text:
Explore Soule 2, now open in North Lawndale
NewsNews and IssuesThings to Do
One of the most anticipated openings of the year happened over the weekend when the second location of Soule debuted in North Lawndale.
The first iteration opened in 2017 in West Town, a blend of creole and soul food with dishes like shrimp and grits, jerk chicken wings, and fried catfish. The restaurant provided a casual level of sophistication in a come-as-you-are atmosphere that was also BYO. Black ownership made a difference in flavors and in making customers feel welcome on the North Side, and Soule soon became a celebrity hangout for rappers and athletes.
Soule 2 is finally here.
The North Lawndale location presents a personal mission for chef and owner Bridgette Flagg. She grew up in the area, an area that hasn't had a new sit-down restaurant open in a half a century. New businesses are rarities, but thanks to city and community grants, which complement Flagg's personal investments, Soule 2 and its 100 seats can open.
Flagg's crew built the space from the ground up. There's a second-floor landing that provides a view of the space. The decor includes gold neon and a full bar. There's a fireplace near leather sofas. A wall's covered with black and white photos showing Soule's community.
Flagg hopes Soule 2 can inspire a community revival. Walk through the space below.
Soule 2, 3615 W. Roosevelt Road, hours not posted yet.
Soule 2 is here.
Look at the TV and fireplace,
It's Instagram ready.
Unlike the original location, Soule 2 has a bar.
The area's first sit-down restaurant in 50 years.
Soule is about community.
A view from the second-floor landing.
If you don't, how can you expect anyone else?


Abstract: This study aims to identify an effective carbon source which enhances not only the microbial load but also the shrimps growth. The carbon source cane sugar, molasses and jaggery were tested in 100 L culture tanks with stocking density of 30 m‾2 Peneus monodon seeds for a culture period of 40 days. Jaggery biofloc tank shows highest floc formation (22 mL), highest survival (86%) and highest ABW (6 g), proximate composition of jagerry biofloc had higher protein level (35%) followed by mollases and sugar culture tanks. It confirms jaggery is a new efficient carbon source for shrimp culture system.


text:
Jove o Jové (en gallego y oficialmente desde 1985, Xove) es un municipio español perteneciente a la provincia de Lugo en la comunidad autónoma de Galicia.

Se encuentra en la franja costera de la provincia de Lugo, en La Mariña, en la comarca de las Rías Altas del mar Cantábrico que, en contraste con las Rías Bajas del mar Atlántico, ofrecen un paisaje más abrupto con una costa muy recortada, buenos abrigos, un gran oleaje y mucha riqueza en pesca, además de espaciosas playas de arena blanca y fina, alguna de las cuales se encuentra todavía en estado semisalvaje de gran belleza.

Dentro del término y en la parroquia de Juances se encuentra la iglesia de San Pedro de Juances compuesta de tres naves de dos tramos con arco escarzano en la entrada.

Contiene otras iglesias de origen románico.

Etimología
El origen del nombre es controvertido. Probablemente proceda del latín *(uilla) Iouii, indicando la pertenencia a un possessor llamado Iouius. Otra hipótesis es que provenga de un hidrónimo similar a *yo-upe, de origen paleoeuropeo.

Organización territorial

El municipio está formado por ochenta y seis entidades de población distribuidas en ocho parroquias:
 Jove
 Juances
 Lago (Santa Eulalia)
 Monte (San Isidoro)
 Morás (San Clemente)
 Portocelo (San Tirso)
 Rigueira (San Miguel)
 Sumoas (San Esteban)

Deporte
El equipo de fútbol de la localidad, la Unión Deportiva Xove Lago, jugó en Tercera División entre 1992 y 2004.

Referencias

Bibliografía

Enlaces externos

Jove (Lugo)

