The following is a list of Sites of Special Scientific Interest in Wiltshire, United Kingdom. In England the body responsible for designating SSSIs is Natural England, which chooses a site because of its fauna, geological or physiographical features; as of 2006, there are 134 sites designated in this Area of Search, of which the vast majority, 108, have been designated due to their biological interest, with just 21 due to their geological interest. Natural England took over the role of designating and managing SSSIs from English Nature in October 2006 when it was formed from the amalgamation of English Nature, parts of the Countryside Agency and the Rural Development Service. Natural England, like its predecessor, uses the 1974–1996 county system and as such the same approach is followed here, rather than adopting the current local government or ceremonial county boundaries; the data in the table is taken from English Nature's website in the form of citation sheets for each SSSI. For other counties, see List of SSSIs by Area of Search.
A Data rounded to one decimal place. B Grid reference is based on the British national grid reference system known as OSGB36, is the system used by the Ordnance Survey. C Link to maps using the Nature on the Map service provided by English Nature
Dancing with the Stars: Juniors was an American children's dance competition television series that premiered on October 7, 2018 on ABC. It is a spin-off of the Dancing with the Stars series; the format of the show features celebrity children paired with professional junior ballroom dancers and mentored by an adult professional dancer. The couples compete against each other by performing choreographed dance routines in front of a panel of judges. In September 2019, ABC decided to cancel the series after one season. Like Dancing with the Stars, the scores used for eliminations are based 50% on judges scores and 50% on audience voting. There is no home audience voting like its parent series though, voting is limited to the direct in-studio audience members during each week's episode recording; each audience member uses a hand-held voting device to advance their preferred dancing team to the next round, with the team having the fewest votes and lowest judges scores overall eliminated. On August 1, 2018, the junior professional dancers and adult mentors were revealed.
On September 25, during the second episode of season 27 of DWTS, the junior celebrities were announced. Dancing with the Stars season 25 winner Jordan Fisher and finalist Frankie Muniz serve as hosts. Two-time pro champion Valentin Chmerkovskiy, Emmy Award winning choreographer Mandy Moore, DWTS Athletes celebrity champion Adam Rippon serve as judges; the Dancing with the Stars: Juniors troupe consists of Makeila Lawrence, Cody Bingham, Reese Hatala, Sebastian Jozuka, Daniel Novikov. They are mentored by Dancing with the Stars troupe member Morgan Larson; this is the Key for the chart Red numbers indicate the lowest score for each week Green numbers indicate the highest score for each week the couple eliminated that week the winning couple One of the runner-up couple This table only counts dances scored on a 30-point scale. The best and worst performances in each dance according to the judges' 30-point scale are as follows: Scores are based upon a potential 30-point maximum. Individual judges' scores in the chart below are listed in this order from left to right: Mandy Moore, Valentin Chmerkovskiy, Adam Rippon.
The couples danced the cha-cha-cha, jive or salsa. Running order Unless stated, individual judges' scores in the charts below are listed in this order from left to right: Valentin Chmerkovskiy, Mandy Moore, Adam Rippon; the couples danced one unlearned dance to a song. Argentine tango, paso doble and quickstep were introduced. Running order The couples performed one unlearned dance to a song from a Disney film. Charleston, contemporary and samba were introduced. Running order The couples performed one unlearned dance to Halloween songs. Running order The couples performed one unlearned dance to a song of their choice. Running order The couples performed one unlearned dance dedicated to someone important in their lives. Running order The couples performed one unlearned dance to an era of their choice. Running order The couples performed a team fusion dance. No elimination took place. Running order The couples performed their favorite dance during the competition with their mentor and a holiday-themed freestyle.
Running order The celebrities and professional partners will dance one of these routines for each corresponding week: Week 1: Cha-cha-cha, jive or salsa Week 2: One unlearned dance Week 3: One unlearned dance Week 4: One unlearned dance Week 5: One unlearned dance Week 6: One unlearned dance Week 7: One unlearned dance Week 8: One unlearned dance & Team dance Week 9: Favourite dance featuring mentor & freestyle Highest scoring dance Lowest scoring dance Official website
Alan James Campbell is a Scottish former professional footballer who played as a central midfielder. He made 571 appearances in the English Football League for Charlton Athletic, Birmingham City, Cardiff City and Carlisle United, including over 100 in the First Division for Birmingham City, he was capped for Scotland at under-23 level. He went on to manage in non-League football around the Birmingham area. Born in Arbroath, Campbell began his career in England with Charlton Athletic, joining the club at the age of 15; the club were only able to sign Campbell on amateur terms, creating a fake job for him at a sporting goods store and paying his accommodation plus £5 a week. He suffered from homesickness in London returning to Scotland after two weeks at the club, but soon settled and was part of the Charlton youth side that reached the semi-final of the FA Youth Cup. In 1965, Bob Stokoe was appointed manager of the club and handed Campbell his professional debut in the Second Division, on the opening day of the 1965–66 season in a 4–2 defeat to Bolton Wanderers, at the age of 17.
