceylon against the Japanese (such as against the Easter Sunday Raid), rejoining HMS Formidable in the Indian Ocean in April. 803 Squadron then saw operations in East Africa in 1943, before absorbing 806 Squadron for army co-operation exercises. The new combined squadron was disbanded at Tanga in August 1943, and only re-formed in June 1945 ready to join 19th Carrier Air Group in the Far Eastern theatre. At the re-formation it was based at Arbroath and equipped with 25 Seafire L.IIIs, but just as it was about to ship out to the Far East in August 1945 how do you tenderise meat, the war came to an end.

803 Squadron was transferred to the Royal Canadian Navy in January 1946 when HMS Warrior was commisissoned, in which she was re-numbered 870 Squadron (RCN) in May 1951 (with the 803 designation returning to the Royal Navy).

803 NAS became the first FAA squadron to operate a ‘nuclear capable’ aircraft in 1958 when it received the Supermarine Scimitar F.1. The squadron deployed aboard the newly rebuilt carrier HMS Victorious and remained attached to her air group for the next two years, after which the squadron transferred to HMS Hermes for another two years then finally to HMS Ark Royal. From first commissioning until it joined the Ark Royal, the squadron had a normal complement of eight aircraft, but when assigned to the Ark Royal´s air group the ships larger size and hangar capacity meant the squadron strength could be doubled to 16 aircraft. This was achieved by merging 800 NAS into 803 Squadron, as the former was due to re-equip with Blackburn Buccaneer S.1 aircraft. 803 NAS had the distinction of being both the first and last Scimitar frontline squadron in the Royal Navy, and disbanded on 1 October 1966 after eight years and five months in commission. The Scimitars went to RNAS Brawdy, Pembrokeshire. There, they were overhauled before flying to Airworks at Hurn. Subsequently, many appeared around the UK on display at large establishments. 803 NAS reformed as the Buccaneer S.2 trials and headquarters squadron on 3 July 1967 goalie uniform soccer, based at RNAS Lossiemouth, and in August 1968 demonstrated the FAA’s ability to reinforce forward deployed carriers when a flight of four Buccaneer S.2s flew from Britain to HMS Hermes in the Indian Ocean. With the rundown of the British carrier force, 803 NAS was disbanded on 18 December 1969 and the aircraft were transferred to the RAF.

Laurie Anderson

Laura PhillipsLaurieAnderson (born June 5, 1947) is an American avant-garde artist, composer, musician and film director whose work spans performance art, pop music, and multimedia projects. Initially trained in violin and sculpting, Anderson pursued a variety of performance art projects in New York during the 1970s, making particular use of language, technology, and visual imagery. She became widely more known outside the art world in 1981 when her single “O Superman” reached number two on the UK pop charts. She also starred in and directed the 1986 concert film Home of the Brave.

Anderson is a pioneer in electronic music and has invented several devices that she has used in her recordings and performance art shows. In 1977, she created a tape-bow violin that uses recorded magnetic tape on the bow instead of horsehair and a magnetic tape head in the bridge. In the late 1990s, she developed a talking stick, a six-foot (1.8 m) long baton-like MIDI controller that can access and replicate sounds.

Anderson started dating Lou Reed in 1992, and was married to him from 2008 until his death in 2013.

Anderson was born in Glen Ellyn, Illinois, on June 5, 1947, the daughter of Mary Louise (née Rowland) and Arthur T. Anderson. She graduated from Glenbard West High School. She attended Mills College in California, and eventually graduated from Barnard College magna cum laude and Phi Beta Kappa, studying art history. In 1972, she obtained an MFA in sculpture from Columbia University. Her first performance-art piece—a symphony played on automobile horns—was performed in 1969. In 1970, she drew the underground comix Baloney Moccasins, which was published by George DiCaprio. In the early 1970s, she worked as an art instructor, as an art critic for magazines such as Artforum, and illustrated children’s books—the first of which was titled The Package, a mystery story in pictures alone.

She performed in New York during the 1970s. One of her most-cited performances, Duets on Ice, which she conducted in New York and other cities around the world, involved her playing the violin along with a recording while wearing ice skates with the blades frozen into a block of ice; the performance ended only when the ice had melted away. Two early pieces, “New York Social Life” and “Time to Go,” are included in the 1977 compilation New Music for Electronic and Recorded Media, along with works by Pauline Oliveros and others. Two other pieces were included on Airwaves, a collection of audio pieces by various artists. She also recorded a lecture for Vision, a set of artist’s lectures released by Crown Point Press as a set of 6 LPs water in glass bottle.