redpajama_set_name: RedPajamaWikipedia


text:
Passionate about IP! Since June 2003 the IPKat has covered copyright, patent, trade mark, info-tech, privacy and confidentiality issues from a mainly UK and European perspective. Read, post comments and participate!
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Home / Parody / private copying / quotation / UK copyright / From 1 October UK will have exceptions for private copying, broader quotation and parody
From 1 October UK will have exceptions for private copying, broader quotation and parody
Eleonora Rosati Wednesday, July 30, 2014 - Parody, private copying, quotation, UK copyright
Following some fear [here and here] that UK Government could have decided not to introduce exceptions for private copying, broader quotation and parody into UK copyright after all, last month this blog reported that the "missing" exceptions were back with new [well, not so new as they were basically unchanged] draft Statutory Instruments (SIs) [here and here].
Following approval in the House of Commons earlier this month, yesterday at around 6:15 pm [as the illustrious and learned Katfriend who told this Kat specified] the House of Lords also approved the draft SIs [you can read an early statement from the Open Rights Group here].
This means that, following the bunch of other exceptions [research, education, libraries and archives; disability; and public administration] that entered into force on 1 June last, also these new exceptions are now scheduled for entry into force. This will be on 1 October 2014.
The official report from yesterday's discussion in the House of Lords makes an engaging reading. New IP Minister Baroness Neville-Rolfe said pretty interesting things not only about these exceptions, but more in general about the role of copyright and how UK Government intends it.
Strong and (clearly) respected
She started by saying that "[c]opyright legislation needs to be strong and respected to keep up with the pace of innovation and the digital revolution." To this end, "[t]he Government are committed to raising awareness and understanding of IP across all businesses large and small in order to protect innovation and originality and meet changing consumer needs."
Among the initiatives promoted by UK Government, she mentioned extending copyright protection for sound recordings and performances [by the way: did you know that apparently France, Poland and Romania have yet to transpose Directive 2011/77/EU into their national laws?], setting up the Police Intellectual Property Crime Unit [see the "This website has been reported to the police" initiative described by Jeremy here], supporting the industry-led Copyright Hub and educational campaign Creative Content UK [also mentioned in the Australian Government Discussion Paper on Online Copyright Infringement, which has just been released].
Personal copies for private use do not come with a levy
With regard to this exception, the IP Minister started by saying that "[c]opyright law should not stand in the way of people being able to use and enjoy their own property."
However, compared to private copying in other EU Member States, the forthcoming UK exception for "personal copies for private use" will be narrower.
Kat-cloud
In particular "it will not allow someone to give or sell a copy they have made to someone else, or share copies from their personal cloud; it will not allow someone to obtain a copy from sources they do not own, such as rented copies, broadcasts or on-demand services; it will not prevent copyright owners from using technology to guard against copyright piracy, such as the copy protection for films found on DVDs and Blu-ray discs; and it will not prevent copyright owners from licensing additional services, such as cloud services which allow shared access to content."
Because of its narrow scope, UK Government decided against the introduction of private copying levies [which, for instance, have been recently at the centre of heated discussions in Italy], also on consideration that British consumers would not tolerate them.
"They are inefficient, bureaucratic and unfair, and disadvantage people who pay for content", said the Minister, who added that the InfoSoc Directive leaves Member States free not to provide compensation where an exception is likely to cause minimal or no harm, or where appropriate payment has already been made. This view is also supported by UK-based IP profs. In any case, as readers might probably remember, the de minimis rule as per Recital 35 to the Directive is among the issues at stake in the pending Copydan reference [Merpel, who likes drama, says: it would be fun if the Court of Justice had a different opinion from UK Government and IP profs ...].
Parody caricature and pastiche will have to be fair dealing
As regards the parody/caricature/pastiche exception, the Minister observed that "we need to protect the right to mock the high and mighty". Above all, "[c]opyright should incentivise creation, not obstruct it. It should allow people to voice their opinions, not stifle them."
Fair (dealing) enough, but you better not think that this does give you carte blanche to do whatever crosses your mind.
This is because UK Government deemed appropriate to frame the parody/caricature/pastiche exception within fair dealing. So, "fair dealing will mean that copying a whole work without changing it will not be allowed. For example, it would not be considered "fair" to use an entire musical track on a spoof video. This will mean the market for the original work should be unaffected."
This Kat has already criticised the move of framing parody within fair dealing, on fear that in practice UK exception might end up being a pretty narrow defence, especially when it comes to artistic works.
As regards music tracks, Merpel wonders how this could affect the market for this ... Yet, "At present, when a whole work, such as a musical track, is used in a parody the copyright owner will often allow this in exchange for appropriate remuneration. The fair dealing exception means that such licensing will still be possible."
This new exception leaves unaffected "tough laws on libel".
Random quotes will be OK
Quotation beyond criticism or review
Finally, with regard to quotation, broadening its scope was deemed necessary because "UK copyright legislation currently allows quotations and extracts only for the purpose of "criticism or review". So a whole range of activities which the average person is likely to consider reasonable risk infringing copyright because they fall outside the current "criticism and review" exception. An academic paper or student essay which quotes a title of a journal, book or film, or uses a short extract to ensure proper citation, although likely to be considered fair by a court, is likely to fall outside the current "criticism and review" exemption. Small theatres and record companies have complained that they are often prevented from using quotes from newspaper reviews in their own promotional material."
The changes "will remove this limitation and permit all types of fair quotation, as long as there is acknowledgement of the source of the quotation. There should be no obstacle to fair and honest quotation. British citizens should have no less a right to it than those of other democratic nations."
From 1 October UK will have exceptions for private copying, broader quotation and parody Reviewed by Eleonora Rosati on Wednesday, July 30, 2014 Rating: 5
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Anonymous Wednesday, 30 July 2014 at 12:47:00 BST
Well done HMG. A very fair and balanced implementation, as well as some nice beacons for the courts to follow, by way of the quoted examples which fall inside and outside the exceptions, and a legislative update that was well overdue.
Andy J Wednesday, 30 July 2014 at 14:34:00 BST
Thanks Eleonora,
As I'm sure you are aware, there's a much simpler and more targeted method of linking to specific Parliamentary business, than referring to the pdf for the whole of the day's business.
For instance, here is a link to the relevant part of yesterday's debate in the Lords on the new copyright exceptions.
Eleonora Rosati Wednesday, 30 July 2014 at 14:52:00 BST
Thanks Andy J, I just assumed people would have liked to read everything that was discussed yesterday :-)
I have now replaced the link with the one you provided, thanks!
The debate is also available on the excellent TheyWorkForYou site, which also allows notes and annotations to be added.
http://www.theyworkforyou.com/lords/?id=2014-07-29a.1553.2
It's rather depressing to read lord after lord -- including frontbench Labour and Lib-Dems, and ex-minister Estelle Morris -- standing up to berate the government for not allowing the industry a "golden opportunity" to gouge consumers again for the privilege of using "cloud lockers" to hold and access the content they have already bought.
Who knew that these party spokesmen were such bought-and-paid-for shills? Or that this government, of all people, were such defenders of the individual?
Thank goodness for a lone voice of sense from the Earl of Erroll.
Truly, a shocker of a debate.
Ron Wednesday, 30 July 2014 at 21:21:00 BST
I do wonder whether the IPO's (a.k.a. Patent Office's) funding of non-IPO activities such as the Police Intellectual Property Crime Unit is ultra vires the terms of the IPO's trading fund order (SI 1991 No. 1796).
It may be recalled that all the IPO's income comes form the fees paid by its users, and the operations to be funded by the trading fund are set out in the SI, which says :
"The operations to be funded by the fund are all the operations of the Patent Office relating to
(a) copyright,
(b) design right,
(c) patents,
(d) patent and trade mark agents,
(e) registered designs,
(f) rights in performances,
(g) trade marks and service marks,
including, without prejudice to the generality of the foregoing
1. operations concerning the promotion and administration of legislation relating to the foregoing,
2. operations arising out of ( European Community Activities etc.) in relation to or in connection with the foregoing,
3. the provision and dissemination of information and the procurement of publicity and advertising relating to the foregoing,
4. operations incidental, conducive or ancillary to the operations described above. "
My understanding is that the Patent Office's only significant statutory involvement in copyright is in connection with the "promotion and administration of legislation" and the activities of the PAT, in connection with establishing royalty rates (Schedule 1 item 1), and "information, advertising and publicity" (item 3 of schedule 1).
Copyright enforcement is surely a matter for the owner of the copyright. Enforcement is not something that the Patent Office gets involved in, and so is hardly an "operation of the Patent Office". Funding the London Police Force 's IP crime prevention unit is I am sure a very laudable thing and arguably in the public interest, but it is difficult to see how it falls under any of the "operations o the Patent Office" set out in the schedule. It is clearly an activity of the Police force, and not and "Operation of the Patent Office". It is not as if the owners of copyright are contributing anything to the IPO's income, since no fees are payable to get copyright. The owners of paid-for IPR are subsidising the enforcement of copyright-owners rights.
Eleonora Rosati Thursday, 31 July 2014 at 07:52:00 BST
Hi Ron, yours is a very interesting point. Would you be interested in letting us know more? If so, do please drop me an email. Thanks!
Freddie Noble Thursday, 31 July 2014 at 10:00:00 BST
I don't know the answer as to the legality of UK IPO funding the Police IP Crime Unit, but from what I understand of the IPO accounts (http://www.ipo.gov.uk/about-anrep1213.pdf) the trading fund pays the Treasury a dividend of around £3m per year, so holders of registered rights in principle might be said to be subsidising all kinds of Government activities which have nothing to do with IP at all.
Lots of money comes from renewal fees on EP(GB) patents - it makes the difference between a rather disastrous loss and a healthy profit in the patents department. In 2012-13 trade marks made a loss of £2.3m, but that was more than covered by the profit on the patents side.
Ron Thursday, 31 July 2014 at 10:28:00 BST
It may be significant that the minutes of the IPO's steering board show that the vires of certain items of the IPO's proposed expenditure have been raised over a period of several years by various board members . Someone is actioned to investigate, but the outcome of any such investigations has not (yet) appeared in the minutes. As has been announced in the IPO's corporate plan and elsewhere, the BIS is proposing to syphon of some £25,000,000 to fund projects not directly connected with "operations of the office" , justification apparently being that, as the BIS is effectively the sole shareholder of the IPO's business, it can withdraw it as a special "dividend", since the IPO has managed to accumulate a substantial profit as a consequence of operating to ministerial targets. I thought that the original intention of the establishment of the trading fund was that the office should only cover its operating costs and not be used as a profit centre to fund BIS projects not directly related with the activities of the patent office.
You can find the steering board minutes on the IPO's web site if you delve deeply enough.
Thahks Freddie and Ron for your thoughtful comments!
>> I thought that the original intention of the establishment of the trading fund was that the office should only cover its operating costs and not be used as a profit centre to fund BIS projects not directly related with the activities of the patent office.
I'm not sure that's right. The IPO target is to make a profit - although it is currently exceeding that target so it could be said that it is making "too much" money and should reduce fees...
I think the point of a trading fund is more about a degree of independence in terms of its financial management - it does not have to ask the treasury to approve spending all the time as long as it has the money to spend. s1. of the Act talks about "improved efficiency and effectiveness of the management...". Whether or not you believe that it really is more efficient, it doesn't seem to be primarily about ringfencing profits.
Andy J Friday, 1 August 2014 at 00:22:00 BST
At the risk of bringing these comments back on topic, I would like to draw attention to Francis Davey's thoughtful piece on how the private copying exception might work in practice.
Anonymous Sunday, 3 August 2014 at 00:51:00 BST
the movie "Strong and (clearly) respected" has been shortened -- where have the push-ups gone? The GIF is now only about 2MB, but it was 3MB.
George Brock-Nannestad
Eleonora Rosati Sunday, 3 August 2014 at 11:38:00 BST
Hi George, I can still see the push-ups! Check it out again ;-)
Ron Monday, 4 August 2014 at 02:26:00 BST
Back numbers of the CIPA Journal and the Internet produced the following:
CIPA July 1993 pages 233 to 237 published correspondence about the PO's surplus between Michael Burnside and Paul Hartnack, the then-comptroller of the Patent Office. Paul was in no doubt as to what the surplus could be used for, explicitly not copyright, saying:
"...As the corporate plan makes clear, the "surplus" is, however, on deposit and is available for use if as it seems likely we have to make a major IT investment towards the end of the century in order to match investments made by the EPO and other major offices. Alternatively it could be used for other purposes unconnected with day-to-day running costs such as publicity and marketing.
......... The only real pressure is copyright where I depend on the DTI (since copyright is not fee-earning and under the statutes cannot be subvented from Patent Office revenue) and even on copyright we are able to cope at least for the time being. ...."
The Comptroller clearly believed that there were legal constraints on the use of the PO's income from official fees (which constitutes virtually all of its income) and includes EP renewal fees.
The Comptroller's belief is prima facie consistent with information buried in the 102-page "Guide to the establishment and operation of trading funds ", Financial Reporting Team, HM Treasury, May 2004 (Updated August 2006)
12.5.2 For legal reasons, the price of a statutory service should never be set deliberately to generate a surplus above the agreed return on capital employed (3.5 per cent in the SR2002 and SR2004 periods), unless the statute specifically provides for this. A planned surplus would be interpreted as illegal taxation. [emphasis added]
12.5.3 As is made clear in the Fees and Charges Guide, the treatment of surplus receipts and deficits of a trading fund needs to be considered in the light of a trading fund's financial objectives. Where, inadvertently, a trading fund earns surplus receipts, they may be used to mitigate or eliminate increases in charges, reduce charges, cover any planned loss in the following year or be used to finance capital expenditure, subject to the agreement of the sponsoring department and resource budgeting requirements. ....
From the 2005 Comptroller's report to parliament
Objectives and strategy
The DTI Innovation Report released in 2003 gave us the job of helping business to understand how to create and use intellectual property effectively. The same report also charged the Patent Office with improving the regime for enforcing IP rights and counteracting counterfeiting and piracy. In parallel with the Innovation Report, the Lambert Review highlighted the need to provide an effective framework to facilitate technology transfer from publicly funded research, including university research to the market place.
Statutory Background
The operating surplus on ordinary activities was £8 million. ......A special dividend of £40 million was also paid in year from reserves to the DTI to support innovation. This was the final tranche of a £100 million special dividend over three years.
The principles set out in 12.5.2 of the treasury guide that surpluses should not intentionally be generated from activities paid for by statutory fees were evidently overlooked, or perhaps the wording of the trading orders had been stretched by considering that promoting innovation in general fell under paragraph 4 "operations incidental, conducive or ancillary to the operations described above".
Whatever the reason, creaming off those hundred millions had such a disastrous impact on the Patent Office's 5 year budget that 15 examiners were "offered" voluntary early retirement in 2003 to make the books balance over the 5 year cycle. They have been struggling to catch up ever since.
Anonymous Monday, 4 August 2014 at 15:56:00 BST
Thank you Ron for the exhaustive treatment - I am bookmarking the page!
What I would love to see (but outside the purr-view here, methinks) is an equivalent treatment of the USPTO and their recently enlarged power to set fees.
That fee setting power came with a rather large string attached: the fees must balance in the aggregate. However, given as the fees were raised across the board, notwithstanding the additional reductions for universities and other new micro entities, I have never seen - and truly doubt it exists - ANY attempt at the "aggregate" picture.
A power granted that runs so complicated - and so unchecked - is a power that will be abused. That is just human nature, and to expect otherwise is more than merely foolish - it is complicit.
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I love using face scrub as part of my skincare routine.
I fell in love with this product as soon as I tried it for the first time. This is really an amazing face scrub. It's hard not to fell in love with this product because it gives you instant satisfaction right away!
Okay, first of all... SKIN&LAB is a very well-known Korean brand that focuses on beauty products with the principle of alcohol-free, no synthetic dye, no-fragrance, and no-animal ingredients. Skin&Lab also tries to pursue a hypoallergenic formula in all their products, which also minimizes harmful elements through the use of patented natural extracts.
One of their best-seller product that's already popular internationally is this Dr.Vita Clinic Gently Vita Exfoliator. It gently exfoliates dead skin cells to reveal a brighter and fresh looking skin. It is packed full of all the good ingredients to give you a clear looking skin that glows from within.
So make sure you wash your face first and towel dry! As I mentioned before, this is a dry-scrub type so you use it on your clean dry skin.
What I do is I wash my face first with a face wash, and then I towel dry my face, and then I apply this face scrub / exfoliator on my face and massage it right away in circular motion. Within seconds I would see that it exfoliates my skin and all the dirt and dead skin cells come right off, along with the scrub. You will love how fast it works! Just remember, your fingers should be dry too, it can't work properly with wet fingers.
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But for mobile customers, they acknowledged that complex design parts like video and animations may significantly have an effect on web page load time , amongst different difficulties. That is why they actually eliminated many of them – which decluttered the site and simplified the overall mobile experience. The mobile website is a less complicated version of their desktop web site, and it's nonetheless fantastically designed.
Below, you will discover our prime 5 winners, chosen by an skilled panel of judges including Josh Bisch, lead designer at Uber, Mike Morello, chief working officer of digital at Inc. Magazine, LaQuan Smith, founder and designer of the LaQuan Smith superstar style model, and Andrea Wagner, head of design at BigCommerce.
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Sarasota became its own city in 1921 after being carved out of parts of Manatee County and was based on fishing. Many Cuban and American fishermen had built fish camps along Sarasota Bay. William Whitaker, The Webb Household, The Browning Household, Owen Burns, Bertha Palmer and John Ringling are just a number of the names of the early Sarasota history makers. Sarasota had many visionaries who have made it into the profound city it is at present. History, Tradition, Art, stunning states parks and a world renowned seashore are what make Sarasota noteworthy.


