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Welcome to JW Stratton
Sea Lane
A superb new modern development comprising three, four bedroom detached houses in Goring-by-Sea.
Welcome to JW Stratton
Sea Lane
A superb newly renovated, four bedroom detached Victorian Villa in Goring-by-Sea.
Welcome to JW Stratton
Macauley Place
A superb modern development comprising a mix of two bedroom apartments and three, four/five bed houses with flexible living accommodation, situated in a prime location on Sovereign Harbour.
Welcome to JW Stratton
College Place
A superb selection of fourteen brand new, contemporary family homes in the heart of Uckfield.
Building quality homes across Sussex
for over 75 years
Finding a home is one of the most important decisions of our lives and it is very important to get it right.
Buying a JW Stratton home will be the best decision that you make. Over the last 75 years, JW Stratton has built up an excellent reputation for creating well designed, excellent quality homes built to a high specification. The design and quality of construction is outstanding. All of our developments provide style, quality and sustainability at a competitive price.
Current Developments
JW Stratton are currently developing new homes at the following sites. For further information, please click through to the individual development pages.
Sea Lane
Goring-By-Sea, West Sussex.
Macauley Place
Sovereign Harbour, Eastbourne, East Sussex.
Contact us to find out more
If you have any questions or would like further information on any of our developments, please contact us using the details below, or fill in the contact form and we will get back to you as soon as we can.
JW Stratton
Do you have land to sell?
If any Individual or a Company have any Land to sell in East or West Sussex, large or small then please contact our Land Buying Department for further details on 01273 453578 & ask for Martin. Alternatively click on the button below and fill out the form.
All the latest news and updates
Visit our news section for property industry news, and updates on our current developments.
50% Now Reserved at Macauley Place, Sovereign Harbour, Eastbourne
The new JW Stratton Macauley Place development on Sovereign Harbour, Eastbourne is making good progress. The brand new development of contemporary architectural design features a mix of 26 three, four and five bedroom houses and two bedroom apartments. The properties...read more
Good progress on New Homes | Sovereign Harbour, Eastbourne
Constructed on the popular Sovereign Harbour North, Macauley Place is a brand new development of contemporary architectural design. Building work on the first phase of 26 plots is surging ahead, with 7 reservations already taken! Roof tiling is now underway, and the...read more
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The question here is whether Syracuse can revive its football program to the point that television will care.
The university has agreed to play three "home" games — Southern California in 2012, Notre Dame in 2014 and 2016 — at the new home of the New York Giants and Jets in the Meadowlands.
It says a lot about the state of Syracuse football that the school has to give up home games for better paydays at the new 82,500-seat facility (the Carrier Dome seats 50,000, and rarely is it filled).
At its present level, Syracuse isn't likely to draw much interest from a broadcast network for any game. Maybe things will have changed by then.

subset: commoncrawl


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text:
Homework for the day
to be completed up to pg 17
For those who have yet to hand in their file and homework, please do so by tomorrow.
Drawing to be done by today and placed in e-Journal.
2 slides on why you chose the factor in class.
The remaining Lit. Reviews are to be in by this Friday 5pm.
The data collection should be in by this Friday 5pm as well.
In your groups, come up with the following:
- A product
- The industry <of which your product is under>
- Tagline <Slogan>
- How yo build your brand?
Please remember to complete a story based on the numbers we selected
thats all for today and sorry for the late update for those waiting for the homework.


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Why Read this Report?
The Marketfinder Retail Bank Digital Customer Experience Index examines how major retail banks are investing, optimising and driving their teams to improve their digital channels. As a result they are benefiting from improved efficiencies, resource optimisation and streamline transactions.
Marketfinder's research charts the performance of 83 retail banks within the UK and Ireland, along with the world's leading retail banks. It reveals and ranks each bank across many of the core benchmarks that impact on the bank's ability to drive efficiencies, maximize resources and accelerate adoption of online services within the banks digital channels.
