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The jewelry box includes a three sided insert. One side is smooth for displaying a pendant, another side has a pocket for elegantly presenting a ring, and the last side has two little eyelets to showcase a gorgeous pair of earrings. There is a little envelope to neatly secure the pendant chain, which fits perfectly into the pocket. The liner box has an inner chipboard structure for durability and strength
E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.
With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.
PHILOSOPHY
“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”
AWARD
Advertising/Advertorial/ Editorial - MPA Far East
Architecture/ Cityscape/ Interior - MPA Far East
Illustrative & Creative - MPA Far East
Fashion - MPA Far East
Still Life - MPA Far East
Best Cover - MPAS
PROJECT
A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith
EDITORIAL
August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches
Electronics Hobby
Building a new components-cabinet.
Hacker (hobbyist)
In home computing, a hacker is someone who modifies software or hardware of their own private computer system. It includes building, rebuilding, modifying, and creating software (software cracking, demoscene), electronic hardware (hardware hacking, overclocking, modding), either to make it better, faster, to give it added features or to make it do something it was not originally intended to do. Hacking in this sense originated around hobbyist circles discussing the MITS Altair at the homebrew computer club.
Hacker artists[edit]
See also: Fractal art, algorithmic art and interactive art
Hacker artists create art by hacking on technology as an artistic medium. This has extended the definition of the term and what it means to be a hacker. Such artists may work with graphics, computer hardware, sculpture, music and other audio, animation, video, software, simulations, mathematics, reactive sensory systems, text, poetry, literature, or any combination thereof.
Dartmouth College musician Larry Polansky states: "Technology and art are inextricably related. Many musicians, video artists, graphic artists, and even poets who work with technology—whether designing it or using it—consider themselves to be part of the 'hacker community.' Computer artists, like non-art hackers, often find themselves on society’s fringes, developing strange, innovative uses of existing technology. There is an empathetic relationship between those, for example, who design experimental music software and hackers who write communications freeware." [3]
Another description is offered by Jenny Marketou: "Hacker artists operate as culture hackers who manipulate existing techno-semiotic structures towards a different end, to get inside cultural systems on the net and make them do things they were never intended to do." [4]
A successful software and hardware hacker artist is Mark Lottor (mkl), who has created the 3-D light art projects entitled the Cubatron, and the Big Round Cubatron. This art is made using custom computer technology, with specially designed circuit boards and programming for microprocessor chips to manipulate the LED lights.
Don Hopkins is a software hacker artist well known for his artistic cellular automata. This art, created by a cellular automata computer program, generates objects which randomly bump into each other and in turn create more objects and designs, similar to a lava lamp, except that the parts change color and form through interaction. Says Hopkins, "Cellular automata are simple rules that are applied to a grid of cells, or the pixel values of an image. The same rule is applied to every cell, to determine its next state, based on the previous state of that cell and its neighboring cells. There are many interesting cellular automata rules, and they all look very different, with amazing animated dynamic effects. 'Life' is a widely known cellular automata rule, but many other lesser known rules are much more interesting."
Some hacker artists create art by writing computer code, and others, by developing hardware. Some create with existing software tools such as Adobe Photoshop or GIMP.
The creative process of hacker artists can be more abstract than artists using non-technological media. For example, mathematicians have produced visually stunning graphic presentations of fractals, which hackers have further enhanced, often producing detailed and intricate graphics and animations from simple mathematical formulas.
en.wikipedia.org/wiki/Hacker_(hobbyist)
Artworks include (left to right)
Antonio Rossellino
(Italian, 1427–1478)
Bust of the Christ Child, ca. 1460–70
Marble, with nineteenth-century metal halo
Purchased by Pierpont Morgan, 1906; AZ036
Pietro Vannucci, called Perugino
(Italian, Città della Pieve ca. 1450–1523 Fontignano)
Madonna and Saints Adoring the Christ Child
Tempera on wood
Purchased by Pierpont Morgan, 1911; AZ066
Attributed to Desiderio da Settignano
(Italian, 1428–1464)
Bust of a Florentine Woman, Perhaps Marietta Strozzi, ca. 1460
Marble
Purchased by Pierpont Morgan, 1908; AZ021
Follower of Donatello
(Italian, 1386/87–1466)
Standing Virgin and Child, ca. 1470
Terra-cotta bas-relief with polychrome and gilding
Purchased by Pierpont Morgan, 1904; AZ067
Stemmed Cup with Two Handles
Italy (Deruta), sixteenth century
Majolica
Purchased by Pierpont Morgan, 1906; AZ016
Antoine-Louis Barye
(French, 1796–1875)
Candelabrum with Figures of Juno, Minerva, and Venus; Chimeras; the Three Graces, model ca. 1840, cast post-1875
Purchased by Pierpont Morgan, 1908; AZ063
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
U.S. Capitol rotunda restoration work includes removing hazardous materials (such as lead paint), restoring ironwork, upgrading electrical and mechanical systems, installing new lighting and repainting to historically appropriate colors will begin. Full project details are at www.aoc.gov/rotunda.
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This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
\:Credits:/
\:Office set:/
[Erfe Design] Vega Office Set 75 LI – ADULT PACK. this pack includes;
-PBR REFLECTION PROBE OBJECT – SAMPLE PRIM
-Pharoah Big Plant PBR 7 LI
-Vega Armchair 3 LI PG
-Vega Boss Chair Adult 6 LI
-Vega Boss table 12 LI [
-Vega Ceiling Light – Controller
-Vega Coffee table 4 LI [
-Vega Decorative Back wall 27 LI
-Vega Led Lighting 9 LI Long v.
-Vega Led Lighting 9 LI Short v. [
-Vega Office Set ADULT V. 75 LI(Scene)
-Back Wall (27 LI) – All doors & drawers open/close
-Boss Chair (6 LI) – Adult or PG versions available
There are 186 Animations (Adult version updated). ADULT :3290 L$ and PG : 2790 L$. This set is 8 Discount For Erfe Design Group members. and is also compatible with MyStory, Lovense, and LoveBridge. 2K HQ PBR Textures and Non-PBR compatible. Located at the ACCESS EVENT(current round).
Erfe Design: maps.secondlife.com/secondlife/Corona/143/144/23
ACCESS EVENT: maps.secondlife.com/secondlife/ACCESS/69/129/22
2020 has played havoc on all the supply chains in the world, which includes of course the collectibles industry. Strangely though, my Japanese figures don't seem horribly impacted, maybe a week or two off, whereas the domestic stuff (Hasbro, NECA, etc.) has been an absolute dumpster fire with regards to release dates, especially here in Canada.
I still can't even place preorders for some of items I'm looking for, and they've already been seen in the US and parts of Canada.
But the orders are slowly trickling in, the first of which is Doubledealer from the Transformers: Earthrise line.
I don't get too many mainline Transformers anymore. In general, they are much better than what I had as a kid, but at this point in my life I just feel that toy engineering trumps all other features. But occasionally, there is that one character that tickles my fancy.
Such is Doubledealer.
If you've ever read my Transformers reviews (infrequent, I know) you'll probably have picked up I'm a Post-Movie guy myself, specifically the stuff that showed up AFTER the American show ended, focusing on the Headmasters, Targetmasters, and Powermasters.
The American storyline always made things more complicated than necessary, with body parts being sacrificed so characters could Binary Bond to each other. I prefer the Japanese explanation - tiny Transformers from Planet Master (Headmasters and so on) are tiny and need big robot bodies called Transtectors to beat the crap out of each other (at least in the case of Head and Power... I don't think Targetmasters had Transtectors).
So basically same character, bigger body.
Doubledealer was a Triple Changer Double Powermaster - value for your toy dollar, as it were. As a character, Doubledealer supplied both Autobots and Decepticons with weapons. His standard mode is the ICBM (Intercontinental Ballistic Missile) Carrier, with one Powermaster turning him into an Autobot Bot, and one turning him into a Decepticon Falcon.
The Earthrise update pays homage to the classic G1 look, albeit without the giant head. Sadly, the Powermaster gimmick is no longer a thing, though it was nice of Hasbro to include a removable "Powermaster" engine as an homage to the original toy. There's now also the ability to swap faction signs to better suit the conversation Doubledealer is having at the time. I wish they had kept the painted wheels, though, as all black wheels screams "I wanted to save a few bucks" to me, especially on a figure that is at the Leader price point, and they went through the trouble of painting the little wing things on the Bot mode chest.