Here's a wild, mind-melting statistic for you: as of April 14th, the only other Fox movies to gross higher than Bohemian Rhapsody at the global box office are Avatar, Titanic and Star Wars: Episode 1 – The Phantom Menace.
Per Deadline, the studio's fist-pumping success story soared past $900 million this weekend, proving that, once again, the film's storied production woes did not affect the performance in any way, shape or form.
Bohemian Rhapsody is arguably one of the biggest overachievers of the modern cinematic era, and it even managed to snag several huge awards – Best Actor at the 2019 Oscars included – along the way. The $52-million budgeted drama will likely fall just short of that coveted billion-dollar mark, but even still, this is an incredible achievement, no matter which way you spin the numbers.
Part of the reason behind Bohemian Rhapsody's success is the fact that 20th Century Fox took full advantage of sing-a-long screenings right across the world, with Japan proving to be a particularly lucrative market ($115M) for the Queen epic.
As a matter of fact, in terms of gross profit, Deadline notes that Bohemian Rhapsody was the 4th most profitable release of 2018, behind only Aquaman, Venom and Deadpool 2. You may be wondering why Avengers: Infinity War didn't make the cut; it's simple, really, despite grossing more than $2 billion at the worldwide box office, Marvel's MCU tentpole was an incredibly expensive venture across the board, with glossy VFX and wage bills bumping its overheads into the stratosphere.
Despite some last-minute reshoots to accommodate Bryan Singer's high-profile departure, Bohemian Rhapsody managed to keep its costs down, resulting in one of the most profitable movies not just of 2018, but the past 10 years. Is it enough to warrant talk of a potential sequel, though? We'll leave that one to you.


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HISTORICAL ART & AUCTIONS
Home NEWS Emily Carr University Awards Two Honorary Doctorates
Lind Prize Shortlist Announced
Slate Gallery Moves to Regina's Cathedral District
Emily Carr University Awards Two Honorary Doctorates
Emily Carr University is awarding honorary doctorates to Lawrence Paul Yuxweluptun Lets'lo:tseltun, an important artist of Coast Salish and Okanagan descent, and Terry Irwin, head of the School of Design at Carnegie Mellon University.
As well, Vancouver Island artist and activist Marianne Nicolson will receive the university's Emily Award, which honours outstanding achievements by university alumni.
The ceremony will take place on May 4.
Gillian Siddall, the university's president, described the three as "provocative leaders" in their respective fields, saying they have made "a bold and lasting impact on creative practice and cultural engagement."
Lawrence Paul Yuxweluptun in his studio (photo by Ken Mayer)
Yuxweluptun, a painter, sculptor, virtual reality and performance artist, has spent three decades exploring issues of colonization, politics and the environment. He graduated from Emily Carr University in 1983. His work has been displayed in many institutions, including the National Gallery of Canada and the UBC Museum of Anthropology.
Irwin, an accomplished designer, has been teaching at the university level since 1986. At Carnegie Mellon she led a process to place design for society and the environment at the heart of all teaching.
Nicolson, a member of the Kwakwaka'wakw First Nation, is an internationally exhibited artist and outspoken advocate for Indigenous land rights. She explores traditional Northwest Coast artistic expressions through contemporary media and has shown her work at the Vancouver Art Gallery and the National Museum of the American Indian in New York.
Emily Carr University of Art + Design
520 East 1st Avenue, Vancouver, British Columbia V5T 0H2 View Map
Website Visit Website
Emily Carr University Lawrence Paul Yuxweluptun 23 April 2019 Terry Irwin
Copyright © 1999 - 2020 T2 Media Inc. All rights reserved.


Today we're bringing you five more amazing EMUI 3.1 themes. We couldn't collect every themes, but we have mentioned most of the famous & best EMUI 3.1 themes. We have arranged themes as per their feature, design, cost & we have also mentioned Superhero EMUI themes available till date.
This theme is highly inspired by the touchwiz of Galaxy Note 7 devices. The look of this theme is very clean and the icons are quite elegant. The lock screen has 2 app shortcuts through which you can access camera and dialer.
MIUI 8 is a beautiful looking OS and if you have always wanted a similar interface on your huawei running device, the MIUI 8 theme will fulfil your wish. The most unique thing about this theme is it's detailed graphics and good design. So, check it out.
You are going to love the Euphoria theme for Huawei, if you are a fan of the MIUI custom ROM. It may seem like a usual theme mod for huawei but what makes it unique is the fact that the developer has made sure to theme only particular elements, which bring a more refined look.
The theme brings the same minimalistic flat icons and beautiful colors we have come across in 360 OS. You need to see it to believe it, so go ahead and try it, it's free!
Like most other themes on the list, Nand-Lomo brings a unique style to system elements So, if you love tinkering with your device's interface, you will be happy to know that it features plenty of options for most UI elements.


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Brocolitia oder Procolitia war ein römisches Kastell der Hilfstruppen im County Northumbria, Ortsteil (Hamlet) Collerford des Parish Newbrough im Nordosten von England.

Es gehörte zu der aus insgesamt 16 Kastellen bestehenden Festungskette des Hadrianswalls (per lineam valli) und sicherte dessen östlichen Abschnitt. Das Lager wurde etwa 300 Jahre, vermutlich von 130 bis 400 n. Chr. vom römischen Militär genutzt. In der Provinzialrömischen Archäologie ist die Ausgrabungsstätte durch drei nahe dem Lager gelegene romano-britische Kultstätten bekannt geworden.

Name
Der Ortsname stammt aus dem Keltischen und bedeutet entweder "Dachsloch" (J. C. Bruce), "Platz in der Heide" oder "felsiger Platz" (Guy de la Bedoyere). Der Name scheint in der Notitia dignitatum (Procolitia) des späten 4. Jahrhundert auf und wird in der Cosmographie des Geografen von Ravenna aus dem 7. Jahrhundert als Brocoliti zwischen Celunnum (Chesters) und Velurtion (Housesteads) erwähnt.

Lage
Brocolitia ist das siebte Glied in der Festungskette des Hadrianswalls (vallum aelium) und befindet sich auf dem Gebiet des Tynedale district, County Northumberland, 2,4 km westlich des Weilers Chollerford an der B6318, am zentralen Abschnitt des Walls. Es stand im Tepper Moor, am nördlichsten Punkt des Wallabschnittes "Limestone Corner", eine römische Meile westlich des Meilenkastell 30. In der Nähe befindet sich ein Weiler, Carrawburgh, auf halbem Weg zwischen Sewingsshield und Chollerford. Das Kastellareal liegt heute auf den Weidegründen der Carrowfarm (Carrow House). Der Standort bot einen exzellenten Blick nach Süden über das Tal des Maggie's Dene Burn. Straßenverbindungen bestanden zu den Lagern von Cilurnum (Chesters), Vercovicium (Housesteads), Vindolanda, Newbrough am Stanegate und Coesike. Ab 212/213 gehörte die Region um Brocolitia zur Provinz Britannia inferior, ab dem 4. Jahrhundert zur Provinz Britannia secunda.