The most successful banks are investing in the customers' digital journey in very distinct ways and have a clear focus on creating a positive, consistent customer experience, across all channels and devices.
The results indicate that very few are getting everything right but there are some clear leaders in each of the areas researched. The research examined best-in-class examples across the retail banking industry, highlighting banks that are carving a distinct competitive advantage through excellence in delivering a superior digital experience.


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Long and long ago there was a young girl that people would call Aiyaiyesh, which roughly would translate into English as "stupid." Even today, if you don't listen to your elders, people will say, "Ah, you're so aiyaiyesh."
Other kids her age would help their elders pick berries.
But not the girl who was aiyaiyesh…she would just sit underneath the cedar tree, watching the world go by.
Other kids her age would help their elders tan deer hides.
But not the girl who was aiyaiyesh…she would just sit underneath the cedar tree, watching the world go by.
Other kids her age would help their elders dig roots. But not the girl who was aiyaiyesh…she would just sit underneath the cedar tree, watching the world go by…
Other kids her age would gather cedar bark on the hottest days of the year to help their elders. But not the girl who was aiyaiyesh…she would just sit underneath the cedar tree, watching the world go by.
Finally, one day, the cedar tree couldn't take it anymore and said, "Ah, you are so aiyaiyesh. All you ever do is sit underneath me. Now you watch. I'm going to show you how to do something."
And so it was the cedar tree showed her how to take the strong roots of the cedar and coil them around, sewing them together into a circle. Now circles are very sacred to most Native people. We're taught that the world is a circle…when the wind moves in its strongest power, it moves in a circle. In our ceremonies, when we pray, we turn in a circle because we are taught when you turn in a circle, one of your sins falls off.
As she sewed the circles together, she created the very first hard root cedar basket. This is a very important thing in the Pacific Northwest. Not only is it traditionally used to hold berries, and other foods, but the baskets were so well made, they would hold water. In fact one proof of moving into adulthood was to make four baskets which would then as a test, be dipped into water. If they would hold the water, then the basket maker was recognized as an adult. The baskets would then be given away to train the young person to always be generous. This type of basket was also used for cooking.
After being filled with water, small rocks that had been heated in a fire would be dropped into the water of the basket. The heat of the rocks would make the water boil, and you could then cook soups and stews.
But you had to be very careful and keep stirring the hot rocks around or they would stay at in one place and burn a hole through the bottom of your basket and you'd feel really aiyaiyesh.
When she had finished, the cedar tree examined her basket and told her she had done a good job, but she had woven no patterns onto her basket, and a basket was not finished until it had designs.
"But I don't know any designs," she cried.
"Ah, you're so aiyaiyesh," said the cedar tree. "Start walking—keep your eyes and your ears and your heart open, and you will find all sorts of patterns."
Just so, the girl began to walk and all the way she was crying. In fact, she was crying so hard, she wasn't watching where she was going, and almost stepped on Waxpush, the rattlesnake."What's the matter with you, almost stepping on innocent people!" the rattlesnake hissed.
"Oh, I'm so sorry," she answered, "but the cedar tree told me if I just kept walking, I'd find all sorts of designs for my basket, but I haven't found a single one."
"Ah, you're so aiyaiyesh," cried the rattlesnake. "Open up your eyes and see—just look at me!"
And sure enough, when she looked—really looked at the rattlesnake, she saw she had a beautiful pattern of diamonds down her shiny back. "Oh, how beautiful you are! What a wonderful pattern!"
"Take it," said the rattlesnake, "use it for your basket." And so it was she wove the diamond back patterns into her basket.
When she was done, she was very proud of herself, but eventually she thought, "Well, I can't just keep using the same pattern over and over again," and she began to cry once more.
"Why are you crying, little girl?" called someone with a voice like thunder. She looked up from her tears and saw Patu, the Mountain, was talking to her.
"Oh, I'm crying because the cedar tree told me if I just kept walking, I would find all sorts of patterns for my baskets, but all I've found is just one!"