While we're on the subject, stickers used are of a much better quality than those horrible foil things used on the Power of the Primes line.
I wish they had given the Bot mode larger feet because it just looks awkward as it is right now.
Hasbro kept his trademark ICBM, gave him a few more weapons in the form of two missile pods, a turret, and I think a rock launcher, as well as a removable jetpack/backpack that resembles stablizers uses for large trucks, but thanks to the power of imagination serves several purposes, including hiding Doubledealers head in truck mode.
Compared to Deluxe size figures where entire car roofs have been removed, this isn't that bad.
As far as I can tell, this appears to be a brand new mould.
The articulation of the Bot mode has improved dramatically since the G1 days, and is probably on par with the repainted Blitzwing version of the character in the Generations lineup. You get ankle pivots, knees with lower leg pivot, ball jointed hips, waist, standard shoulders, bicep swivel, double jointed elbows, rotating fists, and a ball jointed head. All in all, you'll get some decent action poses and "posing with guns" sort of things out the figure, which is the norm for a Transformer figure.
Of the two Vehicle modes, the Carrier has always been the more solid of the two modes, basically being a wheeled brick with a crap ton of weapons on it. Other than additional paint, I think the weapons could have been larger to properly accompany a giant missile. There are all sorts of lovely mechanical designs that area sculpted into the shell of the this mode, which help to make the Bot mode pop.
Falcon mode is... awkward, just like the G1 version was. Post movie, many of these Triplechanger alt mode, particularly animal ones, really required imagination on the side of the kid playing with the toy. I suspect it was this sort of ambiguity that drew me towards them. Proportions are actually quite similar to the OG (still looks like an underdeveloped chicken), with the wings now more complex in terms of design, and I swear that Falcon head was lifted directly from the G1 toy. Other major changes would be the fact that the missile is no longer undermounted, which to be fair would be kind of awkward for the poor guy in the event of a bad landing.
Because everyone loves reasons to buy more stuff, there is TECHNICALLY a forth mode for Doubledealer, that of a Base that can connect to other Base Mode figures, which in the instructions is the Quintesson Judge. As far as Base Modes go, this isn't the best I've seen though it certainly beats the awkward splayed panels of Powermaster Optimus Prime.
The Earthrise Doubledealer is a fantastic upgrade to the original character, and has a very strong Bot and a very competent Carrier mode. However, at this price point, I feel that your decision to buy one of these is probably influenced by your love/acceptance of the Falcon mode - unless you're a completionist.
I've got a few more Transformers on preorder, which are now horribly behind schedule but what can you do?
Between then and now, I'm sure I'll find other figures to keep me entertained.
Includes clickable Sharpie markers, Micron fine-point pens (one of them red), the amazing Pilot G2 hybrid ink pen (only one left because everyone steals them), some random clunky-ass pen that I held on to for some reason, and a frickin' NASA-built astronaut pen for when I find myself needing to write upside down or in the vacuum of space
This is one of the Gerberas in our garden. Gerbera is important commercially and it is the fifth most used cut flower in the world after rose, carnation, chrysanthemum, and tulip.
Gerbera is a genus of plants in the Asteraceae (daisy family). It was named in honour of German botanist and medical doctor Traugott Gerber | (1710-1743) who travelled extensively in Russia and was a friend of Carl Linnaeus.
Gerbera is native to tropical regions of South America, Africa and Asia. The first scientific description of a Gerbera was made by J.D. Hooker in Curtis's Botanical Magazine in 1889 when he described Gerbera jamesonii, a South African species also known as Transvaal daisy or Barberton daisy. Gerbera is also commonly known as the African daisy.
Gerbera is very popular and widely used as a decorative garden plant or as cut flowers. The domesticated cultivars are mostly a result of a cross between Gerbera jamesonii and another South African species Gerbera viridifolia. The cross is known as Gerbera hybrida. Thousands of cultivars exist. They vary greatly in shape and size. Colours include white, yellow, orange, red, and pink. The centre of the flower is sometimes black. Often the same flower can have petals of several different colours.
The Royal Crescent is a residential road of 30 houses, laid out in a crescent, in the city of Bath, England. Designed by the architect John Wood the Younger and built between 1767 and 1774, it is among the greatest examples of Georgian architecture to be found in the United Kingdom and is a grade I listed building. The houses have been home to various notable people for over 200 years. Changes have been made to the interiors, however the facade remains much as it was when it was built.
The Royal Crescent now include a hotel and museum with some of the houses being converted into flats and offices. The buildings have been used as a location for several films and television programs.
It was originally called just The Crescent and the adjective Royal was added at the end of the 18th century after Prince Frederick, Duke of York and Albany had lived at numbers 1 and 16. Wood designed the great curved façade of what appears to be about 30 three storey houses with Ionic columns on a rusticated ground floor. The columns are 30 inches (76 cm) in diameter reaching 47 feet (14.3 m) and there are 114 in total, each with an entablature 5 feet (1.5 m) deep. The central house has two sets of coupled columns.
Each purchaser bought a certain length of the façade, and then employed their own architect to build a house to their own specifications behind it; hence what appears to be two houses is sometimes one. This system of town planning is betrayed at the rear of the crescent: while the front is completely uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration. This "Queen Anne fronts and Mary-Anne backs" architecture occurs repeatedly in Bath.
Together with his father John Wood, the Elder, John Wood the Younger was interested in occult and masonic symbolism; perhaps their creation of largest scale was their joint design of the Royal Crescent and the nearby Circus (originally called "the King's Circus"), which from the air can be observed to be a giant circle and crescent, symbolising the soleil-lune, the sun and moon. The Circus, along with Gay Street and Queen Square, forms a key shape which is also a masonic symbol.
In front of the Royal Crescent is a Ha-ha, a trench on which the inner side of which is vertical and faced with stone, with the outer face sloped and turfed, making the trench, in effect, a sunken fence or retaining wall. The ha-ha is designed not to interrupt the view from Royal Victoria Park, and to be invisible until seen from close by. It is not known whether it was contemporary with the building of the Royal Crescent, however it is known that when it was first built it was deeper than it is at present. (Excerpted from Wikipedia)
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
Luxor (Arabic: الأقصر, romanized: al-ʾuqṣur, lit. 'the palaces') is a city in Upper Egypt, which includes the site of the Ancient Egyptian city of Thebes. Luxor had a population of 1,333,309 in 2020, with an area of approximately 417 km2 (161 sq mi) and is the capital of the Luxor Governorate. It is among the oldest inhabited cities in the world.
Luxor has frequently been characterized as the "world's greatest open-air museum", as the ruins of the Egyptian temple complexes at Karnak and Luxor stand within the modern city. Immediately opposite, across the River Nile, lie the monuments, temples and tombs of the west bank Theban Necropolis, which includes the Valley of the Kings and Valley of the Queens. Thousands of tourists from all around the world arrive annually to visit Luxor's monuments, contributing greatly to the economy of the modern city. Yusuf Abu al-Haggag is the patron saint of Luxor.
Etymology
The name Luxor (Arabic: الأقصر, romanized: al-ʾuqṣur, lit. 'the palaces', pronounced /ˈlʌksɔːr, ˈlʊk-/, Egyptian Arabic pronunciation: [ˈloʔsˤoɾ], Upper Egyptian: [ˈloɡsˤor]) derives from the Arabic qasr (قصر), meaning "castle" or "palace". It may be equivalent to the Greek and Coptic toponym τὰ Τρία Κάστρα ta tria kastra and ⲡϣⲟⲙⲧ ⲛ̀ⲕⲁⲥⲧⲣⲟⲛ pshomt enkastron respectively, which both mean "three castles")
The Sahidic Coptic name Pape (Coptic: ⲡⲁⲡⲉ, pronounced Coptic pronunciation: [ˈpapə]), comes from Demotic Ỉp.t "the adyton", which, in turn, is derived from the Egyptian. The Greek forms Ἀπις and Ὠφιεῖον come from the same source. The Egyptian village Aba al-Waqf (Arabic: أبا الوقف, Ancient Greek: Ωφις) shares the same etymology.