Forschungsgeschichte
Das Kastell wurde das erste Mal Mitte des 18. Jahrhunderts von John Horsley untersucht und beschrieben. Er stellte dabei fest, dass seine östlichen und westlichen Seitenwälle rechtwinkelig an den Wall angebaut waren und das Lager nicht nach Norden vorsprang. Weiters berichtete er von Spuren eines Vicus an der Westseite und über das Vorhandensein eines Brunnens. Die erste Ausgrabung wurde am Ende des 19. Jahrhunderts von John Clayton (1792–1890) durchgeführt. Im Jahre 1873 konnte er das Lagerbad lokalisieren und untersuchen. 1875 wurde unter einem großen Stein im Zentrum des Kastells ein Münzhort, bestehend aus 66 Denaren aus der Zeit von Marcus Antonius bis Geta entdeckt. 1876 stieß man auf die Reste des südwestlichen Zwischenturms. Im selben Jahr entdeckten Arbeiter einer Bleimine die Quelle "Coventinas Well", die danach von Clayton und John Collingwood Bruce freigelegt wurde. Bruce veröffentlichte einen vorläufigen Grabungsbericht in der Ausgabe des Newcastle Daily Chronicle vom 23. Oktober 1876. 1934 konnte bei einer Geländebegehung festgestellt werden, dass der südliche Graben des Walls (vallum) beim Bau des Kastells verfüllt worden war. 1949 wurde das Mithräum entdeckt und 1950 von I. A. Richmond und J. P. Gillam freigelegt. 1960 deckte man direkt neben dem Mithräum ein Nymphenheiligtum auf. 1964 wurden auf dem Besucherparkplatz Ausgrabungen vorgenommen. Von 1967 bis 1969 führte David J. Breeze für die Durham University in Carrawburgh Sondierungsgrabungen durch. Die Forschungsergebnisse über Brocolitia wurden 1961 von Birley und 1978 von Charles Daniels zusammengefasst. 1984 erstellte die RCHME Newcastle einen Plan des Kastells und seiner Umgebung, zusammen mit einem vollständigen Bericht über den Erhaltungszustand der noch vorhandenen Überreste. Im selben Jahr konnten Reste der Süd- und Ostmauer der Conventinaquelle beobachtet werden. Am Ende der 1990er Jahre wurden vom Kastellareal Luftaufnahmen angefertigt.

Inschriften und Fundspektrum
Bis dato sind 48 römische Inschriften aus dem Umfeld von Carrawburgh bekannt geworden. Sie befanden sich auf 31 Weihealtären, fünf Bauinschriften (eine beschädigt, nicht datierbar), vier Centurialsteine und sechs Grabsteine oder Grabinschriften.

Besonders bemerkenswert sind die Funde aus dem Coventinaheiligtum, darunter ein dreiteiliges Steinrelief der Göttin. Im Quellenbecken wurde eine riesige Anzahl römischer Münzen und Votivgaben gefunden, von denen allerdings viele gestohlen wurden, da Clayton sie über Nacht in einer Grube neben der Quelle deponiert hatte. Als schließlich bis zu 6,5 kg Münzen aus dem Quellenschacht geborgen worden waren, dachte man zuerst, man sei auf einen Hortfund gestoßen, der wegen eines Barbarenangriffs o. ä. dort versenkt worden war. Später stellte sich jedoch heraus, dass es sich um Opfergaben für die Göttin handelte, die sich über einen langen Zeitraum hier angesammelt haben mussten. Insgesamt konnten 13.487 Münzen (vier aus Gold, 184 aus Silber der Rest aus Kupferbronze) sichergestellt werden. Viele waren durch ihren langjährigen Gebrauch stark abgegriffen. Sie datierten von der frühen Regierungszeit des Augustus bis ins späte 4. Jahrhundert. Unter diesen Münzen befanden sich auch mehr als dreihundert Aes aus der Zeit des Antoninus Pius, geprägt aus Anlass der Niederschlagung einer Revolte der nördlichen Britenstämme im Jahr 155. Diese Münzen zeigten die Britannia mit gesenktem Kopf und einem Vexillum in der Hand. Die Schlussmünze stammte von 388. 3000 sehr stark abgegriffene Exemplare ließ Clayton einschmelzen und sich daraus eine Adlerskulptur ("Coventinas Eagle") für seine Bibliothek anfertigen (heute im Chesters Museum). Der Rest wurde in den 1960er Jahren dem British Museum in London übergeben.

Die übrigen Votivgaben umfassten Tierfiguren aus Bronze, Mantelfibeln (fibulae), Ringe, Perlen, Glasgefäße, zwei tönerne Räuchergefäße, in die 'Augusta Coventina' eingeritzt war, und Lederreste. Darunter waren auch Metallstifte (wahrscheinlich ein Symbol für die Geburt) und Skulpturen von Pferden und Hunden. Das Pferd galt als Fruchtbarkeitssymbol, während der Hund für den Heilgott Asklepios stand. Die Artefakte befinden sich heute mehrheitlich in der Sammlung des Chesters Museum.

Entwicklung
122 befahl Kaiser Hadrian, im Norden Britanniens eine Sperrmauer, verstärkt durch Wachtürme und Kastelle, vom Tyne bis zum Solway Firth zu errichten, um die britischen Provinzen vor Übergriffen der Pikten aus dem Norden zu schützen. Der Wall wurde größtenteils durch Soldaten der drei in Britannien stationierten Legionen und der Classis Britannica errichtet.

Das Lager von Brocolitia entstand mit ziemlicher Sicherheit erst nach Fertigstellung des Hadrianswalls, wahrscheinlich zwischen 130 und 132, und wurde von Angehörigen der Legio VI Victrix erbaut. Untermauert wird diese Annahme durch die Entdeckung einer Inschrift, die Sextus Iulius Severus erwähnt, jener Statthalter, der in Britannien nach 130 amtierte. Einer der Gründe dafür war die Entscheidung der Armeeführung, auch die Besatzungen der Stanegatekastelle direkt an den Wall zu verlegen. Vermutlich standen für die römischen Strategen auch die benachbarten Kastelle von Chesters und Housesteads zu weit voneinander entfernt. Das Mithräum wurde wohl am Ende des 3. Jahrhunderts bei einem Einfall der nördlichen Barbarenstämme zerstört. Diese nutzten die Rebellion der Usurpatoren Carausius und Allectus zu einem Plünderungszug aus, da die meisten Einheiten der Wallgarnisonen 296 in den Südosten marschiert war, um eine Invasion der Reichstruppen abzuwehren. Das Kastell war wahrscheinlich bis ins späte 4. Jahrhundert vom regulären Militär besetzt. Die letzten sichtbaren Reste wurden im frühen 18. Jahrhundert von Bautrupps der britischen Armee unter General George Wade (1673–1748) zur Materialgewinnung für den Bau einer Artilleriestraße (die heutige B6318) abgebrochen. Das Kastellareal ist heute in Privatbesitz, aber für Besucher frei zugänglich.

Kastell
Die Befestigung maß etwa 140 Meter (Nord-Süd) × 110 Meter (Ost-West), bedeckte eine Fläche von 1,6 ha und hatte den für die mittlere Kaiserzeit typischen quadratischen Grundriss mit abgerundeten Ecken (Spielkartenform). Die Grabungen am Ende der 1960er Jahre ergaben, dass das Lager wahrscheinlich zwei Bauphasen durchlief. Phase II konnte u. a. durch Keramikscherben in das Jahr 200 datiert werden. Es gab keine Anhaltspunkte dafür, dass es nach dem Jahr 368 noch vom Militär genutzt wurde. Der Wall bildete die Nordmauer der Festung. Im Gegensatz zu den benachbarten Reiterkastellen kragte sie aber nicht über den Wall nach Norden vor. Die Mauern waren an jeder Seite von einem Tor durchbrochen. Ost und Westtor befanden sich nicht im Zentrum der Mauer, sondern waren etwas nach Norden verschoben, da sie dem Verlauf der Wall- oder Militärstraße (gleichzeitig auch die Via principalis des Lagers) angepasst wurden. Dadurch war die retendura des Lagers etwas größer dimensioniert als bei vergleichbaren Kastellen. Das Lager überdeckte den ursprünglichen Verlauf des Südgrabens (vallum). Heute sind nur noch die Kastellplattform und einige etwa 0,5 Meter hohe Bodenerhebungen am südlichen Ende der Westmauer sichtbar.

Umwehrung
Die Umwehrung bestand aus einer Steinmauer, die rückwärtig von einer Erdrampe gestützt wurde. Letztere diente auch als Wehrgang. An der Westseite ist die Kastellmauer noch ein paar Steinreihen hoch erhalten (ca. 1,0 bis 3,2 Meter). Sichtbares Mauerwerk befindet sich ansonsten noch an der Südseite, die Reste des nördlichen Flankenturms des Westtores und eines Turms zwischen dem Westtor und der südwestlichen Kastellecke sowie an der B6318. Die Mauern waren mit vier, innen angesetzten, Ecktürmen und vermutlich acht Zwischentürmen (zwei an jeder Seite) mit quadratischem Grundriss verstärkt. Der Zwischenturm an der Westmauer, südlich des Westtores, war bei seiner Aufdeckung im späten 19. Jahrhundert teilweise noch zehn Steinreihen hoch erhalten. Eine Bauinschrift (heute Chesters Museum), die in den unteren Lagen seiner Westmauer gefunden wurde, berichtet, dass 24 Fuß der Mauer von der Zenturie des Thruponian errichtet worden war. Die unteren zwei Reihen waren etwas breiter ausgeführt. Der Nordwall liegt heute unter der B6318 und konnte nicht untersucht werden. Das Lager verfügte über die standardmäßigen vier Haupttore mit – vermutlich – zwei Durchgängen, geteilt durch zwei Stützpfeiler (spina) und je zwei quadratische Flankentürme; die porta Praetoria im Norden, die beiden portae principales an jedem Ende der Via principalis von Ost nach West, und die porta decumana im Süden. Eine der Durchfahrten des Südtores wurde später mit Steinen aus abgerissenen Gebäuden blockiert. Das Kastell war zusätzlich von einem Doppelgraben als Annäherungshindernis umgeben. Die Breite der Berme betrug etwa vier Meter. Sie ist für den größten Teil der Peripherie noch als Terrasse – rund zwei Meter unter dem Kamm des Walles – sichtbar. Möglicherweise existierte auch noch ein dritter Graben. Der Südwestabschnitt der Gräben ist noch gut zu erkennen.