"Ah, you're so aiyaiyesh," called the Mountain. "You look at me—what do you see?" And sure enough, when she looked—really looked at the Mountain she saw that he was really a triangle.
"Oh, what a beautiful pattern you are," she said.
"Take it—and use it for your basket."
And so it was she wove the pattern of the Mountain into her basket.
In this miniature basket, you can see how the yellow represents the path the basket maker took in climbing the mountain to gather the materials for the basket.
She was very proud of herself, and as she kept walking, keeping her eyes and ears, and heart open, she saw all sorts of designs.
The stars came out at night and formed constellations that she used for designs.
Butterflies danced around the flowers and taught her more patterns.
She saw how the leaves of the plants danced with the wind and her heart danced when she realized she had yet another design.
She saw the tracks of little birds. She saw lightning and that gave her another design for her baskets.
She saw the top knot on the little quail and that gave her a design she could use.
Everywhere she went, in every direction, she found patterns and designs.
And when she learned to weave all these designs into her baskets, she returned home to her people and taught them how to put the patterns into baskets.
When she had done that, she wasn't aiyaiyesh anymore.
A Sahaptin story, retold by CoyoteCooks
This is one of my favorite stories, and I have used it in getting across the idea of "Learning to See/Seeing to Learn." As a therapist, I find a lot of people are like the aiyaiyesh girl in the beginning of her journey—they keep using the same pattern (of behavior) over and over again. Part of their psychological growth comes from discovering that there are all sorts of other patterns (of behavior) around them that they can also use.
After I tell the legend, the first thing I will ask an audience is, "When did she stop being so aiyaiyesh?"
Was it when she learned to make a basket? Was it when she learned how to weave a design into the basket? Was it when she learned to see that patterns and designs were always all around her?
The legend says very specifically she stopped being aiyaiyesh when she was able to share her knowledge with her community. The beginning of the story states she is aiyaiyesh, and gives examples of what others her age would be doing during the four seasons (a cycle) of the year, in giving back to their community. But the girl doesn't give anything back. She only sits underneath the cedar tree and watches the world go by. Her aiyaiyeshness isn't about ignorance, but about her interactions and responsibility.
The knowledge of how to make the baskets described in the story was in danger of being lost not long ago. When I used to interview Native elders for our TV program, Native Vision, I would hear them talk about how hard it was to make the baskets. They involved almost a year of preparation—going out during the hottest days of the year to gather cedar bark when the sap would not be next to the surface where it would render the bark useless for basket-making—going into the higher elevations of the mountain to gather bear grass to weave into the basket—preparing alder bark to use as a reddish dye.
When the Native people would take their beautiful baskets into the White towns to trade, the settlers would dismiss them and offer used clothing for trade. I remember Hazel Pete, a respected Chehalis woman who came from generations of basket-makers, explaining to me how her mother told her as a child, "You are better than this. You are better than used and dirty old clothes." Many stopped making the baskets, and started using buckets and pots obtained from their non-Native neighbors. Towards the last part of the 20th century, there was a revival of basket-making among many Native communities, and basket-making was even being taught in community centers on reservations.
On a spiritual level, this story is related to the Vision Quest, which involves discovering one's Power. In this case, the young woman would be about at the age of puberty, and her Spirit Power would be the Cedar Tree, which is responsible for helping her become all she can be.
In terms of this article's recipe, I'm going to start with the assumption you either don't have a basket that you can use for cooking or if you do, it's likely to be a family heirloom you probably won't use for cooking anyway. In the images I used in illustration I included one that shows baskets from California, that are a little out of the Plateau culture of this legend, but it did indicate some cooking baskets so readers won't think this is something I made up. These Californian baskets would have been used to cook ground acorns with the same technique of dropping small stone heated very hot in a fire into the mixture, and then replacing the stones as they cool off. I've had some like this when I was doing a workshop in northern California.