The Greek name is Thebes (Ancient Greek: Θῆβαι) or Diospolis. The Egyptian name of the city is Waset, also known as Nut (Coptic: ⲛⲏ)
Luxor was the ancient city of Thebes, the capital of Upper Egypt during the New Kingdom, and the city of Amun, later to become the god Amun-Ra. The city was regarded in the ancient Egyptian texts as wAs.t (approximate pronunciation: "Waset"), which meant "city of the sceptre", and later in Demotic Egyptian as ta jpt (conventionally pronounced as "tA ipt" and meaning "the shrine/temple", referring to the jpt-swt, the temple now known by its Arabic name Karnak, meaning "fortified village"), which the ancient Greeks adapted as Thebai and the Romans after them as Thebae. Thebes was also known as "the city of the 100 gates", sometimes being called "southern Heliopolis" ('Iunu-shemaa' in Ancient Egyptian), to distinguish it from the city of Iunu or Heliopolis, the main place of worship for the god Ra in the north. It was also often referred to as niw.t, which simply means "city", and was one of only three cities in Egypt for which this noun was used (the other two were Memphis and Heliopolis); it was also called niw.t rst, "southern city", as the southernmost of them.
The importance of the city started as early as the 11th Dynasty, when the town grew into a thriving city. Montuhotep II, who united Egypt after the troubles of the First Intermediate Period, brought stability to the lands as the city grew in stature. The Pharaohs of the New Kingdom in their expeditions to Kush, in today's northern Sudan, and to the lands of Canaan, Phoenicia and Syria saw the city accumulate great wealth and rose to prominence, even on a world scale. Thebes played a major role in expelling the invading forces of the Hyksos from Upper Egypt, and from the time of the 18th Dynasty to the 20th Dynasty, the city had risen as the political, religious and military capital of Ancient Egypt.
The city attracted peoples such as the Babylonians, the Mitanni, the Hittites of Anatolia (modern-day Turkey), the Canaanites of Ugarit, the Phoenicians of Byblos and Tyre, the Minoans from the island of Crete. A Hittite prince from Anatolia even came to marry with the widow of Tutankhamun, Ankhesenamun. The political and military importance of the city, however, faded during the Late Period, with Thebes being replaced as political capital by several cities in Northern Egypt, such as Bubastis, Sais and finally Alexandria.
However, as the city of the god Amun-Ra, Thebes remained the religious capital of Egypt until the Greek period. The main god of the city was Amun, who was worshipped together with his wife, the Goddess Mut, and their son Khonsu, the God of the moon. With the rise of Thebes as the foremost city of Egypt, the local god Amun rose in importance as well and became linked to the sun god Ra, thus creating the new 'king of gods' Amun-Ra. His great temple at Karnak, just north of Thebes, was the most important temple of Egypt right until the end of antiquity.
Later, the city was attacked by Assyrian emperor Ashurbanipal who installed a new prince on the throne, Psamtik I. The city of Thebes was in ruins and fell in significance. However, Alexander the Great did arrive at the temple of Amun, where the statue of the god was transferred from Karnak during the Opet Festival, the great religious feast. Thebes remained a site of spirituality up to the Christian era, and attracted numerous Christian monks of the Roman Empire who established monasteries amidst several ancient monuments including the temple of Hatshepsut, now called Deir el-Bahri ("the northern monastery").
Following the Muslim conquest of Egypt, part of the Luxor Temple was converted from a church to a mosque. This mosque is currently known as the Abu Haggag Mosque today.
The 18th century saw an increase of Europeans visiting Luxor, with some publishing their travels and documenting its surroundings, such as Claude Sicard, Granger, Frederick Louis Norden, Richard Pococke, Vivant Denon and others. By the 20th century, Luxor had become a major tourist destination.
Archaeology
In April 2018, the Egyptian Ministry of Antiquities announced the discovery of the shrine of god Osiris- Ptah Neb, dating back to the 25th dynasty in the Temple of Karnak. According to archaeologist Essam Nagy, the material remains from the area contained clay pots, the lower part of a sitting statue and part of a stone panel showing an offering table filled with a sheep and a goose which were the symbols of the god Amun.
On the same day in November 2018, two different discoveries were announced. One was by the Egyptian Supreme Council of Antiquities that had found a 13th-century tomb on the West Bank belonging to Thaw-Irkhet-If, the overseer of the mummification shrine at the temple of Mut, and his wife. Five months of excavation work until this point had revealed colorful scenes of the family and 1,000 funerary statues or ushabti. The other discovery was of 1000 ushabti and two sarcophagi each containing a mummy in the TT33 complex by a joint team from the IFAO (French Institute of Oriental Archaeology, Cairo, Egypt) and the University of Strasbourg. One of the sarcophagi was opened in private by Egyptian antiquities officials, while the other, of a female 18th Dynasty woman named Thuya, was opened in front of international media.
In October 2019, Egyptian archaeologists headed by Zahi Hawass revealed an ancient "industrial area" used to manufacture decorative artefacts, furniture and pottery for royal tombs. The site contained a big kiln to fire ceramics and 30 ateliers. According to Zahi Hawass, each atelier had a different aim – some of them were used to make pottery, others used to produce gold artefacts and others still to churn out furniture. About 75 meters below the valley, several items believed to have adorned wooden royal coffins, such as inlaid beads, silver rings and gold foil were unearthed. Some artefacts depicted the wings of deity Horus.
In October 2019, the Egyptian archaeological mission unearthed thirty well-preserved wooden coffins (3,000 years old) in front of the Mortuary Temple of Hatshepsut in El-Assasif Cemetery. The coffins contained mummies of twenty-three adult males, five adult females and two children, who are believed to be from the middle class. According to Hawass, mummies were decorated with mixed carvings and designs, including scenes from Egyptian gods, hieroglyphs, and the Book of the Dead, a series of spells that allowed the soul to navigate in the afterlife. Some of the coffins had the names of the dead engraved on them.
On the 8th of April 2021, Egyptian archaeologists led by Zahi Hawass found Aten, a 3,400-year-old "lost golden city" near Luxor. It is the largest known city from Ancient Egypt to be unearthed to date. The site was said by Betsy Bryan, professor of Egyptology at Johns Hopkins University to be "the second most important archaeological discovery since the tomb of Tutankhamen". The site is celebrated by the unearthing crew for showing a glimpse into the ordinary lives of living ancient Egyptians whereas past archaeological discoveries were from tombs and other burial sites. Many artefacts are found alongside the buildings such as pottery dated back to the reign of Amenhotep III, rings and everyday working tools. The site is not completely unearthed as of the 10th of April 2021.
Landmarks
West bank
Valley of the Kings
Valley of the Queens
Medinet Habu (Mortuary Temple of Ramesses III, etc.)
The Ramesseum (memorial temple of Ramesses II)
Deir el-Medina (workers' village)
Tombs of the Nobles
Deir el-Bahari (Mortuary Temple of Hatshepsut, etc.)
Malkata (palace of Amenophis III)
Colossi of Memnon (memorial temple of Amenophis III)
Al-Asasif cemetery
East bank
Luxor Temple
Luxor International Airport
Karnak Temple
Luxor Museum
Mummification Museum
Winter Palace Hotel
Climate
Luxor has a hot desert climate (Köppen climate classification BWh) like the rest of Egypt. Aswan and Luxor have the hottest summer days of any other city in Egypt. Aswan and Luxor have nearly the same climate. Luxor is one of the sunniest and driest cities in the world. Average high temperatures are above 40 °C (104 °F) during summer (June, July, August). During the coolest month of the year, average high temperatures remain above 22 °C (71.6 °F) while average low temperatures remain above 5 °C (41 °F).
The climate of Luxor has precipitation levels lower than even most other places in the Sahara, with less than 1 mm (0.04 in) of average annual precipitation. The desert city is one of the driest ones in the world, and rainfall does not occur every year. The air in Luxor is more humid than Aswan but still very dry. There is an average relative humidity of 39.9%, with a maximum mean of 57% during winter and a minimum mean of 27% during summer.
The climate of Luxor is extremely clear, bright and sunny year-round, in all seasons, with a low seasonal variation, with about some 4,000 hours of annual sunshine, very close to the maximum theoretical sunshine duration.