Innenbebauung
Auch die Gebäude wurden im Laufe der Zeit durch Steinraub, die Landwirtschaft und Baggerarbeiten vollkommen zerstört. Es sind nur noch fragmentarische Reste erhalten, darunter ein großer Stein mit einem eingemeißelten Phallussymbol. Südlich der von Ost nach West verlaufenden Lagerhauptstraße, am Westtor, stieß man auf die westliche Seitenwand eines Lagerhauses (horreum). Das Lagerhauptquartier (principia) ähnelte dem von Arbeia. Grabungen an seiner Süd- und Westseite des Lagerhauptquartiers wurden am Ende der 1960er Jahre vorgenommen. Dabei konnten nachträgliche Änderungen an den Räumen VI und VIII festgestellt werden. Sie waren jedoch undatierbar. Wahrscheinlich erfolgten sie aufgrund der Absenkung des aufgeschütteten Untergrundes über den ehemaligen vallum. Die Hypokaustenheizung im Raum II scheint nie vollendet worden zu sein.

Hadrianswall
Der Abschnitt des Hadrianswalls bei Brocolitia war in der Schmalversion errichtet worden. Nach dem Kastell führt der Wall über hügeliges Gelände in gerader Linie zu den Sewingshields Grags. Bei Carrawburgh liegen die Reste der Mauer noch unter der B6318, aber bevor sie zu den Whin Sills aufsteigt, 3,2 km westlich, biegt die die Straße nach Süden in ein Tal ab und nimmt dort die leichtere Route nach Westen. Der Wall hingegen führt über den Grat der Sewingshields Grags bis zum Tal des Knag Burn wo er das Kastell Housesteads (Vercovicium) erreicht.

Garnison
Brocolitia beherbergte im Laufe seines Bestehens eine Reihe von Hilfstruppeneinheiten unterschiedlichster Herkunft. Deren Namen konnten mittels der zahlreichen epigraphischen Quellen, die dort geborgen wurden, identifiziert werden. Folgende Einheiten stellten die Besatzung für das Kastell oder könnten sich für eine begrenzte Zeit dort aufgehalten haben:

Vicus
Der Vicus wird in mehreren aus dem 3. und 4. Jahrhundert stammenden Inschriften erwähnt. Die Beobachtungen von John Horsley und Nick Hodgson konnten durch Luftaufnahmen bestätigt werden, die unmittelbar vor dem Kastell deutliche Spuren von langrechteckigen Baustrukturen auf beiden Seiten der Militärstraße erkennen ließen. Das flächenmäßig nur sehr kleine Lagerdorf breitete sich auf dem niedrig gelegenen, sumpfigen Gelände westlich des Kastells aus. Von ihm sind heute keine nennenswerten Reste mehr zu sehen da seine Gebäude ebenfalls dem jahrhundertelangen Steinraub zum Opfer fielen. An der Westseite kann man noch sechs Terrassen mit Böschungen bis zu einer Höhe von 2,1 Meter am Hang parallel zum Kastell sehen. In der Nordhälfte überlagern sie einen der Lagergräben. Die dichteste Verbauung (Reste von Fundamenten und Häuserplattformen) konnte an der Westseite, rund 60 Meter vor dem Kastell beobachtet werden. Der Archäologe Nick Hodgson stieß aber auch im Süden auf Gebäudespuren. 50 Meter südöstlich des Mithraeums verlief eine 3,5 Meter breite Straße, die mit großen Steinplatten, darunter zweitverwendete Grabsteine, gepflastert war. Bauperioden konnten nicht festgestellt werden. Einige der Mauerreste dürften aus der Wende vom 3. auf das 4. Jahrhundert stammen, da man bei ihnen Münzen aus der Zeit der Kaiser Claudius II. und Tacitus fand.

Therme
Das von John Clayton (1792–1890) Ende des 19. Jahrhunderts untersuchte Badehaus (balnaeum) stand vor dem Westtor auf dem Gelände des Vicus und bestand aus sieben Räumen. Es handelte sich um ein – bei Limeskastellen oft anzutreffendes – Bad des Reihentypus mit Umkleideraum, Toilette, Lau-, Heiß- und Kaltbad und ähnelte in vielen Details den Badehäusern von Benwell, Chesters und Netherby, war aber wesentlich kleiner. Die Therme dürfte im 4. Jahrhundert letztmals renoviert worden sein. Ihre genaue Position ist heute unbekannt, eine an der Westseite des Kastells noch erkennbare Bodenerhebung scheint der wahrscheinlichste Standort zu sein. Von dort aus führte eine 1977 entdeckte, gepflasterte Straße, zum Maggie's Dene Burn.

Kultgebäude
In den Tieflandmarschen um das Kastell wurden die Überreste von drei römischen Heiligtümern entdeckt. Das Mithräum, die Coventinaquelle und das Nymphäum liegen am Maggie's Dene Burn, der 1,8 km von Carrawburgh, nahe dem Stanegatekastell von Newbrough in den South Tyne mündet. Man nimmt an, dass Brocolitia ein wichtiges Kultzentrum am Hadrianswall war.

Mithräum
80 Meter von der Südwestecke des Kastells entfernt, am Ostufer des Baches stand ein Tempel für, den besonders im römischen Militär, verehrten Gott Mithras. Er wurde vermutlich von den im Kastell stationierten Soldaten um 200 erbaut. Das Mithräum wurde Mitte des 20. Jahrhunderts von I. A. Richmond und J. P. Gillam vollkommen freigelegt. Die Oberseiten der drei Originalaltäre und Mauerwerk ragten nach einer Dürreperiode gut sichtbar aus dem ansonsten dort sehr stark versumpften Erdboden heraus. Besonders gut erhalten waren die Basen der Flechtwerkwand zwischen Vor- und Kultraum und die der Stützbalken des Daches. Auch einer der Dachbalken konnte aus den Trümmern geborgen werden. Das konservierte Mauerwerk des Tempels ist heute noch mehrere Steinlagen hoch sichtbar. Die heute dort aufgestellten Altäre und die beiden Reliefs des Cautes und Cautopates sind Abgüsse der römischen Originale, die sich heute in der Sammlung des Chesters Museums befinden. Die Holzpflöcke markieren die Position der Stützbalken. Vom Kultinvenatar blieb auch eine kleine schmiedeeiserne Altarschaufel aus dem 3. Jahrhundert erhalten. Es ist das einzige bekannte Mithrasheiligtum außerhalb der Rheinprovinzen, in dem auch eine Statue der Göttin Vagdavercustis verehrt wurde, die rechts des Eingangs stand.

Die Ausgrabungen ergaben, dass das Gebäude drei Bauphasen durchlief:

 Phase I:  Der frühe Tempel war noch relativ klein, etwa 5,5 Meter breit und acht Meter lang. Der Boden bestand aus gestampftem Lehm. Wie bei solchen Tempeln üblich, sollte der Innenraum die Atmosphäre einer Höhle vermitteln. Er war in den meisten Fällen in einen Vorraum und einen Kultraum unterteilt. In Brocolitia waren der Vorraum und der Kultraum durch eine aus Flechtwerk bestehende Wand getrennt. Im Vorraum stießen die Archäologen auf eine Feuerstelle, in der u. a. Pinienzapfen verbrannt worden war. Hier wurden vermutlich die Kultmahlzeiten zubereitet. Neben der Feuerstelle war eine Art Opfergrube in den Boden eingelassen. Gefunden wurden darin Ferkel-, Lämmer- und Ziegenknochen. An beiden Seiten des Kultraumes waren podiumartige Bänke aufgebaut worden, auf denen die Gläubigen während der Abhaltung der Riten Platz nahmen. Am nördlichen Ende befand sich eine kleine Empore auf denen die Altäre aufgestellt waren. Sie wurden von drei Präfekten, allesamt Kommandeure der cohors I Batavorum, gestiftet. Sie stammten durchwegs aus dem 3. Jahrhundert. Einer konnte auf die Jahre zwischen 213 und 222 datiert werden. Unterhalb der Hauptaltäre befand sich eine Opfergrube die eine dünnwandige Schale, einen Becher und Geflügelknochen enthielt.

 Phase II:  Das Mithräum wurde später auf elf Meter Länge und eine langrechteckige Nische zur Aufnahme des Mithrasreliefs erweitert. Der Kultraum wurde wieder aufwendig eingerichtet bzw. dekoriert und das Dach mit einer umfangreichen Holzkonstruktion abgestützt. Auf dem Boden wurde getrocknetes Heidekraut aufgestreut. Der Tempel II wurde 296 oder 297 gewaltsam zerstört. Die Steindenkmäler blieben trotzdem größtenteils intakt.

 Phase III:  Schon kurz danach wurde das Mithräum wieder aufgebaut. Nach der Niederschlagung der Carausiusrebellion durch Constantius Chlorus wurde es zum letzten Mal renoviert. Zu Beginn des vierten Jahrhunderts wurde es aber erneut zerstört, möglicherweise durch christliche Eiferer. Danach dürfte die Kultstätte aufgegeben worden sein.

Das Mithrasrelief – auf dem die Tauroktonie-Szene abgebildet war – und die Cautes/Cautopatesreliefs wurden, nach der Fundlage zu schließen, absichtlich zerschlagen (siehe auch Ikonoklasmus). Vom Mithrasrelief konnte nur noch ein Fragment geborgen werden. Vier kleinere Altäre und die Abbildungen des Cautes und Cautopates standen entlang der Seitenbänke. Der linke Hauptaltar trägt eine Darstellung des Mithras, von einem Halo gekrönt, der von hinten mit einer Fackel entzündet wird. Hinter diesem stand das Mithrasrelief. Die Altäre und die anderen Kultbildnisse sind Abgüsse der Originale, die sich im Museum von Newcastle befinden. Die Schlussmünze auf dem Gelände des Mithräums war ein frisch geprägter Follis des Maximian (296–308). Das völlige Fehlen von Münzen aus der Zeit nach 308 lässt annehmen, dass der Tempel im 4. Jahrhundert nicht mehr in Gebrauch war. Eine Rekonstruktion des Heiligtums kann in der Newcastle University, Great North Museum besichtigt werden.