Because the NW traditions focus on soups and stews in the baskets, I decided to do a "Three Sisters Soup." I was aware of the Three Sisters (Corn, Bean, Squash) from southwestern culture and was pleased to find out much later as an adult that the Three Sisters are also very much part of other Native cultures, including up in the American North East, the homeland of the Six Nations Confederacy.
The legends say these are our relatives. On a practical level, the corn stalk forms a support for the beans to climb, while the beans attach nitrogen to the soil in a way that benefits the corn. The squash spreads out, helping keep the ground moist, but also discourages other plants (think about what most Americans would call weeds) and the spiny bits of the squash discourage a lot of pests.
If I'm in a hurry, (and it's one of those weeks) it's easy to throw together a can of black beans , a can of hominy, and a few cut up zucchini and yellow squash into a chicken stock (although I've been trying to be as productive as possible lately, so I've been freezing pork stock which I'll use instead). There's sometimes mention of the Fourth Sibling—the spicy brother Chili, so I'll toss in enough crushed or ground red chili pepper until I'm satisfied.
I personally prefer cutting fresh corn off the cob to use, although sometimes I get a craving for hominy.
Depending on who will be sharing dinner, I might cut the fresh corn into segments for those who enjoy the experience of gnawing the corn off.
This is actually more representative of the Algonquian folks back east. First appearing in English about 1778, "succotash" comes from an American Indian word for beans and maize cooked together. "Msiquatash" was the staple dish of the Narragansett tribe, who lived in what is now Rhode Island. A related Narragansett word, "asquutasquash," gave us "squash…"(Incidentally, the verb "squash," meaning "to smash flat," comes from an entirely different source, the Latin word for "break.") http://www.word-detective.com/back-m.html
I'll also throw in a few diced tomatoes and garlic, and salt and pepper to taste. And because it's been a very busy week, I'll throw in the meat from the leftover pork that's been waiting patiently in the fridge. I'm ready to serve within 30 minutes, which includes tossing some rolls in the oven.


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Madeleine Castaing
Madeleine Castaing (French pronunciation: [madlɛn kastɛ̃]) (1894–1992) was a French antique dealer and interior designer of international renown. She was the friend and the sponsor of many artists, including Soutine, who made her portrait in 1928. Original, even whimsical, she revolutionized the world of decoration, creating the style Castaing which is now a reference.
The daughter of an engineer who built the train station in Chartres, Madeleine Magistry early married an heir from Toulouse, the art critic Marcellin Castaing. Their meeting, very romantic, had concluded by a "kidnapping" of the girl, who was barely fifteen or sixteen at the time. Twenty years older than she was, Marcellin Castaing was known for his impressive literary and artistic culture. During the fifty years of their marriage, he remained his wife's great love, according to all the couple's friends, including the writer and photographer François-Marie Banier, who remembers "Madeleine's legendary love for her husband".[1]
In the 1920s, Madeleine Castaing made her debuts as an actress in silent films, then gave up this career while being already nicknamed "the French Mary Pickford".[2]
At that time, her husband had offered her a neoclassical manor she had been longing for, in Lèves, not far from Chartres. He wanted her to "unwind", he explained.[3] The young woman had indeed discovered her own vocation for interior design.
Shortly after their friend Modigliani's death, the Castaings made the acquaintance of Soutine at the Café de la Rotonde, in the centre of Montparnasse. The first meeting was difficult: Soutine refused the 100 franc note handed to him by Marcellin Castaing in order to buy him a painting without having even looked at it.[4] A few years later, in 1925, the Castaings could buy their first painting by this artist at Leopold Zborowski's, the primary art dealer of Soutine and of Modigliani, and became friends with him. From 1930 to 1935, they welcomed him home during the summer in their mansion of Lèves, becoming his patrons and main buyers. It is thanks to them that Soutine could hold his first exhibition in Chicago in 1935.