In addition, Luxor, Minya, Sohag, Qena and Asyut have the widest difference of temperatures between days and nights of any city in Egypt, with almost 16 °C (29 °F) difference.
The hottest temperature recorded was on May 15, 1991, which was 50 °C (122 °F) and the coldest temperature was on February 6, 1989, which was −1 °C (30 °F).
Coptic Catholic Eparchy
The Coptic Catholic (Alexandrian Rite) minority established on November 26, 1895 an Eparchy (Eastern Catholic Diocese) of Luqsor (Luxor) alias Thebes, on territory split off from the Apostolic Vicariate of Egypt. Its episcopal see is a St. George cathedral in Luxor.
In turn, it lost territory on August 10, 1947 to establish the Eparchy of Assiut and again on 14 September 1981 to establish Sohag.
Suffragan Eparchs of Luxor
Ignazio Gladès Berzi (March 6, 1896 – died January 29, 1925)
Marc Khouzam (August 6, 1926 – August 10, 1947), also Apostolic Administrator of Alexandria of the Copts (Egypt) (December 30, 1927 – August 10, 1947); later Coptic Catholic Patriarch of Alexandria (10 August 10, 1947 – died February 2, 1958)
Isaac Ghattas (June 21, 1949 – May 8, 1967), later Archbishop-Bishop of Minya of the Copts (Egypt) (May 8, 1967 – died June 8, 1977)
Amba Andraos Ghattas, Lazarists (C.M.) (May 8, 1967 – June 9, 1986), also Apostolic Administrator of Alexandria of the Copts (Egypt) (February 24, 1984 – June 9, 1986), President of Synod of the Catholic Coptic Church (1985 – March 30, 2006), President of Assembly of the Catholic Hierarchy of Egypt (1985 – March 30, 2006), later Coptic Catholic Patriarch of Alexandria (June 23, 1986 – retired March 30, 2006), created Cardinal-Patriarch (February 21, 2001 – died January 20, 2009), also President of Council of Catholic Patriarchs of the East (2003–2006)
Aghnatios Elias Yaacoub, Jesuits (S.J.) (July 15, 1986 – died March 12, 1994), previously Coadjutor Eparch of Assiut of the Copts (Egypt) (May 19, 1983 – July 15, 1986)
Youhannes Ezzat Zakaria Badir (June 24, 1994 – December 27, 2015), previously Eparch (Bishop) of Ismayliah of the Copts (Egypt) (November 23, 1992 – June 23, 1994)
Emmanuel (Khaled Ayad) Bishay (April 16, 2016 -
Economy
The economy of Luxor, like that of many other Egyptian cities, is heavily dependent on tourism. Since 1988, Luxor is the only city that offers hot air balloon rides in Egypt, which is a common activity for tourists. Large numbers of people also work in agriculture, particularly sugarcane. There are also many industries, such as the pottery industry used in eating and many other uses.
The local economy was hit by the Luxor massacre in 1997, in which a total of 64 people (including 59 visiting tourists) were killed, at the time the worst terrorist attack in Egypt (before the Sharm el-Sheikh terrorist attacks). The massacre reduced tourist numbers for several years. Following the 2011 Arab Spring, tourism to Egypt dropped significantly, again affecting local tourist markets. Nineteen Asian and European tourists died when a hot air balloon crashed early on Tuesday, February 26, 2013 near Luxor following a mid-air gas explosion. It was one of the worst accidents involving tourists in Egypt. The casualties included French, British, Hungarian, Japanese nationals and nine tourists from Hong Kong.
To make up for shortfalls of income, many cultivate their own food. Goat's cheese, pigeons, subsidized and home-baked bread and homegrown tomatoes are commonplace among the majority of its residents.
Tourism development
A controversial tourism development plan aims to transform Luxor into the biggest vast open-air museum. The master plan envisions new roads, five-star hotels, glitzy shops, and an IMAX theatre. The main attraction is an 11 million dollar project to unearth and restore the 2.7 kilometres (1.7 miles) long Avenue of Sphinxes that once linked Luxor and Karnak temples. The ancient processional road was built by the pharaoh Amenhotep III and took its final form under Nectanebo I in 400 BCE. Over a thousand sphinx statues lined the road now being excavated which was covered by silt, homes, mosques and churches. Excavation started around 2004.
On 18 April 2019, the Egyptian Government announced the discovery of a previously unopened coffin in Luxor, dated back to 18th dynasty of Upper and Lower Egypt. According to the Minister of Antiquities Khaled al-Anani, it is the biggest rock-cut tomb to be unearthed in the ancient city of Thebes. It is one of the largest, well-preserved tombs ever found near the ancient city of Luxor. On 24 November 2018, this discovery was preceded by the finding of a well-preserved mummy of a woman inside a previously unopened coffin dating back more than 3,000 years.
Infrastructure
A bridge was opened in 1998, a few kilometres upstream of the main town of Luxor, allowing ready land access from the east bank to the west bank. Traditionally river crossings have been the domain of several ferry services. The so-called 'local ferry' (also known as the 'National Ferry') continues to operate from a landing opposite the Temple of Luxor.
Transport to sites on the west bank are serviced by taxi drivers who often approach ferry passengers.[citation needed] There are also local cars that reach some of the monuments for 2 L.E., although tourists rarely use them. Alternatively, motorboats line both banks of the Nile all day providing a quicker, but more expensive (50 L.E.), crossing to the other side.
The city of Luxor on the east bank has several bus routes used mainly by locals. Tourists often rely on horse carriages, called "calèches", for transport or tours around the city. Taxis are plentiful, and reasonably priced, and since the government has decreed that taxis older than 20 years will not be relicensed, there are many modern air-conditioned cabs. Recently, new roads have been built in the city to cope with the growth in traffic.
For domestic travel along the route of the Nile, a rail service operates several times a day. A morning train and sleeping train can be taken from the railway station situated around 400 metres (440 yd) from Luxor Temple. The line runs between several major destinations, including Cairo to the north and Aswan to the south.
Luxor University
Luxor University, founded in 2019, is a non-profit governmental university that provides programs and courses for students.
Twin towns – sister cities
United States Baltimore, United States
Brazil Brasília, Brazil
Georgia (country) Kakheti, Georgia
Bulgaria Kazanlak, Bulgaria
China Shenzhen, China
Italy Viterbo, Italy
China Yangzhou, China
Cotton-top Tamarin (Saguinus oedipus)
The cotton-top tamarin (Saguinus oedipus) is a small New World monkey weighing less than 0.5 kg (1.1 lb). One of the smallest primates, the cotton-top tamarin is easily recognized by the long, white sagittal crest extending from its forehead to its shoulders. The species is found in tropical forest edges and secondary forests in northwestern Colombia, where it is arboreal and diurnal. Its diet includes insects and plant exudates, and it is an important seed disperser in the tropical ecosystem.
The cotton-top tamarin displays a wide variety of social behaviors. In particular, groups form a clear dominance hierarchy where only dominant pairs breed. The female normally gives birth to twins and uses pheromones to prevent other females in the group from breeding. These tamarins have been extensively studied for their high level of cooperative care, as well as altruistic and spiteful behaviors. Communication between cotton-top tamarins is sophisticated and shows evidence of grammatical structure, a language feature that must be acquired.
Up to 40,000 cotton-top tamarins are thought to have been caught and exported for use in biomedical research before 1976, when CITES gave them the highest level of protection and all international trade was banned. Now, the species is at risk due to large-scale habitat destruction, as the lowland forest in northwestern Colombia where the cotton-top tamarin is found has been reduced to 5% of its previous area. It is currently classified as critically endangered and is one of the rarest primates in the world, with only 6,000 individuals left in the wild.
Taxonomy and naming
S. oedipus has the common names "cotton-top tamarin" and "cotton-headed tamarin" in English. Its name comes from the white hair that spans its head and flows down past the neck. In Spanish, it is commonly called bichichi, tití pielroja, "tití blanco, tití cabeza blanca, or tití leoncito. In German-speaking areas, the cotton-top tamarin is commonly known as Lisztaffe (literally "Liszt monkey") most likely due to the resemblance of its crest to the hairstyle of Hungarian composer and piano virtuoso Franz Liszt.