Nymphäum
An der Südseite bzw. unmittelbar vor dem Eingang des Mithräums stieß man Ende der 1950er Jahre auf ein weiteres Heiligtum. Es handelte sich hierbei um die Überreste eines Nymphäums, das in den Jahren zwischen 1957 und 1960 von D. J. Smith vollständig ausgegraben wurde. Das Nymphäum wurde wahrscheinlich während des dritten Jahrhunderts erbaut und blieb bis zum frühen vierten Jahrhundert in Gebrauch. Von ihm sind heute keine Reste mehr sichtbar. Es bestand aus einer in den Hang gebauten, halbrunden Sitzbank aus Stein mit gepflasterten Boden. Das Wasser der Quelle wurde in einem niedrigen, mit Steinplatten eingefassten Becken gesammelt. Die Kultstätte war wohl nicht überdacht. Es ist sehr wahrscheinlich, dass das Relief der Nymphen-Triade von Carrawburgh ursprünglich hier aufgestellt war. Einer der Altäre war aus Sandstein gehauen und trägt dieselbe Inschrift an Vorder- und Rückseite. Das deutet darauf hin, dass er in der Mitte des Heiligtums stand. Zwei Altarsteine waren den Nymphen gewidmet, einer gestiftet von Soldaten der legio VI Victrix und der andere von der Bataverkohorte (für Coventina und dem Lagergenius, genius loci).

Coventinaquelle
Dieses Heiligtum der romano-britischen Göttin Coventina liegt westlich des Kastells ("Coventinas Well"). Von ihm ist heute nur noch wenig sichtbar, nur ein einzelner aufrechtstehender Stein markiert die archäologische Stätte. Abgesehen von der Quelleinfassung sind in situ noch ein paar Steine der Ost- und Südmauer vorhanden. Es entstand wohl in der Zeit zwischen 128 und 133. Seine Überreste (Umfassungsmauer der Quelle) wurden schon 1732 von John Horsley erwähnt und 1876 von John Clayton freigelegt. Es handelte sich um ein simples, 12 × 12 Meter messendes, quadratisches Gebäude, bestehend aus einer Umfassungsmauer und einem Becken, die um mehrere dort aus dem Boden tretende Quellen aufgebaut war. Der 5 Meter breite Eingang befand sich im Westen. Da keinerlei Reste von Dachziegeln oder Holzbalken gefunden werden konnten, nimmt man an, dass das Bauwerk nicht überdacht war. Die 0,9 Meter dicke Umfassungsmauer bestand aus massiven Steinblöcken. Bei ihrer Aufdeckung war sie noch etwa einen Meter hoch über dem Boden erhalten. Die Wände des 2 Meter tiefen und 2,6 × 2,4 Meter großen Beckens bestanden aus großen, sorgfältig zugehauenen Steinblöcken. Der Grund war mit Kies bedeckt. Bei Aufdeckung des Heiligtums waren sie noch auf 4 Steinreihen über der Wasserlinie erhalten. Auf der Nordseite war einer der Blöcke wannenartig ausgemeißelt. Der Abfluss des Beckens war ebenfalls in Stein ausgeführt. Die Gebäudestruktur war typisch für kelto-römische Quellenheiligtümer. Im Innenraum und tw. im Quellenbecken fanden sich 22 Steinaltäre, die ursprünglich wohl alle an den Wänden aufgereiht standen. Aus dem Quellenbecken konnte John Clayton außer Münzen noch eine große Anzahl von anderen Votivgaben bergen. Es handelte sich demnach nicht um einen Heilkult, der hier praktiziert wurde, verehrt wurde nur die Quelle. Den Fundmünzen nach zu schließen wurde das Heiligtum bis zum Ende des 4. Jahrhunderts genutzt. Carrawburgh ist bislang der einzige in Großbritannien identifizierte Standort eines Coventinaheiligtums. Zwei andere mögliche Fundstellen befinden sich in Frankreich.

Gräberfeld
Soldaten und Zivilisten von Brocolitia bestatteten ihre Toten auf einem Gräberfeld an der Ostseite des Kastells. Die ersten Knochenfunde wurden 1807 zwischen dem Lager und dem Meilenkastell 31 gefunden. Zehn Jahre später stieß man während Erdarbeiten im Osten des Lagers auf römische Urnengräber. Insgesamt wurden fünf Grabsteine bei Carrawburgh gefunden, ihre ursprünglichen Positionen sind jedoch unbekannt. Die Archäologen fanden 1964 auch die Überreste eines kleinen Tempels oder Grabmals.

Siehe auch
 Meilenkastelle und Wachtürme am Hadrianswall

Literatur
 John Clayton, Charles Roach Smith: The Temple of the Goddess Coventina. At Procolitia, Northumberland 1878. (englisch; Taschenbuch: Kessinger Publishing, 2010, ISBN 978-1-167-16901-4)
 Guy de la Bédoyère: Hadrian's Wall: history and guide. Tempus, 1998, ISBN 0-7524-1407-0.
 Peter Salway: The frontier people of Roman Britain. (= Cambridge classical studies). Cambridge Univ. Press, 1965.
 John Collingwood-Bruce: Handbook to the Roman Wall. 12. Ausgabe. Newcastle-upon-Tyne 1966.
 Nick Hodgson: Hadrian's Wall 1999–2009. Titus Wilson & Son, Kendal 2009, ISBN 978-1-873124-48-2.
 Hadrian's Wall Map and Guide. Ordnance Survey, Southampton 1989, .
 Ronald Embleton, Frank Graham: Hadrian's Wall in the Days of the Romans. Newcastle 1984, S. 117–121.
 Les Turnbull: Hadrian's Wall History Trails. Guidebook IV. Newcastle 1974, S. 26–28.
 M. J. T. Lewis: Temples in Roman Britain. Cambridge 1966.
 I. A. Richmond, J. P. Gillam: The Temple of Mithras at Carrawburgh. Archaeol. Aeliana. Nr. 4 XXIX, the excavation report 1951.
 Lindsay Allason-Jones, Bruce McKay: Coventina's Well. Oxbow Books, Oxford 1985.
 Lindsay Allason-Jones, Bruce McKay: Coventina's Well, a shrine on Hadrians Wall. Chester Museum, Oxford 1985.
 Eric Birley: Research on Hadrian's Wall. 1961, S. 175–178.
 R. Blair: Proceedings of the Society of Antiquaries of Newcastle upon Tyne. Nr. 10, 1901–1902.
 David J. Breeze 1972 Excavations at the Roman fort of Carrawburgh, 1967–1969, Archaeologia Aeliana or miscellaneous tracts relating to antiquity, Third series Band 1 (1904)- 21 (1924) 50.
 Proceedings of the Society of Antiquaries of Newcastle. (2nd Series) 10, 161.
 Journal of Roman Studies. 58, 1968, S. 179.
 R. G. Collingwood, R. P. Wright: The Roman Inscriptions of Britain. Clarendon Press, Oxford 1965.
 J. H. Corbitt: The Goddess Coventina and her Well at Carrawburgh. In: Northumberland Archaeology News. 6 (5) 1958.
 Miranda Green: The Gods of the Celts. Bramley Books, Surrey 1986.
 Miranda Green: Celtic Goddesses, Virgins, Mothers. British Museum Press, London 1995.
 E. Hübner: Der Fund von Procolitia. In: Hermes. 12. Band, Heft 3, Franz Steiner Verlag, 1877, S. 257–271.
 Maarten Jozef Vermaseren: Corpus Inscriptionum et Monumentorum Religionis Mithriacae. 2 Bände. Martinus Nijhoff, Den Haag 1956–1960.

Weblinks
 Inschriftendatenbank RIB Roman Inscriptions of Britain (englisch)
 Fotoalbum Hadrianswall auf Flickr
 Brocolitia auf Roman Britain
 Carrawburgh/Brocolitia PASTSCAPE
 Satellitenfoto Kastellareal, Lage römische Baudenkmäler auf Vici.org.
 Eric Edwards Collected Works: The Goddess Coventina of Northumbria
 Coventina's Well at Carrawburgh (Northumbria)
 Abbildungen der Funde aus der Coventinaquelle
 The Carrawburgh Mithraeum, Britain, Beschreibung und Rekonstruktion (englisch)
  (englisch)
 Hadrianswall Camera, Page VIII, Brocolitia to Vercovicium, Milecastles 31 to 37, Abbildungen und Ortsbeschreibungen (englisch)
 The Megalith Portal, Luftaufnahme des Kastellareals
 John Collingwood Bruce: The Roman Wall: A Description of the Mural Barrier of the North of England, 1867, mit zahlreichen Abbildungen von Mauerresten, Altären, Inschriften etc.