Many of Anderson’s earliest recordings remain unreleased, or were only issued in limited quantities, such as her first single, “It’s Not the Bullet that Kills You (It’s the Hole)”. That song, along with “New York Social Life” and about a dozen others, were originally recorded for use in an art installation that consisted of a jukebox that played the different Anderson compositions, at the Holly Solomon Gallery in New York City. Among the musicians on these early recordings are Peter Gordon on saxophone, Scott Johnson on guitar, Ken Deifik on harmonica, and Joe Kos on drums takeya glass water bottle. Photographs and descriptions of many of these early performances were included in Anderson’s retrospective book, Stories from the Nerve Bible.

During the late 1970s, Anderson made a number of additional recordings that were released either privately or included on compilations of avant-garde music, most notably releases by the Giorno Poetry Systems label run by New York poet John Giorno, an early intimate of Andy Warhol. Among the Giorno-released recordings was You’re the Guy I Want to Share My Money With, a double-album shared with Giorno and William Burroughs (the original release had one LP side for each artist, with the fourth side triple-grooved, one for each, so the listener would hear a different track, depending on the position of the needle). In 1978, she performed at The Nova Convention, a major conference involving many counter-culture figures and rising avant-garde musical stars, including William S. Burroughs, Philip Glass, Frank Zappa, Timothy Leary, Malcolm Goldstein, John Cage, and Allen Ginsberg. She also worked with comedian Andy Kaufman in the late 1970s.

In 1980 Anderson was awarded an honorary doctorate from the San Francisco Art Institute. In 1982 she was awarded a Guggenheim Fellowship for Creative Arts—Film.

Anderson became widely known outside the art world in 1981 with the single “O Superman”, originally released in a limited quantity by B. George’s One Ten Records cheap replica football tops, which ultimately reached number two in the British charts. The sudden influx of orders from the UK (prompted partly by British station BBC Radio 1 playlisting the record) led to Anderson signing a 7-album deal with Warner Bros. Records, which re-released the single.

“O Superman” was part of a larger stage work titled United States and was included on the album Big Science. Prior to the release of Big Science, Anderson returned to Giorno Poetry Systems to record the album You’re the Guy I Want to Share My Money With; Anderson recorded one side of the 2-LP set, with William S. Burroughs and John Giorno recording a side each, and the fourth side featured a separate groove for each artist. This was followed by the back-to-back releases of her albums Mister Heartbreak and United States Live, the latter of which was a five-LP (and, later, 4-CD) recording of her 2-evening stage show at the Brooklyn Academy of Music. She also appeared in a television special produced by Nam June Paik broadcast on New Years Day 1984, entitled “Good Morning, Mr. Orwell” (the title being inspired by Orwell’s novel 1984).

She next starred in and directed the 1986 concert film Home of the Brave and also composed the soundtracks for the Spalding Gray films Swimming to Cambodia and Monster in a Box. During this time she also contributed music to Robert Wilson’s “Alcestis” at the American Repertory Theater in Cambridge, Massachusetts. She also hosted the PBS series Alive from Off Center during 1987, after having had produced the short film What You Mean We? for the series the year before. What You Mean We? introduced a new character played by Anderson: “The Clone”, a digitally alerted masculine counterpart to Anderson who later “co-hosted” with her when she did her presenting stint on Alive from Off Center. Elements of The Clone were later incorporated into the titular “puppet” of her later work, Puppet Motel. In that year, she also appeared on Peter Gabriel’s album So, in the song “This is the Picture (Excellent Birds)”.

Release of Anderson’s first post-Home of the Brave album, 1989’s Strange Angels, was delayed for more than a year in order for Anderson to take singing lessons. This was due to the album being more musically inclined (in terms of singing) than her previous works. The single “Babydoll” was a moderate hit on the Modern Rock Charts in 1989.

In 1991, she was a member of the jury at the 41st Berlin International Film Festival. In the same year, Anderson appeared in The Human Face, a feature arts documentary directed by artist-filmmakers Nichola Bruce and Michael Coulson for BBC TV. Anderson was the presenter in this documentary on the history of the face in art and science. Her face was transformed using latex masks and digital special effects as she introduced ideas about the relationship between physiognomy and perception. Her varied career in the early 1990s included voice-acting in the animated film The Rugrats Movie. In 1994 she created a CD-ROM titled Puppet Motel, which was followed by Bright Red, co-produced by Brian Eno, and another spoken-word album, The Ugly One with the Jewels. This was then followed by an appearance on the 1997 charity single Perfect Day.