The species was first described by Linnaeus in 1758 as Simia oedipus. Linnaeus chose the species name oedipus, which means swollen foot, but as the species does not have particularly large feet, it is unknown why he chose this name. (Linnaeus often selected names from mythology without any particular rationale, and he may have used the name of Oedipus, the mythical Greek king of Thebes, more or less arbitrarily.) In 1977, Philip Hershkovitz performed a taxonomic analysis of the species based on fur coloration patterns, cranial and mandibular morphology, and ear size. He classified Geoffroy's tamarin S. geoffroyi as a subspecies of S. oedipus. Subsequent analyses by Hernández-Camacho and Cooper (1976), Mittermeier and Coimbra-Filho (1981), and later Grooves (2001) consider the S. oedipus and S. geoffroyi types to be separate species.
Some researchers, such as Thorington (1976), posit that S. oedipus is more closely related to the white-footed tamarin (S. leucopus) than to S. geoffroyi. This view is supported by Hanihara and Natoria's analysis of toothcomb dental morphology (1987) and by Skinner (1991), who found similarities between S. oedipus and S. leucopus in 16 of 17 morphological traits considered.
This species of white-headed tamarin is thought to have diverged from the other Amazonian forms such as S. leucopus. This is supported by morphological considerations of the transition from juvenile to adulthood, during which the fur coloration patterns change significantly and are similar between the two species. Hershkovitz proposed that the separation of the two species happened in the Pleistocene at the height of the Atrato River, where it intersected the Cauca-Magdalena. At that time, the area was covered by a sea, which created a geographic barrier that caused the species to diverge through the process of allopatric speciation. Today, the two species are principally separated by the Atrato River.
Physical characteristics
The cotton-top tamarin is part of the most diminutive family of monkeys, Callitrichidae, the marmosets and tamarins; it weighs 432 g (15.2 oz) on average. Its head–body length is 20.8–25.9 cm (8.2–10.2 in), while its tail—which is not prehensile—is slightly longer at around 33–41 cm (13–16 in).[ The species is not sexually dimorphic, the male and female are of a similar size and weight. Members of the Callitrichinae subfamily (including this species) have sharp nails (tegulae) on all digits except the big toes, which have the flat nails (ungulae) common to other primates. Tegulae resemble a squirrel's claws and help with movement through trees.
The cotton-top tamarin has a long sagittal crest, consisting of white hairs, from forehead to nape flowing over the shoulders. The skin of the face is black with gray or white bands located above the eyes. These bands continue along the edge of the face down to the jaw. Tamarins are generally divided into three groups by their facial characteristics: hairy-faced, mottled-faced, and bare-faced. The cotton-top tamarin has fine white hairs covering its face, but they are so fine as to appear naked, thus is considered a bare-faced tamarin. Its lower canine teeth are longer than its incisors, creating the appearance of tusks. Like other callitrichids, the cotton-top tamarin has two molar teeth on each side of its jaw, not three like other New World monkeys.
The cotton-top tamarin has fur covering all of the body except the palms of the hands and feet, the eyelids, the borders of the nostrils, the nipples, the anus, and the penis. The back is brown, and the underparts, arms and legs are whitish-yellow. The rump and inner thighs and upper tail are reddish-orange. The fur is distributed with varying densities throughout the body: the genital region (scrotum and pubic zone), axilla, and the base of the tail have lower densities, while the forward region is much higher. Many individuals have stripes or whorls of fur of striking coloration on their throats. The cotton-top also has whiskers on its forehead and around its mouth.
Habitat and distribution
The cotton-top tamarin is restricted to a small area of northwest Colombia, between the Cauca and Magdalena Rivers to the south and east, the Atlantic coast to the north, and the Atrato River to the west. They mostly live Brazil; two-thirds of their habitat has been destroyed. Historically, the entire area was suitable for the cotton-top tamarin, but due to habitat loss through deforestation, it survives in fragmented parks and reserves. One of the most important areas for the cotton-top is the Paramillo National Park, which consists of 460,000 hectares (1,800 sq mi) of primary and secondary forests.
The cotton-top tamarin is found in both primary and secondary forests, from humid tropical forests in the south of its range to tropical dry forests in the north. It is seldom found at altitudes above 400 m (1,300 ft), but has been encountered up to 1,500 m (4,900 ft). It prefers the lower levels of the tropical forests, but may also be found foraging on the ground and between the understory and the canopy. It can adapt to forest fragments and can survive in relatively disturbed habitats. In the dry forests are pronounced seasons. Between December and April, it is dry, while heavy rainfall occurs between August and November which can flood the forest floor. Across its range, annual rainfall varies between 500 and 1,300 mm (20 and 51 in).
Ecology
The cotton-top tamarin has a diet of mainly fruit (40%) and animal material (40%). This includes insects, plant exudates such as gum and sap, nectar, and occasionally reptiles and amphibians. Due to its small body size and high food passage rate, its diet must be high-quality and high-energy. Insectivory is common in the cotton-top and the species hunts for insects using a variety of methods: stealth, pouncing, chasing, exploring holes, and turning over leaves.
Tamarins act as seed dispersers in tropical ecosystems. While larger primates eat larger seeds, tamarins eat the smaller ones. The expelled seeds have a higher germination rate than others and ingesting larger seeds may help to dislodge and expel intestinal parasites.
The cotton-top tamarin is diurnal and sleeps with its social group in trees with foliage cover. The group leaves the sleeping tree together an hour after dawn and spends the day foraging, resting, travelling, and grooming. The species is thought to rise late and increases the speed of its foraging and travelling before dusk to avoid crepuscular and nocturnal predators. Its main predators include raptors, mustelids, felids, and snakes. The cotton-top tamarin is extremely vigilant, always looking for potential predators. When the group is resting, one individual moves apart and acts as a lookout to alert the group if it sees a threat.
The cotton-top tamarin can live as long as 24 years in captivity, while its lifespan in the wild averages 13 years.
Behavior
Social systems
The cotton-top tamarin is a highly social primate that typically lives in groups of two to nine individuals, but may reach up to 13 members. These small familial groups tend to fluctuate in size and in composition of individuals and a clear dominance hierarchy is always present within a party. At the head of the group is the breeding pair. The male and female in this pair are typically in a monogamous reproductive relationship, and together serve as the group's dominant leaders.
Dominant pairs are the only breeding pair within their groups, and the female generally has authority over the breeding male. While nonbreeding group members can be the leading pair's offspring, immigrant adults may also live with and cooperate in these groups. This social grouping in cotton-top tamarins is hypothesized to arise from predation pressure. Cotton-top tamarins exhibit prosocial behavior that benefits other members of the group, and are well known for engaging in cooperative breeding whereby the group's subordinate adults help in rearing the offspring of the dominant pair. The dominant female is more likely to give birth to nonidentical twins than a singleton, so it would be too energetically expensive for just one pair to raise the young.
To prevent younger, subordinate females within the group from breeding, the dominant female uses pheromones. This suppresses sexual behavior and delays puberty. Unrelated males that join the group can release the females from this reproductive suppression; this may result in more than one female of the group becoming pregnant, but only one of the pregnancies will be successful.
Cooperation
In cooperative breeding, the effort put into caring for the dominant breeders' offspring is shared by the group members. Parents, siblings, and immigrant adults share young rearing duties for the breeding pair's young. These duties include carrying, protecting, feeding, comforting, and even engaging in play behavior with the group's young. Cotton-top tamarins display high levels of parental investment during infant care. Males, particularly those that are paternal, show a greater involvement in caregiving than do females. Despite this, both male and female infants prefer contact and proximity to their mothers over their fathers. Males may invest additional support in rearing offspring as a form of courtship to win favor of the group's dominant female. However, evidence indicates that time spent carrying infants does not correlate with a male's overall copulation frequency.
Since only one female in a group breeds, heavy investment in infant care ensures that all offspring survive until independence. Accordingly, cotton-top tamarins bear excessive costs to care for the group's young. Male carriers, especially paternal carriers, incur large energetic costs for the sake of the group's young. This burden may cause some male cotton-tops to lose up to 10–11% of their total body weight. The large weight loss may occur from reduced food intake as infant-carrying inhibits foraging ability for a carrier. The trend of male-carrier weight loss and decreased food intake is in contrast to the dominant female's periovulatory period, when she gains weight after increasing her own food intake and relinquishing much of her infant-carrying duties.
