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After being seriously injured in a hit and run, Piers Moore Ede goesto work and recuperate on an organic farm in Italy. There he meets a beekeeper, Gunter, who shows him, for the first time, the wonders and magic of the beehive. Battling depression and afraid to face the future, Piers finds a renewed sense of purpose through his work with the bees. Up close amongst the highly organised life of a hive, he realises that somehow honey might be the salve that can help him. Back in England Piers, still only in his mid-twenties, decides upon a quest to seek the most wondrous honeys in the world. From the terracotta bee jars of the Lebanon to the clay cylinders of Syria, slowly his personal tribula...
'I will never forget my first sight of the river in Varanasi, from the narrowness and constriction of the alleys, thronged with activity, to the sudden release of the waterfront, the labyrinth's end . . . It seems that all of life has its assigned place on the stone steps leading down to the Ganges. Some are used for bathing, others for laundry, washing buffalo, puja (worship, ceremonial offering), and this one for the business of death. The smells are of wood smoke, buffalo dung, urine and jasmine flowers. The sounds are of rustling kites and lowing cattle, crackling wood and prayer. . .'Piers Moore Ede first fell in love with Varanasi when he passed through it on his way to Nepal in search...
Two and a half years in the making, 'The Caged Bird's Song' is a monumental tapestry by the celebrated British artist, Chris Ofili. Accompanying 'Chris Ofili: Weaving Magic', the artist's ambitious presentation of the tapestry within a specially conceived environment in the Sunley Room at the National Gallery, this publication tells the story of the work?s evolution and documents the close collaboration between Ofili and master weavers who have interpreted his designs with astonishing nuance. A suite of previously unseen preparatory watercolours and works on paper and a revealing essay by the exhibition's curator, Minna Moore Ede, further illuminate this extraordinary project by one of the most acclaimed artists working today.
Much has been written on the centenary of the First World War; however, no book has yet explored the tragedy of the conflict from a theological perspective. This book fills that gap. Taking their cue from the famous British army chaplain Geoffrey Studdert Kennedy, seven central essays--all by authors associated with the cathedral where Studdert Kennedy first preached to troops--examine aspects of faith that featured in the war, such as the notion of "home," poetry, theological doctrine, preaching, social reform, humanitarianism, and remembrance. Each essay applies its reflections to the life of faith today. The essays thus represent a highly original contribution to the history of the First ...
This visually stunning publication celebrates a unique collaboration between two of the UKs leading cultural institutions, the National Gallery and The Royal Ballet. Together they commissioned three contemporary artists Chris Ofili, Conrad Shawcross and Mark Wallinger to work with international choreographers and composers to create three new ballets inspired by Titian's paintings Diana and Actaeon, 'The Death of Actaeon' and 'Diana and Callisto'. As well as designing all the sets and costumes, the artists also produced entirely new works in response to Titians masterpieces for a show at the National Gallery. The book tells the story of this extraordinary, complex project from conception to stage and gallery. The artists notebooks, sketches and other material from the studio are reproduced to show how they evolved their initial ideas into working designs. Exhibition: National Gallery, London, UK (11.7.-23.9.2012).
An overview of allostasis, the process by which the body maintains overall viability under normal and adverse conditions.
The author discusses the many negative effects of fatigue brought on by non-stop operations and how they can be avoided.
The idea of free (or laissez-faire) banking has enjoyed a remarkable renaissance in recent years. It is a radical idea that challenges much of what many monetary and banking scholars still take for granted - that banking is inherently unstable, that the banking system needs a lender of last resort or deposit insurance to defend it in a crisis, and that the government has to protect the value of the currency. Against this free banking sets an argument which is in essence very simple: if markets are generally better at allocating resources than governments, then what is different about money and the industry that provides it and why should they be treated differently?