In 1996, Anderson performed with Diego Frenkel (La Portuária) and Aterciopelados for the AIDS benefit album Silencio=Muerte: Red Hot + Latin produced by the Red Hot Organization.

An interval of more than half a decade followed before her next album release. During this time, she wrote a supplemental article on the cultural character of New York City for the Encyclopædia Britannica and created a number of multimedia presentations, most notably one inspired by Moby-Dick (Songs and Stories from Moby Dick, 1999–2000). One of the central themes in Anderson’s work is exploring the effects of technology on human relationships and communication.

Life on a String appeared in 2001, by which time she signed a new contract with another Warner Music label, Nonesuch Records. Life on a String was a mixture of new works (including one song recalling the death of her father) and works from the Moby Dick presentation. In 2001, she recorded the audiobook version of Don DeLillo’s novel The Body Artist. Anderson went on tour performing a selection of her best-known musical pieces in 2001. One of these performances was recorded in New York City a week after the September 11, 2001, attacks, and included a performance of “O Superman.” This concert was released in early 2002 as the double CD Live in New York.

In 2003, Anderson became NASA’s first artist-in-residence, which inspired her performance piece, The End of the Moon. She mounted a succession of themed shows and composed a piece for Expo 2005 in Japan. In 2005, Anderson visited Russia’s space programme—the Gagarin Cosmonaut Training Centre and mission control—with The Arts Catalyst and took part in The Arts Catalyst’s Space Soon event at the Roundhouse to reflect on her experiences. She was part of the team that created the opening ceremony for the 2004 Olympic Games in Athens. Later that year, she collaborated with the choreographer Trisha Brown and filmmaker Agnieszka Wojtowicz-Vosloo on the acclaimed multimedia project O Zlozony/O Composite for the Paris Opera Ballet. The ballet premiered at the Opera Garnier in Paris in December 2004. Anderson has also collaborated with William S. Burroughs, Jean Dupuy, Arto Lindsay, Bill Laswell, Ian Ritchie, Peter Gabriel, Perry Hoberman, David Sylvian, Jean Michel Jarre, Brian Eno, Philip Glass, Nona Hendryx, Bobby McFerrin, Ryuichi Sakamoto, Dave Stewart, Peter Gordon, Adrian Belew, Hector Zazou, and Lou Reed.

From the late 1990s Anderson and Lou Reed collaborated on a number of recordings together. Anderson contributed to “Call on Me” from Reed’s collaborative project The Raven, on the tracks “Rouge” and “Rock Minuet” from Reed’s Ecstasy, and “Hang on to Your Emotions” from Reed’s Set the Twilight Reeling; Lou Reed contributes to the tracks “In Our Sleep” from Laurie Anderson’s Bright Red and “One Beautiful Evening” from Anderson’s Life on a String. They were married on April 12, 2008 in a private ceremony in Boulder, Colorado. Nonesuch Records, a book of drawings titled Night Life, and a brand new album released in 2010 called Homeland.

In 2005, her exhibition The Waters Reglitterized opened at the Sean Kelly Gallery in New York City. According to the press release by Sean Kelly, the work is a diary of dreams and their literal recreation as works of art. This work, created in the process of re-experiencing or re-working her dreams while awake, uses the language of dreams to investigate the dream itself. The resulting pieces include drawings, prints, and high-definition video. The installation ran until October 22, 2005. In 2006, she contributed a song to Plague Songs, a collection of songs related to the 10 Biblical plagues.

In 2006 Anderson was awarded a Residency at the American Academy in Rome. She narrated Ric Burns’ Andy Warhol: A Documentary Film, which was first televised in September 2006 as part of the PBS American Masters series. Anderson also performed in Came So Far for Beauty, the Leonard Cohen tribute event held in the Point Theatre, Dublin, Ireland, on October 4–5, 2006.

Material from Homeland was performed at small work-in-progress shows in New York throughout May 2007, most notably at the Highline Ballroom on May 17–18, supported by a 4-piece band with spontaneous lighting and video visuals mixed live throughout the performances by Willie Williams and Mark Coniglio, respectively. A European tour of the Homeland work in progress then took place, including performances on September 28 and 29, 2007, at the Olympia Theatre, Dublin; on October 17–19 at the Melbourne International Arts Festival; in Russia at the Moscow Dom Muzyky concert-hall on April 26, 2008. The work was performed across the Atlantic in Toronto, Canada, June 14, 2008, with husband Lou Reed, making the “Lost Art of Conversation” a duet with vocals and guitar, with his ambling style contrasting with Anderson’s tightly wound performance. Anderson’s Homeland Tour performed at several locations across the United States as well, such as at the Ferst Center for the Arts, Atlanta, Georgia; The Lincoln Center for the Performing Arts, New York City; and Harris Theater for Music and Dance in Millennium Park, Chicago, Illinois, co-presented by the Museum of Contemporary Art, Chicago.