The Castaings possessed more than forty paintings by this artist, which means the most important private collection of Soutine's works. Madeleine Castaing saw in him the greatest painter of the 20th century: "Above others, he gives his hand to the Greco and Rembrandt", she said.[5]
Madeleine Castaing's portrait by Soutine, entitled La Petite Madeleine des décorateurs, is now at the Metropolitan Museum of Art in New York. The words "petite madeleine" refer to the "petite madeleine" of Proust, an author Madeleine Castaing was specially interested in: she spent decades reading In Search of Lost Time again and again, fully, several times. She had discovered this work in 1913.
Generally speaking, the Castaings were patrons of artists belonging to the École de Paris and to the Académie de la Grande Chaumière.
Madeleine Castaing was a friend of Erik Satie, Maurice Sachs, Blaise Cendrars, André Derain, Jean Cocteau (she arranged his house of Milly-la-Forêt), Marc Chagall, Iché, Picasso, Henry Miller, Louise de Vilmorin (to whom she inspired the character of Julietta in the novel of the same name) and Francine Weisweiller (for whom she decorated the Villa Santo Sospir at Saint-Jean-Cap-Ferrat).[6] In the 1970s, she helped François-Marie Banier by purchasing a dozen of his photographs for 70,000 francs.[7]
The historian and politician Michel Castaing (1918–2004), the Castaings' younger son, was a famous expert in paleography. Michel's son, Frédéric Castaing, is a specialist in autographs and also a novelist.
When Michel Castaing died, in 2004, the mansion of Lèves was sold in auction, as well as the family collection of paintings and art objects, including seven paintings by Soutine.
Art and design[edit]
This section is empty. You can help by adding to it. (November 2010)
- (in English) Emily Evans Eerdmans (2010). The World of Madeleine Castaing. Rizzoli. ISBN 978-0-8478-3281-1. (prefaces by Jacques Grange and Frédéric Castaing)
- (in French) Pierre Levallois et al., La Décoration (5e volume de la collection « Connaissance des Arts », 1963, p. 60 )
- (in French) Jean-Noël Liaut, Madeleine Castaing, Mécène à Montparnasse, décoratrice à Saint-Germain-des-Prés, Payot, 2008
- (in English) Lisa Lovett-Smith, Paris Interiors, Taschen
- (in French) Patrick Mauriès et Christian Lacroix, Styles d'aujourd'hui, Gallimard/Le Promeneur, 1995
- (in French) Barbara et René Stoeltie, Chez Elles : le décor au féminin, Flammarion, 2003, pp. 13 à 19
- (in English) Suzanne Trocmé, Influential Interiors, Michtell Beazley, 1999
- (in English) Adam Lewis, The Great Lady Decorators: The Women Who Defined Interior Design, 1870-1955, Rizzoli, New York, 2010
- (in French) Hervé Joubeaux et Pierre Falicon, Le Temps retrouvé chez Madeleine Castaing, photographies de Claire Flanders, musée des Beaux-Arts, Chartres, 1997
- (in French) Hervé Leroux, « L'appartement de Madeleine Castaing », Maison française n° 509, 2000
- (in Spanish) Anne de Royère, « Madeleine Castaing, Lla Mujer de los azules », Casas e Gente, septembre 2004
- (in English) Barbara Stoeltie, « Au revoir, Lèves », photographs by René Stoeltie, The World of Interiors, 2004
- (in English) Catalog of Soutine Exhibition (1963), Tate Gallery, London
- (in French) Catalogue de l'exposition François-Marie Banier, « Madeleine Castaing », Maison européenne de la photographie, Paris, 2003
- (in French) Catalogue Sotheby's, L'Univers de Madeleine Castaing, Galerie Charpentier, Paris, septembre-octobre 2004
- The Proprietor, film by Ismail Merchant with Jeanne Moreau and Sean Young (1996), filmed in Madeleine Castaing's apartment
- Madeleine Castaing et Peggy Guggenheim, television documentary directed by Benjamin Roussel, France 5 (2006) for the series Le Bal du siècle, produced by Jean-Louis Remilleux[8]
- Madeleine Castaing, documentary by Christopher Flach, New York City (2006)
External links[edit]
- (in French) Text by François-Marie Banier and a portrait of Madeleine Castaing (« Photographie, portraits »)
- (in English) New York Times, 2004
- (in English) New York Times, 2008
- (in English) An article about Madeleine Castaing, photographs from Connaissance des Arts, 2008
- ^ Text by François-Marie Banier Archived 2011-06-16 at the Wayback Machine
- ^ Barbara Stoeltie, in The World of Interiors.