Altruism
While caregiving by males appears to be altruistic, particularly in cotton-top sires, the costs of infant care may in fact be tolerated for selfish reasons. Namely, the costs to male weight and foraging ability may in turn promote consecutive pregnancies in dominant females, thereby providing more offspring bearing the sire's genes. Additionally, the cooperative breeding structure of cotton-tops can change with group size and parental experience. First-time sires spend a greater amount of time carrying the infant than experienced ones, and in smaller groups, sires do a greater proportion of carrying and feeding the infant than in larger groups, where helpers take on more of the work. Total care for infants remains constant with varying group size, and infant outcome is not significantly different in groups that have differing levels of experience in raising offspring.
The cooperative breeding hypothesis predicts that cotton-top tamarins engage with this young-rearing paradigm, and in turn naturally embrace patterns of prosocial behavior. These monkeys engage in such behavior by acting altruistically within their groups in caring for infants, vocalizing alarm calls, and in sharing food. Though some studies indicate that cotton-top tamarins have the psychological capacity to participate in reciprocally mediated altruism, it is unclear whether the cotton-top tamarin acts solely using judgements on reinforcement history.
Other studies involving cotton-top tamarins have hinted that positive reciprocity and reciprocal altruism are irrelevant in the prosociality of these primates.[20] Some researchers believe these primates tend to cooperate for selfish reasons and in situations where they incur some benefit for themselves. That is, cooperation in cotton-top tamarins can be better described by mutualism than by true altruism.
Tamarins in captivity have shown the ability to distinguish other individuals based on cooperative tendencies and past behavior. Cotton-tops ultimately use this information to guide future cooperation. Brief periods of defection tend to cause swift, irreparable breakups between these primates and their cooperators. To avoid this, cotton-top tamarins may make economically driven decisions based on the projected incentives of a potential cooperator.
Spite and aggression
Despite an expansive array of altruistic behaviors, cotton-top tamarins engage in great bouts of spite through negative reciprocity and punishment. They have been observed to immediately start denying cooperation with monkeys that deny them benefits. Further, in captivity, these primates are not observed to increase altruistic behavior with fellow primates that are committed fully to cooperation. Based on this, researchers believe that repeated interactions in a cooperative society like that of the cotton-top tamarin can heighten the chances that an individual will designate behavioral punishments to others in its group. This reaction has also been observed in other species. However, these reciprocal punishments, or relative lack of altruistic actions, may alternatively happen as a result of response facilitation that increases the chances of a cotton-top punishing another primate after watching that individual perform a similar action.
Another way to look at punishment in cotton-top tamarins is by observing their aggressive behavioral responses within and between groups, as well as between species. The cotton-top tamarin, like many marmosets, other tamarins, and specifically those in the genus Saguinus, stages aggressive displays almost exclusively towards fellow monkeys that belong to the same gender. These intrasexual displays of aggression are more frequent in females, and are vital when a breeding female is forcing both subadult and adult females to emigrate out of a familial group.
Though aggression can occur within groups, the response towards intruders of another species is much more drastic and can involve a sexual dimorphism in displays. Females typically employ scent-marking intruder response tactics, whereas males are more prone to vocalizing threats, physical aggression, and piloerection. Scent-marking in cotton-top tamarins is done in two ways: either using anogenital scent-marking, or suprapubic scent-marking. The ability to use both of these separate glandular fields for threat signals may indicate females have developed diverging evolutionary threats through differential use of these markings. These variable signals may be used to sign a territorial encounter, or serve as a reproductive signal. The intensity of female threats are generally comparable when directed at intruders of either genders. In contrast, male cotton-tops are considerably more threatening towards fellow males than towards females.
Communication
The cotton-top tamarin vocalizes with bird-like whistles, soft chirping sounds, high-pitched trilling, and staccato calls. Researchers describe its repertoire of 38 distinct sounds as unusually sophisticated, conforming to grammatical rules. Jayne Cleveland and Charles Snowdon performed an in-depth feature analysis to classify the cotton-top's repertoire of vocalizations in 1982. They concluded that it uses a simple grammar consisting of eight phonetic variations of short, frequency-modulated "chirps"—each representing varying messages—and five longer constant frequency "whistles". They hypothesize that some of these calls demonstrate that the cotton-top tamarin uses phonetic syntax, while other calls may be exemplars of lexical syntax usage. Each type of call is given a letter signifier; for example, C-calls are associated with finding food and D-calls are associated with eating. Further, these calls can be modified to better deliver information relevant to auditory localization in call-recipients. Using this range of vocalizations, the adults may be able to communicate with one another about intention, thought processes, and emotion, including curiosity, fear, dismay, playfulness, warnings, joy, and calls to young.
Language acquisition
Over the first 20 weeks after a cotton-top tamarin is born, it is not fully capable of producing the range of vocalizations that an adult monkey can. Despite this limitation on speech producibility, researchers believe that language acquisition occurs early on with speech comprehension abilities arising first. Infants can at times produce adult-like chirps, but this is rarely done in the correct context and remains inconsistent across the first 20 weeks of life. Regardless, infant cotton-tops are able to respond in behaviorally appropriate ways to varying contexts when presented with adult chirps. This indicates that verbal perception is a quickly acquired skill for offspring, followed closely by auditory comprehension, and later by proper vocal producibility.
Castro and Snowdon (2000) observed that aside from inconsistent adult-like chirping, cotton-top infants most often produce a prototype chirp that differs in vocalization structure from anything seen in the full adult range of vocalizations. Infants are thought to imitate adult speakers, which use differing calls in various contexts, but by using solely the infant prototypical chirp. For instance, adult cotton-tops are known to significantly reduce the amount of general alarm calling in the presence of infants. This is likely adapted so that adults in close proximity to the group's young do not attract attention of predators to infant-dense areas. Additionally, infants reduce their prototype chirping in the presence of predators. Whether infants are shadowing the calling behavior of adults or they are comprehending danger remains unclear. However, researchers argue that young cotton-top tamarins are able to represent semantic information regardless of immature speech production.
To confirm the notion that language acquisition occurs as a progression of comprehension before production, Castro and Snowdon (2000) showed that infants respond behaviorally to vocalizing adults in a fashion that indicates they can comprehend auditory inputs. When an adult produces a C-call chirp, used to indicate food preference and when navigating to a food source, an infant approaches the adult caller to be fed, but do not use the prototype calling as a proxy for C-calls. This finding argues for the idea that infants are able to understand vocalizations first, and later acquire the ability to communicate with adult vocalizations.
General calling
Among the typical cotton-top tamarin communicative vocalizations, the combination long call (CLC) and the alarm call (AC) are the most heavily represented in the literature. CLCs encompass a range of contact calls that are produced by isolated individuals using chirps and whistles. This type of call is also used for seemingly altruistic alarm calls, thus adding to its range of cooperative behaviors. It is issued in the presence of kin when a threatening llamas predator is seen. Predators of the cotton-top tamarin include snakes, ocelots, tayras, and most notably, hawks. Early observations by Patricia Neyman even showed that cotton-tops produce diverse sets of alarm calls that can discriminate the presence of birds of prey versus ground-based predators.
CLCs involve the production of complex sequence multisyllabic vocalizations. Researchers have argued that long calls exhibit individual differences, thus can carry information sufficient for recipients to determine caller identity. Using habituation-discrimination paradigms in language experiments, this theory has been confirmed multiple times in literature. However, the individual syllables within a complete CLC vocalization in isolation of each other do not transfer sufficient information to communicate messages between monkeys. Scientists thus consider the whole, intact string of vocalizations to be the unit of perception for CLCs in the cotton-top tamarin. These examinations may confirm that cotton-tops incorporate a lexical syntax in areas of their communication.
Since tamarins can discriminate between predatory threats using varying vocalizations, recipients of an AC are thought to extract various complex signals from this form of communication. Primarily, cotton-tops are able to glean the identity of the cooperating tamarin through differences in individuals' alarm calls. Further, adults are able to discriminate the gender of callers from their ACs and determine the range of calls within a related tamarin's alarm calling repertoire. Alarm call-based identification is postulated to play a number of functional roles in the cotton-top tamarin. Firstly, an AC recipient is able to identify a cooperating tamarin, and by recognizing which in their group it is, be able to judge the reliability of the AC from past experience. This may arise from a selective pressure for being able to statistically determine the amount of risk present, and how endangered an individual and its group are.