Einzelnachweise

 RIB = Roman inscriptions in Britain

Kastell des Hadrianswalls
Erbaut im 2. Jahrhundert
Archäologischer Fundplatz in Northumberland
Bauwerk in Northumberland
Geschichte Englands in der Antike
Befestigungsanlage im Vereinigten Königreich
Archäologischer Fundplatz in Europa


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Trumansburg Fairgrounds
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American Legion Post - Trumansburg
Aaron Kelly With Special Guests Honey Cave & Christopher Gerard Trio
Sunday, September 16, 2018 - 2:00pm to 6:00pm
https://youtu.be/xr-gOPTuYpE
Join us for an afternoon of music with Aaron Kelly with special guest Honey Cave and Christopher Gerard Trio. Aaron brings his amazingly gifted voice to La Tourelle Hotel for an outside show not soon to be forgotten. Don't miss this talented young recording artist in his return performance to La Tourelle!
AARON KELLY was born in Sarasota, Florida and grew up in Central Pennsylvania, which he calls home. Aaron has been singing professionally since the age of nine, playing shows all across the world from Norway to Mexico, Dominican Republic, and the entire United States and Canada. Aaron has performed and opened for acts such as Phil Vassar, Charlie Dandbiels, Loretta Lynn, Sawyer Brown, Little Big Town, Emerson Drive, Bill Anderson, Montgomery Gentry, Billy Currington, Martina McBride, The Bee Gees, and The Marshall Tucker Band, among others.
At age eleven, Aaron first stepped into the television spotlight on "America's Most Talented Kids." At the age of sixteen, Aaron won the dream ticket to the front of the line for American Idol auditions, where he sang his way into the top 5 and into the hearts of America, landing himself into the Idols' Live Tour. Aaron has performed for audiences ranging from hundreds to millions on Idol. He has performed on TV shows such as Access Hollywood, The Ellen Show, David Letterman, The Wendy Williams Show, and Good Morning America. Proudly, Aaron Kelly performed the National Anthem in front of the world on the ABC network during the Little League World Series 2017 championship game.
Aaron has also grown up writing songs, working in Nashville, and co-writing with some of the biggest names in music such as Bobby Braddock, Frank Myers, Greg Barnhill, Rafe Van Hoy, James House, Jon Stone, Brian White, Blake Bollinger, Luke Sheets, Debby Throckmorton, Doug Johnson, and Don Henry, just to name a few.
Aaron offers several options for his fans custom to the venue's needs. Aaron with acoustic guitar or trio, which includes saxophone and percussion, and/or a full band.
Aaron Kelly is strongly committed to his community and believes strongly in giving. His goal is to bring joy into people's lives. Aaron's style is soulful, edgy blended into a country/pop flair. Aaron creates a personal experience mesmerizing his audience through a wide variety of music including his originals covering all genres and eras.
Aaron has performed for worthy causes such as Magical Memories for Children, Serve Inc (for the disabled), American Cancer Society, Relay for Life, and community members who find themselves victims of illness, disease or natural disasters.
Aaron credits his mom for always believing in his dreams and for being his biggest supporter. It is because of her that Aaron remains focused, grounded, and strives every day to be the best that he can be and to wake up doing music every day...changing lives one song at a time.
Brothers.
Honey Cave
Four powerful women invoke the deepest wisdom through their divine enchantments. Their harmonies are spellbinding and harness the potent medicine of the elements. They write music that is mysterious and magical and weave it sweetly together with their raw primal rhythm, and musical prowess. Angie Beeler, Lora Pendleton, Jessie Gray and Alyssa Duerksen have created a new super group that unveils a new level of musical experience that is a spiritual and dynamic journey through sound.
Christopher Gerard Trio description
After a three year hiatus, Christopher Gerard and Richie Roccisano return to the stage to perform favorites from the CGB repertoire. They are joined by the exceptionally talented violinist Kathryn Drake who completes the trio, breathing new life and energy into the performance.
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KEVIN BLACK
More than just a concert!
Kevin Black Presents is an Ithaca-based music booking agent/promoter bringing you the best in live entertainment. KBP uses several different venues to produce live shows that leave people wanting to know "What's next!" Hand-picking artists that fit not only the venue, but the people who attend shows there, makes for great musical experiences. Kevin brings influential national artists of every musical genre to Upstate New York, then couples them with some of the finest regional up-and-coming bands. It's also important for Kevin to give back to the community. He is involved in fundraisers and benefits to help strengthen the communities that host his events, believing that, together, people can make a difference with their presence.
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Westneat
Ishisaka
Danny Westneat / Columnist
Homeless: new growth industry
Originally published June 1, 2008 at 12:00 am
Kevin, whom his mates call "Boston" because that's where he's from, is giving me a walking tour of the growth in his neighborhood. "That place is new,"...
Kevin, whom his mates call "Boston" because that's where he's from, is giving me a walking tour of the growth in his neighborhood.
"That place is new," he says. "That one's new, too. This whole row over here is all new."That one across there is brand-new — built yesterday."
Built yesterday? Seattle has long been boomsville, glass towers rising like Vegas. But this may be our fastest-growing neighborhood yet.
Only we're standing in the woods, on a sliver of scrap land along Interstate 5. The places are huts made of cardboard or tarps. Some are just hollows in the steep hillside, filled with blankets and sleeping bags, the rain be damned.
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"I never seen so many people sleeping out here before," Boston shouts over the cars whizzing by 20 feet away.
Something is ragged in the Emerald City. We've had our frenzies, like the dot-coms and real estate. Now it feels like there's an anti-boom, an echo of the others.
A week ago Friday wasn't especially cold or windy or any of the other things that drive street people inside. But at Operation Nightwatch, a ministry for the homeless, it was a night for the record books anyway.
Near midnight, after finding spots to sleep for 175 people, workers gave bus tickets and blankets to 42 more. Then sent them wandering off down the street.
"Every shelter and tent city was full," says Rick Reynolds, the pastor who runs Operation Nightwatch. "We called them, and they all said, 'Sorry, no more room tonight.' "
Operation Nightwatch has been in its current spot, near Dearborn, since 1999. This was the most people it has ever turned away.
Where did the 18 women and 24 men go? The plan was to maybe ride the all-night Metro 174 bus back and forth to the airport. A rolling shelter.
"Nobody could think of a better option," Reynolds said. "God help us."
So it goes lately around town. There technically isn't even a recession, only a slowdown. Yet something is definitely fraying.
My colleague Nicole Brodeur just wrote about a man who pitched his tent in plain sight along Rainier Avenue South. The other day I noticed that a half-dozen men had turned a freeway cloverleaf near Northgate Mall into a campground.
After writing a few months ago about the surge in mobile homeless — urban car campers — I got back dozens of reader accounts of growing car-colonies in their neighborhoods: in Ballard, Bitter Lake, Belltown, West Seattle.
"It feels a little cataclysmic out there," Reynolds says. "We expect to break our dubious new record soon, probably in June."
What are we going to do about this, Seattle? Anything?
Every time I write on this subject, a lot of you say that we're too easy on street people. If we're "Freeattle," the city of handouts, why wouldn't they flock here? Crack down and maybe they'll go away.
Maybe. The mayor is trying that with greenbelt campers. The city is right to clean up the parks, but based on what I saw along I-5, the denizens are simply moving along. Adding 20 beds to the shelter system, which the city did, is trivial when 42 are turned aside by a single shelter on an otherwise pleasant night.
We do have our Committee to End Homelessness in King County (www.cehkc.org). It is a 10-year project now entering year four. It is loaded with ideas, drive and optimism, all of which is good. The stream of propaganda-like press material touting its early success is another story.
Because we are not ending homelessness. Right now we are overflowing with it.
It seems like the interim ideas people have, for temporary shelters, or, as I suggested in February, for a safe-parking program using idle city lots, are being ignored.
Ten-year plans are fine. But as we head into Seattle's summer of homelessness, somebody might consider taking action sooner. Like now.
Danny Westneat's column appears Wednesday and Sunday. Reach him at 206-464-2086 or dwestneat@seattletimes.com.
Danny Westneat: dwestneat@seattletimes.com. Danny Westneat takes an opinionated look at the Puget Sound region's news, people and politics.


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Klarna partners with Vaayu on carbon emissions tracker
Swedish fintech company Klarna has partnered with tech start-up Vaayu to produce a carbon emissions tracker that allows customers to track a fashion product's CO2 emissions along different stages of its lifecycle.
Not only will shoppers have more accurate insights on the environmental impact of purchasing a product, they will also make more sensitive shopping decisions.
Eyewear retailer Ace & Tate recently took advantage of Vayuu's carbon tracking platform for its ability make real-time data accessible and model different future scenarios to set company targets.
According to Namrata Sandhu, co-founder of Vayuu, it is just as important for consumers as it is for businesses to have access to carbon data.
"The world is currently at an inflection point. Climate change is the biggest threat our planet faces and we need to address it with the urgent action it requires," she said.
Klarna's CO2e tracker has the ability to automatically calculate emissions for fashion purchases on a product-level in real-time. Its "cradle-to-grave" life cycle assessment (LCA) covers stages from raw material extraction and processing to product assembly and delivery to the end-user.
"By feeding Vaayu's rich and granular data into our CO2e tracker, we give shoppers even deeper and clearer insights into the CO2e footprint of their purchases, empowering them to vote with their wallets and enact real change," adds Salah Said, head of sustainability at Klarna.
The partnership follows data from Klarna suggesting sustainability has become a key factor in purchasing decisions, especially in fashion.
Emily Curryer