- ^ Barbara Stoeltie, ibid.
- ^ Preface to L'Univers de Madeleine Castaing.
- ^ Quoted by Jacques Grange in L'Univers de Madeleine Castaing,op. cit.
- ^ Madeleine Castaing and the Weisweillers.
- ^ François-Marie Banier: un ami qui vous veut du bien, 16 Jan 2009. Accessed 26 Jul 2010.
- ^ Culture-infos.


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|Chief of Defense Staff Badgie
The military moved in quickly, following our blog post on the subject to move the guests to "The Recevoir" by the Chief of Defense Staff in a building that serves as reception area (thus the French name), Now the Senegalese have been lodged next to the presidential palace to be closely guarded and protected from the preying eyes of the opposition who will be very vigilant, especially on election day and by polling agents, in ensuring that non-citizens are prevented from voting in the elections. The international media is also being encouraged to be on the lookout for these category of voters.
The Director General of the notorious National Intelligence Agency (NIA) is also reported to have upped the ante as the elections draw close to December 1st, increasing the level of intimidation of supporters of the opposition by targeting specific and influential supporters. Our sources indication all forms of intimidating tactic will increase in intensity as Jammeh continues to freak out as he sees his support continues to nosedive. There is panic mode in Kanilai.
|Yankuba Badgie
Public officials and civil servants have not been spared by Jammeh and his security agents. They are being forced to campaign in their localities and are also being threatened with dismissal or worse should Jammeh lose the election in their respective administrative areas.


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I'm very pleased to announce that first Technical Preview of Windows Speech Recognition Macros is now available for immediate download on downloads.microsoft.com.
The Windows Speech Recognition Macros tool (aka WSRMacros) extends the usefulness of the speech recognition capabilities already included in Windows Vista. Users can now create powerful macros that are triggered by spoken commands. These macros can perform a single task, or a series of tasks. Macros can be as simple as inserting your mailing address to as complex as providing a completely different speech interaction utilizing a number of built in capabilities or utilizing custom JScript/VBScript actions.
You can read more about WSRMacros in the the release notes here.
Stay tuned to the following blogs for more information on how you can best utilize the full power of Windows Speech Recognition Macros:
Additionally, we'd love to hear from you about what you like and what you don't like about WSRMacros. Please send us email at firstname.lastname@example.com and let us know what you think. We won't be able to answer all the emails that we receive, but we'll do our best to use your questions and comments to make WSRMacros better over the coming months.
NOTE: While we have tried to make it easy to use, this release of WSRMacros is a technical preview of technology we are planning to release in the future. Not all of the features we have planned are included, and some features are incomplete. Users are cautioned to treat this release as "pre-beta."


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A long weekend of heady music at the barge starts tonight, when stylish, exacting violinist Miranda Cuckson teams up with sure-handed pianist Steven Beck for a mix of Bartók, Sessions, Babbitt, Brian Ferneyhough and Andrew Rudin. Beck's back on Fri 11 with fellow pianists Stephen Gosling and Eric Huebner, spanning a range from Chopin and Debussy to Roger Reynolds and David Rakowski. Violinist Mark Peskanov and guitarist Luigi Attademo play Paganini on Sat 12, and on Sun 13, Arnaud Sussman and Orion Weiss perform violin sonatas by Bach, Beethoven, Brahms and Grieg.
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Adam Muntner
Rob Schwimmer is a great musician with a quirky sense of humor you can't exactly put your fingers on, kind of like a theremin. I hope he performs on the Barge again soon!
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