Counting in Egyptian children with Down Syndrome

This exploratory study is concerned with the performance of Egyptian children with Down syndrome on counting and error detection tasks and investigates how these children acquire counting. Observations and interviews were carried out to collect further information about their performance in a class context. Qualitative and quantitative analysis suggested a notable deficit in counting in Egyptian children with Down syndrome with none of the children able to recite the number string up to ten or count a set of five objects correctly. They performed less well on tasks which added more load on memory. The tentative finding of this exploratory study supported previous research findings that children with Down syndrome acquire counting by rote and links this with their learning experiences.

Chronology for the Aegean Late Bronze Age 1700-1400 BC

Radiocarbon (carbon-14) data from the Aegean Bronze Age 1700-1400 B.C. show that the Santorini (Thera) eruption must have occurred in the late 17th century B.C. By using carbon-14 dates from the surrounding region, cultural phases, and Bayesian statistical analysis, we established a chronology for the initial Aegean Late Bronze Age cultural phases (Late Minoan IA, IB, and II). This chronology contrasts with conventional archaeological dates and cultural synthesis: stretching out the Late Minoan IA, IB, and II phases by similar to 100 years and requiring reassessment of standard interpretations of associations between the Egyptian and Near Eastern historical dates and phases and those in the Aegean and Cyprus in the mid-second millennium B.C.

Taxonomical musings

In the ‘Object as Subject’ exhibition held at the Stephen Lawrence Gallery, Greenwich University, myself and two other artists showed work which explores the use of the ‘found object’ in their respective practices. My work was selected by the gallery curator David Waterworth. The work exhibited by me, two multi-media pieces and two films, continues my (practice as research) investigation into using everyday objects as starting points for creating work in a variety of mediums including: sculpture, films, installations and multiples. In this work I address a range of subject matters – philosophical, social and cultural. The history of the use of found object in art began in early 20th century European art when Marcel Duchamp and Pablo Picasso independently introduced everyday objects into their practice. My work continues this research.

Daphnane diterpenes of Thymelaea hirsuta

Five 12-hydroxy-daphnane esters were isolated from the leaves and twigs of Egyptian Thymelaea hirsuta. These compounds were identified as gnidicin, gniditrin, genkwadaphnin, the aliphatic C-12 ester, 12-O-heptadecenoyl-5-hydroxy-6,7-epoxy-resiniferonol-9,13,14-orthobenzoate and the novel aliphatic C-12 ester 12-O-butenyl-5-hydroxy-6,7-epoxy-resiniferonol-9,13-14-orthobenzoate.

'They Shall Speak the Arabic Language and Take Pride in it': reconsidering the fate of Coptic after the Arab Conquest

The complaints on the adoption of Arabic by the Copts that are voiced by the Apocalypse of Pseudo-Samuel have often been quoted as the expiring words of the dying Coptic language. This article seeks to show that they are not to be taken so literally, and that they should rather be inserted in the context of a rift within the medieval Coptic church over the question of language choice, and beyond this, over that of accommodation with the Muslims. The use of Arabic by the episcopal church of Miṣr and by some prominent figures around it, which was linked to their proximity to the Fatimid court, was resented and denounced by more traditional circles, centred on the Patriarchate and on some important monasteries such as the one at Qalamūn where the Apocalypse was written. The suggestion is also made that the text is contemporary with the beginning of Coptic literary production in Arabic and with the introduction of Egyptian Christians at the caliphal court, namely in the last quarter of the tenth century, at the time of Severus ibn al-Muqqafa‘.

Utopia Ltd

Utopia Ltd. explores the relationship between utopian ideas and commodification, bringing together artwork by Blaise Drummond, Brendan Earley, Pil and Galia Kollectiv, David Mabb, Lizi Sanchez and Mary-Ruth Walsh. The seven artists’ work opens up a debate on the utopian within painting, sculpture, architecture, design and video.The works in Utopia Ltd. represent modernist architecture and design in its various mutations within a spectacularised, commodified 20th century consumer society. In these works, the utopian dream seems to burst through again and again, despite rather than because of the permutations of commodity culture. By picturing the past, present and possible future, the works destabilize fixed linear time. By rescuing, reclaiming and re-picturing, Utopia Ltd. suggests that utopian ideas persist in contemporary art, making a provocative demand on the viewer’s capacity to produce utopian dreams of their own. The exhibition’s title Utopia Ltd. is a satirical echo of an operetta by Gilbert and Sullivan, Utopia (Limited) or, The Flowers of Progress (1893), in which a utopian colony is turned into a joint stock company.