He went on to play over 200 times for Charlton before joining Birmingham City in 1970
1111 Lincoln Road is a parking garage in the South Beach section of Miami Beach, designed by the internationally known Swiss architectural firm of Herzog & de Meuron. It is located at the western end of the Lincoln Road Mall at the intersection with Alton Road, can house some 300 cars. Since its opening in 2010, it has attracted considerable interest because its unique appearance is different from more traditional parking garage designs. In 2005, local developer Robert Wennett bought a SunTrust Bank office structure, from 1968 and the Brutalist style; this included an adjacent surface parking lot. Intent upon revitalizing the western end of Lincoln Road Mall, Wennett decided not to eliminate the existing structure, but instead build something next to it of equal height – a parking garage; as Architectural Record has noted, "In the Pantheon of Building Types, the parking garage lurks somewhere in the vicinity of prisons and toll plazas." The New York Times has labeled parking garages "the grim afterthought of American design".
But Wennett was determined to do something different, interviewed ten well-known architects around the globe before choosing Herzog & de Meuron. Construction entailed closing the western end of Lincoln Road Mall; the resulting structure cost $65 million to build. The overall project included renovation of the existing building into one used for storefronts and offices for creative firms, construction of a new, smaller structure for SunTrust that contained a few apartments; the design, led by Herzog & de Meuron partner Christine Binswanger, has been characterized as resembling a house of cards. It is an open-air structure with no exterior walls constructed around buttresses and cantilevers that features floor heights varying from 8 to 34 feet; some of the internal ramps are quite steep. Elevators and a central, winding staircase take drivers to and from their cars. A glassed-in high-fashion boutique, sits on an edge of the fifth floor; the parking garage features retail space at the street level, with tenants such as Taschen books, Osklen clothing, Nespresso coffee and MAC cosmetics and is joined to the other structures that were part of the project.
Wennett built a penthouse apartment for himself as part of a 18,000-square-foot space on the structure's roof that features a pool and gardens with hanging vines. Jacques Herzog of the firm called the parking garage the most radical work they had done; the garage has become a destination for photographers interested in its design. It has achieved renown as a tourist attraction as well after it was featured on the front page of The New York Times in January 2011. Several hundred people a day walk into the garage to look around. Runners use it for exercise; those parking their cars linger for the panoramic views it provides of the South Beach area, before going on their way. One loyal customer refuses to park anywhere else and was quoted as saying, "It's a work of art more than a garage. Everywhere you look, there's a view."The seventh floor doubles as an event space. The garage has drawn requests for many types of events to be held there, including wine tastings, dinner parties, yoga classes, it has been a site for weddings, one woman had a drawing of the garage on her invitations.
It has been the scene of celebrity-filled parties, such as one Ferrari gave during Art Basel Miami Beach week. At Art Basel 2011, German automaker BMW unveiled both its i3 and i8 electric prototype concept cars on the parking structure's seventh floor. A television commercial for the Lexus IS 250. Since its opening, 1111 Lincoln Road has received varied reviews; the director of Miami Beach's Wolfsonian Museum said that the structure "sets a new bar for what parking garages could and should be." Architectural Record wrote that the designers managed to relate the structure to the nearby surroundings, but more "are helping break the mold for the lowly parking garage, lifting it up out of its gloomy limbo into the light and air." The Los Angeles Times referred to it as "stunning", the Associated Press wrote that it "has become a modern gateway to the see-and-be-seen cafe scene of Miami Beach's Lincoln Road."Some users have objected to the high price for parking at 1111 Lincoln Road, which can be up to four times greater than at other lots in the area.