Additionally, being able to localize auditory signals may help determine predator location, especially in the presence of a second AC from a different tamarin in the group. This can help confirm predator presence, type (e.g. flying versus ground-based), and support the recipient in triangulating a predator's location. In the context of the cotton-top's cooperative breeding groups, this is postulated as being adaptive for determining the variable risk to one's group members. For example, a call recipient is able to determine which of its kin are and are not at risk (e.g. young offspring, mates, subordinates, relatives, carriers, etc.) and plan subsequent actions accordingly.
Food calls
The cotton-top tamarin makes selective, specialized vocalizations in the presence of food. These include the C-call, produced when a cotton-top approaches and sorts through food, and the D-call, which is associated with food retrieval and is exhibited while eating.
C-call chirping is believed to be an honest signal for communicating food preference, and a cotton-top tamarin more often and more rapidly vocalizes with these chirps when approaching a highly favored food source. Functionally, this behavior may inform other tamarins of the actions the caller will take in a feeding context and whether a preferable food source is available. Despite this research indicating that food calls may be informative to fellow group mates, other observations of cotton-tops show that quantity and distribution of food and audience do not significantly alter a caller's food-centered vocalizations.
The cotton-top tamarin is seen to produce food calls both in the presence and absence of group members. Additionally, response to food calls are directed back to an original caller independent of visual confirmation of a food source. While this may appear to be a result from a very primitive form of communication, Roush and Snowdon (2005) maintain that the food-calling behavior confers some mentally representable information about food to recipient tamarins.
Conservation status
The wild population is estimated at 6,000 individuals, with 2,000 adults. This species is critically endangered, and was listed in "The World's 25 Most Endangered Primates between 2008 and 2012." The publication lists highly endangered primate species and is released every two years by the International Union for Conservation of Nature Species Survival Commission Primate Specialist Group. The cotton-top tamarin was not selected for the 2012–2014 publication.
Habitat destruction through forest clearing is the main cause of this collapse, and the cotton-top has lost more than three-quarters of its original habitat to deforestation, while the lowland forest in which it lives has been reduced to 5% of its historical range. This land is then used for large-scale agricultural production (i.e. cattle) and farming, logging, oil palm plantations, and hydroelectric projects that fragment the cotton-top tamarin's natural range.
The illegal pet trade and scientific research have also been cited as factors by the IUCN. While biomedical studies have recently limited their use of this species, illegal capture for the pet trade still plays a major role in endangering the cotton-top. Before 1976, when CITES listed the species under Appendix I banning all international trade, the cotton-top tamarin was exported for use in biomedical research.
In captivity, the cotton-top is highly prone to colitis, which is linked to an increased risk of a certain type of colon cancer. Up to 40,000 individuals were caught and exported for research into those diseases, as well as Epstein-Barr virus, for the benefit of humans. The species is now protected by international law. Although enough individuals are in captivity to sustain the species, it is still critically endangered in the wild.
The Proyecto Tití ("Project Tamarin") was started in 1985 to provide information and support in conservation of the cotton-top tamarin and its habitat in northern Colombia. Proyecto Tití's programs combine field research, education, and community programs to spread awareness about this endangered species and encourage the public to participate in its protection. It now has partner status with the Wildlife Conservation Network.
In January 2015, two captive cotton-top tamarins at the Alexandria Zoological Park in Alexandria, Louisiana, died when a caretaker left them outside overnight in temperatures as low as 30 °F. One other individual survived.
[Credit: en.wikipedia.org]
Shannan, Tibet :
Tibet Autonomous Region, China. Shannan includes Gonggar County within its jurisdiction with Gongkar Chö Monastery, Gonggar Dzong, and Gonggar Airport all located near Gonggar town.
Located on the middle and lower reaches of the Yarlung Valley, formed by the Yarlung Tsangpo River, Lhoka region is often regarded as the birthplace of Tibetan civilization. It is bounded by the city of Lhasa to the north, Nyingchi to the east, Shigatse on the west and the international border with India and Bhutan on the south. The city measures 420 kilometres (260 mi) east to west and 329 kilometres (204 mi) from north to south. Its uniqueness stems from the fact that Tibet's earliest agricultural farmland, its first palace and first Buddhist monastery are all located in Lhoka. It also has the distinction of having held the first lhamo performance. Tibetan people constitute 98% of the population, the remaining 2% being Han, Hui, Mönpa, Lhoba and other ethnic groups.
Shannan has 1 district and 11 counties and its capital is Tsetang, which is located 183 kilometres from Lhasa. It covers an area of 79,700 square kilometres (30,800 sq mi), which includes South Tibet, a disputed territory under the Administration of the Indian state of Arunachal Pradesh. Its topography averages 3,700 metres (12,100 ft) above sea level. The population of Tsetang city was 330,100 as of 2007 with Tibetans accounting for 96% of the total population.
Lhoka region has not only an ancient historical background but is also the most prosperous in Tibet.
Wet racing action during the Sussex Trophy, Goodwood Revival. Brave boys, as the race features the most powerful cars on the programme.
Thursday at the 2021 Goodwood Festival of Speed, which went ahead as a government Covid secure test event.
Should we include this? Anyway...this thing ain't worth it for the $29.97 price. It has over 20 different phrases, and we're not sure what else this thing does. Nice to have found it in stock, just to see what it looks like (and we actually came close to ordering this online at Walmart.com)...overall, pass on this and move on to the next thing...
No address/map available...we just didn't feel like putting that info on here...
The Maryland National Guard held a change of responsibility ceremony welcoming the organization's first female senior enlisted leader, Dec. 8, 2018, at the Fifth Regiment Armory in Baltimore, Md.
The ceremony formally introduced Command Sgt. Maj. Perlisa Wilson, as the new SEL, and acknowledged the departure of Command Sgt. Maj. Thomas Beyard.
The ceremony included the exchange of the noncommissioned officer sword. Although no longer standard issue for service members, the sword is a symbol of the authority of the NCO.
The SEL serves as the principle enlisted advisor to the adjutant general. This includes enforcing standards, developing policies on enlisted matters and making recommendations to improve the quality of life for Maryland National Guard soldiers, airmen and their families.
(U.S. Army National Guard photo by Cpl. Elizabeth Scott)
Vanden Plas 1100 Mk.1 (1963-67) Engine 1098cc S4 OHV Production *39,752 (*includes 1300)
Registration Number ERS 930 D
VANDEN PLAS SET
www.flickr.com/photos/45676495@N05/sets/72157623863135636...
The ADO16 (Amalgamated Drawing Office project number 16) was designed by Alec Issigonis following his success with the Mini, Issigonis set out to design a larger and more sophisticated car which incorporated more advanced features and innovations. In common with the Mini, the ADO16 was designed around the BMC A-Series engine, mounted transversely and driving the front wheels. As well as single piston swinging caliper disc brakes at the front, which were not common on mass-produced cars in the early 1960s, the ADO16 featured a Hydrolastic interconnected fluid suspension system designed by Alex Moulton. BMC engineer Charles Griffin took over development work from Issigonis at the end of the 1950s while Issigonis completed work on the Mini. Griffin ensured the 1100 had high levels of refinement, comfort and presentation.
The Mark 1 was launched in 1962 initially as a 1100 (1098cc) four door Austin and Morris and was joined in Novemver 1965 by the Morris 1100 Traveller or the Austin 1100 Countryman. as the range expanded in accordance with the BMC badge engineering policy of the time MG Wolseley and Pricess badged models became available.
The Pricess came about by a happy accident, a ADO16 was luxuriously trimmed out and exhibited at the British Motorshow to showcase the skills of Vanden Plas craftsmen at Kingsbury. The showcar created so much interest that BMC decided to put it into production.
The Vanden Plas version continued beyond the Mark 1, but was later powered by a 1275cc version of the BMC A Series engine as the Vanden Plas 1300. All Vanden Plas cars were four door
Shot 15:05:2011 at Chiltern Hills Vintage Vehicle Rally, Aston Clinton, Buckinghamshire Ref 68-
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It includes some elements recalling that the building is a church like an altar, a baptistry and wide seats.