In February 2010, Laurie Anderson premiered a new theatrical work, entitled Delusion, at the Vancouver 2010 Olympic Games. This piece was commissioned by the Vancouver 2010 Cultural Olympiad and the Barbican Centre, London.

Anderson was honored with the Women’s Project Theater Woman of Achievement Award in March 2010.

In May/June 2010, Anderson curated the Vivid Live festival in Sydney, Australia together with Lou Reed. Her new album Homeland was released on June 22.

She performed “Only an Expert” on July 15, 2010 on the Late Show with David Letterman, and her song “Gravity’s Angel” was featured on the Fox TV show So You Think You Can Dance the same day.

She appears as a guest musician on several tracks from experimental jazz musician Colin Stetson’s 2011 album New History Warfare Vol. 2: Judges.

Anderson developed a theatrical work, entitled “Another Day in America”. The first public showings of this work-in-progress took place in Calgary, Alberta in January 2012 as part of Theatre Junction GRAND’s 2011–12 season and One Yellow Rabbit’s annual arts festival, the High Performance Rodeo.

Anderson was named the Inaugural Distinguished Artist-In-Residence at The Experimental Media and Performing Arts Center(EMPAC) at the Rensselaer Polytechnic Institute in Troy, New York in May 2012.

Anderson received the Honorary Doctor of Arts from the Aalto University School of Arts, Design and Architecture in 2013.

In June/July 2013, Anderson performed “The Language of the Future” and guest curate at the River to River Festival in New York City.

In November 2013 she was the featured Guest of Honor at the B3 Biennale of the Moving Image in Frankfurt, Germany

Anderson has invented several experimental musical instruments that she has used in her recordings and performances.

The tape-bow violin is an instrument created by Laurie Anderson in 1977. It uses recorded magnetic tape in place of the traditional horsehair in the bow, and a magnetic tape head in the bridge. Anderson has updated and modified this device over the years.

She can be seen using a later generation of this device in her film Home of the Brave during the “Late Show” segment in which she manipulates a sentence recorded by William S. Burroughs. This version of the violin discarded magnetic tape and instead used MIDI-based audio samples, triggered by contact with the bow.

The talking stick is a 6-foot-long baton-like MIDI controller. It was used in the Moby-Dick tour in 1999–2000. She described it in program notes as follows:

The Talking Stick is a new instrument that I designed in collaboration with a team from Interval Research and Bob Bielecki. It is a wireless instrument that can access and replicate any sound. It works on the principle of granular synthesis. This is the technique of breaking sound into tiny segments, called grains, and then playing them back in different ways. The computer rearranges the sound fragments into continuous strings or random clusters that are played back in overlapping sequences to create new textures. The grains are very short, a few hundredths of a second. Granular synthesis can sound smooth or choppy depending on the size of the grain and the rate at which they’re played. The grains are like film frames. If you slow them down enough, you begin to hear them separately.

A recurring motif in Anderson’s work is the use of a voice filter which deepens her voice into a masculine register, a technique which Anderson has referred to as “audio drag”. Anderson has long used the resulting character in her work as a “voice of authority” or conscience, although she later decided that he had lost much of his authority and instead began utilizing the voice to provide historical or sociopolitical commentary how to squeeze a lemon by hand, as he does on “Another Day in America”, a piece from her 2010 album Homeland.

For much of Anderson’s career, the character was nameless or called the Voice of Authority, although more recently, he was dubbed Fenway Bergamot at Lou Reed’s suggestion. The cover of Homeland depicts Anderson in character as Bergamot, with streaks of black makeup to give her a moustache and thick, masculine eyebrows.

In “The Cultural Ambassador”, a piece on her album The Ugly One with the Jewels, Anderson explained some of her perspective on the character:

(Anderson:) I was carrying a lot of electronics so I had to keep unpacking everything and plugging it in and demonstrating how it all worked, and I guess I did seem a little fishy—a lot of this stuff wakes up displaying LED program readouts that have names like Atom Smasher, and so it took a while to convince them that they weren’t some kind of portable espionage system. So I’ve done quite a few of these sort of impromptu new music concerts for small groups of detectives and customs agents and I’d have to keep setting all this stuff up and they’d listen for a while and they’d say: So uh, what’s this? And I’d pull out something like
(Bergamot:) this filter, and say, now this is what I like to think of as the voice of authority. And it would take me a while to tell them how I used it for songs that were, you know, about various forms of control, and they would say, now why would you want to talk like that? And I’d look around at the SWAT teams, and the undercover agents, and the dogs, and the radio in the corner, tuned to the Super Bowl coverage of the war. And I’d say, take a wild guess.

