Didone is a genre of seriftypeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by:
Narrow and unbracketed (hairline) serifs. (The serifs have a constant width along their length.)
Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.)
Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)
An unornamented, "modern" appearance.
The category is also known as modern or modern face serif fonts, in contrast to old style serif designs, which date to the Renaissance period.
Didone types were developed by printers including Firmin Didot, Giambattista Bodoni and Justus Erich Walbaum, whose eponymous typefaces, Bodoni, Didot, and Walbaum, remain in use today. Their goals were to create more elegant, classical designs of printed text, developing the work of John Baskerville in Birmingham and Fournier in France towards a more extreme, precise design with intense precision and contrast, showing off the increasingly refined printing and paper-making technologies of the period. These trends were also accompanied by changes to page layout conventions and the abolition of the long s.
Critical response to Modern has been mixed-to-negative.
Michael Sandlin of Pitchfork called it "wholly ill-conceived and mind-numbingly dull" and that "[it] seems like a weak attempt by a once-great band to simply sound 'current', whatever that means." Joshua Klein of The A.V. Club, on the other hand, wrote "the band reunited in time to ride the new punk wave, but something was missing from its two capable comeback albums. The new Modern is something else entirely: Essentially picking up where the band left off in 1981, the ironically-titled disc sounds like it was recorded just as punk turned into new wave", calling it "retro in the best sense".
All songs written and composed by Pete Shelley, except where noted.
An adit (from Latin aditus, entrance) is an entrance to an underground mine which is horizontal or nearly horizontal, by which the mine can be entered, drained of water, ventilated, and minerals extracted at the lowest convenient level. Adits are also used to explore for mineral veins.
Adits are driven into the side of a hill or mountain, and are often used when an ore body is located inside the mountain but above the adjacent valley floor or coastal plain. In cases where the mineral vein outcrops at the surface, the adit may follow the lode or vein until it is worked out, in this case the adit is rarely straight. The use of adits for the extraction of ore is generally called drift mining.
Adits can only be driven into a mine where the local topography permits. There will be no opportunity to drive an adit to a mine situated on a large flat plain, for instance. Also if the ground is weak, the cost of shoring up a long adit may outweigh its possible advantages.
The 491 Gallery was a squattedsocial centre and multi-disciplinary gallery in Leytonstone, London, England, that operated from 2001 to 2013. Taking its name from its street number, 491 Grove Green Road, the former factory was home to a community-led art organisation and served as an exhibition space for a diverse range of artists of different origins working in varied media. It contained a range of art and music studios, which were used to host workshops, classes and musical rehearsals.
The building, originally a factory, was later used as a storage space and warehouse for materials being used to construct the A12 that cuts through Leytonstone and the surrounding areas. Unlike the rest of the surrounding buildings, it and the few neighbouring houses were not subject to compulsory purchase orders and demolition for the A12 site. When in late 2000 the building was abandoned, it became occupied by a group of homeless drug users, who remained in it for some six months. Within a month of their vacating the premises, the building was reoccupied by a group of artists, who spent the next several years turning it into a community space. The neighbouring building, formerly houses, was also occupied, and named Vertigo, after the film by Alfred Hitchcock, a famous resident of Leytonstone.
From eight centuries of the art now called Surrealist to startling new takes on assemblage from Port-au-Prince, our critic finds a heady mix of old and modern, sex and politics in these powerhouse gallery shows ... ....
But that story doesn’t fully account for Russell Kirk—and you can’t tell the story of modernAmerican conservatism without him ... Where before conservatives had felt isolated, on the margins of political and cultural debate, they now could take their place in a great chain of thinkers, beginning in the modern era with Edmund Burke and continuing to the present....
What was fascinating to me was that, in gallery after gallery, the modern cities and factories and industrial agriculture scenes were not only painted as if by a machine (no gestures, lines created with a ruler), but were essentially unpopulated ... We each remember when the museum actually took down the gallery of modern and contemporary Dec Arts on the third floor of the Hamon Building some years ago....
Here are five you and your family might like to visit.. 1. Strasbourg, France... 2 ... Built in the 12th century, the temple's bas-relief galleries inform modern visitors of life in ancient times ... While the small communities were once only accessible by mule, modern-day train travel makes it easy to visit the enchanting towns that spill toward the sea from their steep and craggy origins ... .......
Thierry Henry has become the latest high-profile former footballer to step into management after taking the reins at French club Monaco... In the gallery above, we have chosen 10 modern-day managers who were once top-class players and are now top-class managers ... ....