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Fantastic Believability: Diversity and the Fallacy of "Historical Accuracy"
Posted on April 10, 2015 Author Bezio	1
There have been a lot of discussions lately – in interviews with developers, online, and in my classroom – about the notion of "historical accuracy" or "believability" and issues of diversity and representation. Among them are Golden Glitch's in-progress game Elsinore, featuring a dark-skinned Ophelia, and an interview of BioShock developer Ken Levine with GameInformer,which has occasioned both praise and condemnation for its discussion of religion and autism. I'm not going to talk about this article specifically, but, rather, I want to address more broadly some of the notions we seem to have about "historical accuracy" and "believability" regarding media (tv and movies, as well as games).
People often make the argument that certain films, tv shows, and games include sexist or racist images for the sake of "historical accuracy" or "believability." Assassin's Creed, for instance, excuses its lack of female characters (particularly in Unity) with the remark that it wouldn't be accurate. GTA games have often been excused for their sexism on account of the "believability" of their stories – because clearly crime must also contain prostitution and sexual violence. Even fans of Game of Thrones excuse its sexual violence with the assertion that sexism was a part of medieval life (to be fair, GoT also has some of the most kick-ass women on television, Brienne of Tarth and Arya Stark). My students accepted the racism and stereotypical dialects in BioShock Infinite as "historically accurate" to the game's setting of 1912.
The argument is common. Sometimes it even makes sense. But more often, intentionally or not, it is simply an excuse for lazy storytelling that falls back on stereotypes and tired tropes that perpetuate racist and sexist ideologies.
More importantly, the suggestion that a game or show must contain racism and sexism because of "historical accuracy" or "believability" when it contains other obviously fantastical elements (flying cities, dragons, functionally immortal criminals, the Illuminati, aliens, superheroes, or any other number of imaginary things) is even more specious.
It's vital that we remember that all of these depictions are choices, not facts. None of the stories I listed above are real. They all exist in fantasy worlds that never existed or have not yet come into being. In each case, someone – or more than one someone – decided that this prostitute would be beaten to death or that Circe would be raped or that Daisy Fitzroy would speak in uneducated dialect and threaten to kill a child or that the Vox Populi would wear demon horns. All those things were choices.
The danger of these choices comes in the fact that not all of them were made deliberately. What I mean is not that someone held a gun to the creator's head, but, rather, that creators often don't think about the ramifications or implications of their choices. They don't think "Oh, hey, Daisy's pigin English might be offensive or seem racist." They think "Oh, Mark Twain did it," or, worse, "This is how black people talked back then." They don't consider the implications that choice might have in terms of the present-day social acceptability of racism or sexism or the demonization of a religion or nation.
This becomes difficult to explain when we get to the idea of causality. Just one game with sexism or racism doesn't make its players sexist or racist. Two games won't. Three or four or even ten won't. But when certain tropes and assumptions become commonplace across all media and in conversations had in the news, in classrooms, and around dinner tables, they do become harmful. But just one game, or two games, or ten games which explode those tropes, question the racist assumptions inherent in the American institutions of education, capitalism, and justice, then they can make a difference. Voices questioning the status quo stand out and have a greater impact than those which follow the well-worn path.
I am not arguing that all games should seek to become vehicles of social justice (although that would be pretty cool). I am arguing that creators of all media – print, television, film, games, etc. – should take it upon themselves to do research into other viewpoints and other ideologies. Creators should assume the responsibility for making educated decisions about each race and gender and religion and sexuality they depict. Creators, in short, should choose deliberately.
Game Criticism, Social Justice, Videogames
« TLF: Feminist Frequency's Positive Female Characters in Video Games, "The Scythian"
TIME 101 »
One Reply to "Fantastic Believability: Diversity and the Fallacy of "Historical Accuracy""
Gifari says:
I agree, to improve the accuracy of the history of the famous games like Assassin cread is in need because this game is really referring to the original history whose story is amazing.


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Game of the Month #32 (September 2017) - Bayonetta 2
gamemaster1991 4 Yrs♥✓#
4 Yrs♥✓#
A few months after the first game, Bayonetta is enjoying some Christmas shopping with Enzo when a group of angels attack the city they're in. She teams up with fellow witch, Jeanne, and when they are on the verge of winning, one of Bayonetta's summons breaks free of her control and attacks her, leading to Jeanne sacrificing herself to save her and her soul being dragged into Inferno. Bayonetta immediately sets out for the legendary mountain Fimbulventr, said to house mythical gates to both Paradiso and Inferno, in a race against time to rescue Jeanne before her soul is lost forever. During her journey, she runs into and befriends a young kid named Loki, who is struggling to reach the top of the mountain for reasons even he's not sure of. He clams that he has powers that will be needed in order to reach the realm to Inferno, so Bayonetta agrees to take him along. With the balance between the trinity of realities coming undone, this may be a hard adventure for the witch and the boy.
Posted 1.5 Years Ago
mockturtle
1 of 300 Battle ready.
6 Yrs✓#
I'd just like to say to all the voters who made this happen...
pokepaw 3 Yrs♥✓#
Oh boy, I hope I get time to sit in front of my tv and play this one!! Lately I've been playing only portable because of college :(
TylerTheGamer2000 2 Yrs✓#
This is a great game and one of the best hack and slash games I've ever played.
knalb 5 Yrs✓#
Don't have this game could buy but my biggest question really is when is it gonna come to the Switch?
Replying to knalb
On the one hand, Platinum has teased Switch versions of Bayonetta and Bayonetta 2, as well as The Wonderful 101.
On the other hand, Platinum, and especially Hideki Kamiya, are notorious trolls when it comes to teasing the public with things they want.
Ultimately, I wouldn't hold your breath. I guarantee you that there's no way any of Platinum's Nintendo-funded games will make it to Switch before, at minimum, the inevitable Super Smash Bros. 4 port (which is nowhere in sight). If you have a Wii U, you should just go ahead and buy Bayonetta 1 & 2, if for no other reason than because they're two of the best games the system has to offer.
inmuse 3 Yrs♥$✓#
3 Yrs♥$✓#
Without giving away spoilers - is any save data / choices transferred from Bayonetta 1 to 2?
I'll be starting with Bayonetta 1 (Xbox 360) and then renting Bayonetta 2 (Wii U).
Replying to inmuse
No save data transfer, but it is a good idea to play the games in order. The plot of the second is pretty reliant on the first.
randominuyasha
Challenger Never backs down.
Since I don't have 2 I guess I'll half participate and play the first since I haven't gotten around to that one yet. :)
KingM 6 Yrs♥$✓#
That feel when someone nominates a game they love and no one plays it
Traveler I have come from the future.
Replying to KingM
And that's why I didn't vote for it, even though I'm sure it's a great game. It's only available on a single platform that relatively few people have access to.
So I'd like to apologize for not contributing to this properly when it was up for game of the month. In short, graduate school is hard and sucked up all my time. Top ten games you played this year? Oh honey, I didn't even play ten games this year. Late though it is, I'm going to rectify this now with a wall of words none of you should read.
Secondly, I'd like to apologize to knalb specifically for saying that the Bayonetta games wouldn't come to Switch before Smash Bros. 4. I am dumbstruck that this happened, albeit happily so. If you bought them for Wii U on my recommendation, please understand.
Finally, I'd like you all to apologize to me for not playing Bayonetta 2. It's the greatest action game ever, you're depriving yourselves. Hopefully when it comes to Switch in February you'll find out what you've been missing.
Anyway, back to the matter at hand. Since I don't want to go into spoilers lest anyone be deterred from playing it, I'll try to dance around them. As with the first game, I loved the story, as it was once again totally epic. That said, I do think there were some issues. For one, anyone who followed the game's coverage before release knew that one of the central mysteries was "who is the Masked Lumen?" (Amazingly, this was one of the few things Nintendo didn't reveal in the game's ultimately spoiler-heavy trailers.) However, let's just say this turns out to be not much of a mystery. On a similar note, even though it was the primary motivation for Bayonetta at the start of the game, rescuing Jeanne gets relegated to the B-plot. Finally, it was perhaps overly tied to the plot of the original, and so I hope Bayonetta 3 tries to carve out a truly new story. Overall, though, it was more than what I wanted.
Given that the bar for the graphics and sound was already so high from the original, there wasn't much Bayonetta 2 could improve upon in these regards. (Of course, going to Bayonetta 2 after your only experience with the original was on PS3 is practically a religious experience.) The angels, the environments, the characters, everything is immaculately detailed and runs almost entirely at a smooth 60 fps, while the soundtrack is just as sweeping and grand as that of the first game. The addition of dynamic music for the bosses is an immense improvement, though, and hearing the music grow more frantic and frenzied as the enemies grow more desperate to escape Bayonetta's wrath is nothing short of amazing. Undoubtedly the Wii U's greatest audiovisual achievement.
Of course, I would be remiss not to mention the gameplay. It was a tall order to improve on the first game's buttery smooth action, but they absolutely did. The subtle refinements to the combat actually make it somewhat difficult to replay the original, between the additions to Bayonetta's arsenal, the changes to the way magic works (no more losing orbs at a time just by taking one hit), and of course the Umbran Climax mechanic. One thing I was never able to figure is if the second game was appreciably easier than the first, or if I had just gotten so accustomed to the first game that I was able to apply that to the second from the get-go. When I first played through Bayonetta, I routinely got stone awards until I got better through replays and got golds and platinums, but even when I stumbled in my first playthrough of Bayonetta 2, I don't think I ever got lower than a silver award on my first try. Oh well. It was so much fun to play regardless.
In short, I would sum up Bayonetta 2 thusly:
10/10 will buy four more copies on Switch.
right well I waited till it came out on the switch. I've now completed it here are my thoughts:
Bayonetta 2 is a fantastic hack and slash game with fluid and excellent controls and a great variety of enemies through this extremely well paced game.
The gameplay really feels like a dance and rewards the user for the use of combos but at the same time does not punish them for just user there own set of attacks. One of the best things the game gives you is witch time which on a successful dodge will slow down time to allow for some quick counter attacks on your opponents. It also helped by the fact that the dodge can cancel any move which you currently performing so you are not punished for performing some of the more long winded moves. This all makes for a great fluid and fast action combat system which is the great mesh which holds this game to it's lofty standards.
The story on the other hand is nonsense. It starts simply enough. Rescue your best friend from hell but it then starts introducing more and more ludicrous things. Such as time travel and evil alter egos. It can make sense but it just keep throwing more and more things at you for no rime or reason. Luckily the game is a decent 10 hours long and the story is not the highlight of the game.
Bayonnetta 2 is an excellent game built on an extremely well built hack n slash system which rewards the player for playing cleverly while not punishing those who hack and slash there way through the game. The story could be better but it does not reflect badly on the game.
Now I have to wait for long and painful wait for bay 3 :p


Excellent value tub, perfect for racing or training. 2 Fabric plies/total 160tpi. Non removable valve stem. Gives excellent handling with plenty of grip in wet and dry conditions. Made in Asia (hence the lower price) of Continentals own natural rubber and lightweight, smooth rolling.
These are good value tubs. Not a racers tub. Reasonable puncture resistance.


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