The single “Sharkey’s Day” was for many years the theme song of Lifetime Television. Anderson also recorded a number of limited-release singles in the late 1970s (many issued from the Holly Soloman Gallery), songs from which were included on a number of compilations, including Giorno Poetry Systems’ The Nova Convention and You’re the Guy I Want to Share My Money With. Over the years she has performed on recordings by other musicians such as Peter Gabriel, Lou Reed, and Jean Michel Jarre. She also contributed lyrics to the Philip Glass album Songs from Liquid Days, and contributed a spoken-word piece to a tribute album in honor of John Cage.

Formal music videos have been produced for:

In addition, in lieu of making another music video for her Strange Angels album, Anderson taped a series of 1- to 2-minute “Personal Service Announcements” in which she spoke about issues such as the U.S. national debt and the arts scene. Some of the music used in these productions came from her soundtrack of Swimming to Cambodia. The PSAs were frequently shown between music videos on VH-1 in early 1990.

Verzetsmonument Ferwerd

Het verzetsmonument in Ferwerd, ook bekend als As ‘t nedich is, is een monument ter nagedachtenis aan het Nederlands verzet in de Tweede Wereldoorlog non spill drink bottles.

Ferwerd wilde graag een oorlogsmonument dat uitdrukking gaf aan het verzet van de bevolking in de oorlogsjaren. De Utrechtse beeldhouwer Jan van Luijn maakte een beeld van “een krachtige mannenfiguur, die het karakter van deze streek draagt. Enerzijds thermal bottle, enigszins teruggehouden, heeft de figuur een schop in de hand, anderzijds, meer in het centrum van de aandacht wordt een geweer omklemd met de vastberaden houding van een mens, die football jerseys youth, indien hij gedwongen wordt clear reusable water bottle, niet aarzelt er zijn vrijheid mee te verdedigen.” Van Luijn maakte ook verzetsmonumenten voor Appelscha en Wolvega.

Het monument werd op 4 mei 1956 onthuld.

Het beeld van Franse kalksteen toont een half geknielde man, met een schep in linkerhand en een geweer in zijn rechterhand. In de voet van het beeld staat As ‘t nedich is (Als het nodig is). Het staat op een gemetselde bakstenen zuil, waarin een plaquette is geplaatst met de namen van achttien oorlogsslachtoffers uit de gemeente.

Alfonso Dastis

Vous pouvez partager vos connaissances en l’améliorant (comment  meat tendorizer?) selon les recommandations des projets correspondants.

Alfonso María Dastis Quecedo, né le à Jerez de la Frontera, est un diplomate et homme d’État espagnol proche du Parti populaire (PP).

Il est ministre des Affaires étrangères et de la Coopération depuis le .

Après avoir obtenu une licence en droit, il rejoint le corps diplomatique en .

Il exerce diverses fonctions, notamment conseiller exécutif du ministre des Affaires étrangères best insulated coffee bottle, conseiller à la représentation permanente auprès de l’ONU conseiller au cabinet du président du gouvernement lemon squeeze position.

Il est nommé le directeur de l’unité d’appui du comité organisateur de la présidence espagnole du Conseil de l’Union européenne en 2002 avec rang de sous-secrétaire par le président du gouvernement José María Aznar. Le , il est promu aux fonctions de secrétaire général des Affaires européennes du ministère des Affaires étrangères par la nouvelle ministre Ana Palacio.

Lorsque les socialistes reviennent au pouvoir, il se trouve relevé de ses responsabilités le par le successeur de Palacio, Miguel Ángel Moratinos. À peine deux mois plus tard, il est choisi comme nouvel ambassadeur d’Espagne aux Pays-Bas. Moratinos le démet cependant de cette fonction le .

Après que les conservateurs ont retrouvé la direction du gouvernement, il est désigné le ambassadeur représentant permanent de l’Espagne auprès de l’Union européenne par le nouveau chef de la diplomatie José Manuel García-Margallo.

Le , Alfonso Dastis est nommé à 61 ans ministre des Affaires étrangères et de la Coopération dans le second gouvernement minoritaire de Mariano Rajoy. Perçu comme un expert discret, il est présenté comme un négociateur très habile, disposant d’un grand prestige et d’une haute considération auprès de l’Union européenne rubbermaid water bottles.