Others have complained that the garage is not sufficiently protected against South Florida's rainstorms. University of Miami film professor Lisa Gottlieb said that appreciation for the garage reflected poorly on Miami Beach: "It says something about the aesthetic down here. I guess this is what we bring to the table – a fancy parking garage." The "starchitect" phenomenon was reaching the Miami area, with Frank Gehry's nearby New World Center following in 2011 and Herzog & de Meuron's new Miami Art Museum in the works as well. Given the success of the 1111 structure, owners of other new parking garages in South Beach have tried to add design elements to their properties. In 2012, the American Institute of Architects's Florida Chapter placed 1111 Lincoln Road on its list Florida Architecture: 100 Years. 100 Places. Official website
The Melammu Project investigates the continuity and diffusion of Mesopotamian and Ancient Near Eastern culture from the third millennium BCE through the ancient world until Islamic times. It does so by organizing conferences and by providing resources relevant to the project on its website; the Melammu Project was founded during its first conference in Helsinki, Finland, in 1998, as an offshoot of the Neo-Assyrian Text Corpus Project. Its purpose is to investigate the continuity and diffusion of Mesopotamian and Ancient Near Eastern culture from the third millennium BCE through the ancient world until Islamic times, it has two main activities: to organize conferences, to provide resources relevant to the project on its website. Melammu Symposia are held and serve to promote interdisciplinary research and cross-cultural studies by providing a forum in which cultural continuity and transformation in the ancient world can be assessed systematically on a long-term basis; the emphasis is on continued interchange of ideas between specialists in different disciplines, with the goal of but increasing the number of participants and thus breaking down the walls separating the individual disciplines.
Although each symposium focuses on a different theme, since the primary purpose of the symposia is to encourage interdisciplinary cooperation per se, papers and posters not related to a specific theme but contributing to the overall scope of the project are welcome at every meeting. The online resources provided by the Melammu Project include a database, a bibliography, a PDF library, links to websites relevant to the project's focus; the database aims to collect textual, art-historical, archaeological and linguistic evidence concerning the heritage of Mesopotamia and the Ancient Near East and to make it accessible on the Internet. As the Melammu Project is envisioned as a'community project', all resources are open-ended, which means that it is possible to submit information to enlarge and improve the database and lists of links through the website's submission forms; the project is governed by a board, which consists of scholars from a wide variety of disciplines related to the project's focus.
The main function of the board members is to promote the project and its meetings in the academic community and to safeguard the continuity of the project. For that reason, although the exact board size can vary, the board always consists of sized groups of senior and junior scholars; these include the organizers of the next two meetings, as well as scholars involved in the database. The board is always elected for two years at one of the Melammu Symposia; the board consists of eighteen members, is chaired by Robert Rollinger. The Melammu Database contains documented links between the civilizations of Ancient Mesopotamia and contemporary and civilizations that show the impact and continuity of religion, political systems and iconography, other cultural and social phenomena as a result of both direct influence and of cultural diffusion. There are two principal types of entries in the database; the first consists of citation from ancient texts. These entries are primary consist of the ancient author's comments.
Such entries have a "source" line which points to the ancient text and the Text-field contains a translation of the ancient source. There may be bibliographical citations as well if the passage has been discussed or commented on by other scholars. Wherever possible, there will be a hypertext link to the actual text of the ancient source; the second type of entry consists of modern comparisons between features or phenomena in the ancient world that may show the effects of cultural contact or cultural diffusion. Entries of this type have a "bibliography" line that points to the scholarly assessment of this connection rather than a "source" line. However, if ancient sources are important for this connection, there may be a "source" line as well, sometimes including longer quotations, as in the first type; the Text-field will contain an outline of the argument connecting the phenomena. The name Melammu and its logo were chosen to illustrate essential aspects of the cross-cultural processes that the Project investigates.
The word melammu, which means "divine radiance, nimbus, aura," is an Akkadian loanword from Sumerian. It thus concretely attests to the transfer and continuity of a centrally important doctrinal concept from an ideological system to a one. In Mesopotamia alone, this concept has a documented continuity of over 4500 years, from the earliest cuneiform religious and historical documents until the present day; the iconography of the concept has gone a long way from the radiance surrounding Mesopotamian gods to the halos surrounding the heads of Byzantine angels and saints and the loops hovering over the heads of Christian angels, but the concept itself has survived amazingly well and spread far beyond its original home. The spread of the concept of "divine radiance" can be traced by observing the diffusion and transformations of the relevant iconographic motif; the logo of Melammu is taken from an Achaemenid seal discovered on the northeast coast of the Black Sea and represents the goddess Anahita, mounted on a lion and surrounded by the divine radiance, appearing to a Persian king.
The details of the king's and the goddess's dress and crown are Persian, but in all other respects the seal is a faithful reproduction of centuries older Assyrian seals depicting appearances of the goddess Ishtar to members of the imperial ruling class. It thus i