I have also included some element specific to this church like the corridor behide the seats which is a white grid inside the church and a brown grid outside which are represented by 1x2 vertical grid tiles and like the elevated space behind the altar delimited by white fences.
LIFT Academy training aircraft include the Diamond Industries DA40 single-engine aircraft, shown inside the flight school's 20,000-square-foot hangar. The LIFT complex includes a 32-room office, several Diamond Flight Simulator Training Devices (FSTD), and more than a dozen Diamond training aircraft. Owned and operated by Republic Airways, LIFT is located at 2753 Cargo Drive, Indianapolis, at Indianapolis International Airport. More information is on the web at www.flywithlift.com. (Photo by Scott Thien/Corporate Communications)
The Bricktown Okctopus Mural. The hidden images include the following: flower, gonzo gist, peace fingers, hawk, hammer, high-heeled shoe, cowboy boot, Africa, heavy metal fingers, Abe Lincoln, bunny rabbit, guitar, fork, sword, Levon Fowler (artist’s dog), cowboy hat, baseball bat, sunglasses, alligator, butterfly, ballet dancer, JF 2016, shamrock, giraffe, feather, tomahawk, arrowhead, candle, longhorn, horseshoe, star, toenail clippers, tiger paw, bugle, the number 8, shark, whale, gecko, wine glass, football, bottle, airplane, pickup truck, bird, dinosaur, book, paintbrush, tiger face, handprint, footprint, pine tree, fish, 1980s telephone, cat, Middle Creek Brand (backwards "R" attached to backwards "L"), deer track, music notes, raindrops, bug, saxophone, pipe, turkey track, boom box, acorn, tooth, pig, Adidas sneaker, chess knight, snake, light bulb, check mark, eye, unicorn, peach, knife, key, umbrella, elephant, bear track, nose, scissors, jellyfish, ninja, saw, kite, rooster, domino and cactus.
Professional and Junior Lifeguards from 64 USLA chapters around the country, ranging in age from 9 to 75 and even one association competitor at 83, competed in water and beach course events that challenged their lifesaving skills with a range of events from surf swims to beach runs; paddleboards to surf boats. A few of the highlights include the Landline Rescue Relay, Ironman and Ironwoman events, Beach Flags and the 4×100 relay, a shuttle-run-style competition that is called “the fastest event on sand.”
The United States Lifesaving Association is America’s nonprofit professional association of beach lifeguards and open water rescuers. USLA works to reduce the incidence of death and injury in the aquatic environment through public education, national lifeguard standards, training programs, promotion of high levels of lifeguard readiness, and other means. Lifeguard competition in the U.S. owes its heritage to the Surf Lifesaving competitions in Australia. The first National Lifeguard Competition under the USLA banner was held in San Diego in August of 1980, bringing members of the various chapters from around the nation to compete. There are now more than 100 chapters of USLA, each affiliated with local lifesaving services and beach patrols, and composed of employees of these organizations. For more information, please visit www.uslanationals.org.
Photographs by Craig McClure
15042
© 2014
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
includes Trafalgar Studios on the right and on the left the "James Bond building" aka the Department of Energy & Climate Change, from where Bond looks out over the Old War Office Building, also visible, towards the Houses of Parliament, in Skyfall. There's a similar shot in Sherlock's "The Empty Hearse".
"Yellow Signal: New Media in China" Opening Reception.
Photographer: Michael R. Barrick, Morris and Helen Belkin Art Gallery
Date Shot: April 26, 2012
Processing: Michael R. Barrick, Morris and Helen Belkin Art Gallery
Location: Morris and Helen Belkin Art Gallery
University of British Columbia
1825 Main Mall
Vancouver, British Columbia
Show Info:
Yellow Signal: New Media in China
Geng Jianyi, Huang Ran, Zhang Peili
April 27 – August 19, 2012
Opening reception: Thursday, April 26, 2012, 8 – 10 pm
Artist's talk: Artist Zhang Peili with Curator Zheng Shengtian
Saturday, April 28, 2012, 1:30 - 3 pm
Works of art in this exhibition are also presented at:
Walter C. Koerner Library
May 11 - August 19, 2012
The Morris and Helen Belkin Art Gallery is pleased to present the work of Geng Jianyi, Huang Ran, and Zhang Peili as part of the city-wide project, Yellow Signal: New Media in China. Initiated by Centre A: Vancouver International Centre for Contemporary Asian Art, this series of exhibitions and programs is the first comprehensive presentation of contemporary Chinese new media and video art in Canada. It showcases a selection of leading new media works by internationally acclaimed Chinese artists.
This project is compelling for its portrayal of current political circumstances faced by many artists in China. “Yellow Signal is a metaphor for the communal state of ambiguity in Asian countries,” explains Zheng Shengtian, BC-based artist, curator, and internationally recognized scholar and expert on contemporary Chinese art. He further explains, “Yellow Signal is about limitation and possibility, choice and chance, confusion and self-confidence. Feelings that many Asian artists experience, but that artists everywhere may also relate to in their creative practice.”
Huang Ran
This exhibition features a video by Huang Ran titled Blithe Tragedy (2010), a work that questions the relationship between beauty and horror and the power of images. The video presents scenes of intense struggle, emotion, and violence. At the same time, the attention to detail in the costumes, the slowly tracked footage, and the editing of the scenes create highly aesthetic, beautiful imagery that draw the viewer into complex, open-ended narratives. The viewer is prompted to wonder about the power of the visual, despite its obvious fantastical or beautiful elements, to obscure the underlying realities of the narratives and of contemporary society.
Huang Ran (b. 1982) is one of the most interesting young artists to emerge in China. Since graduating from Goldsmiths College, University of London (2007), he has participated in many international group and solo exhibitions. In 2011, Huang received the Credit Suisse Today Art Award from the Today Art Museum in Beijing. Huang Ran lives and works in London and Beijing.
Geng Jianyi
Presented at the Belkin Art Gallery and Walter C. Koerner Library, Excessive Transition (2008) by Geng Jianyi is a series of large and small black-and-white photographs of everyday objects from the artist’s life. Geng uses techniques to create semi-transparent, abstract, and eerie subtle effects that have been equated with ideas about the withdrawal of the individual. He also employs methods such as mark-making and frottage to manipulate the idea of what is evidenced in photographs. Though Geng’s work is not easily defined, Excessive Transition follows his concerns of self-effacement and the dissolution and disappearance of identity in a culture that is undergoing change.
Geng Jianyi (b. 1962) is a foundational figure in contemporary Chinese art and was part of the artistic collective known as Chi She (Pool Association) and a major participant in the ’85 New Wave Movement. Using a wide range of media, his work is often known for its stark simplicity and concerns about personal identity and individuality in the context of a larger collective.
Zhang Peili
Zhang Peili’s large-scale, multimedia installation A Gust of Wind (2008) is a meditation on the unpredictable forces that threaten ideas of the stability of middle-class domestic life. We see a living room in ruin and the process of its destruction is seen from multiple perspectives on large video screens. It starts with a curtain that flutters in a breeze that steadily swells into a crescendo and tears apart the interior, toppling the shelves and upending the furniture until eventually the roof collapses. A Gust of Wind brings up ideas about the life cycle of disaster and renewal and the fickle nature of economic progress.
Considered the most important video artist in China, Zhang Peili (b. 1957) was a member of the ’85 New Wave Movement and his work has been concerned with prompting emotional responses from the viewer as a way to generate many interpretations. He is known for the use of lengthy stationary shots that focus on acts that are seemingly devoid of any particular significance and on repetitive human gestures that are often taken for granted. Recently, Zhang’s interest has been to distort the messages of war and propaganda film by editing found footage of dying communist heroes and celebration ceremonies.
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Yellow Signal: New Media in China is initiated by Centre A: Vancouver International Centre for Contemporary Asian Art and Zheng Shengtian, in collaboration with Charles H. Scott Gallery at Emily Carr University, Morris and Helen Belkin Art Gallery, Pacific Cinémathèque, Republic Gallery, Surrey Art Gallery, and the Vancouver Art Gallery.
We thank Walter C. Koerner Library at the University of British Columbia for participating in this exhibition.
A special issue of Yishu: Journal of Contemporary Asian Art will accompany the project Yellow Signal: New Media in China. It will include images of the works in the exhibitions, essays, and interviews by Daina Augaitus, Britta Erickson, Diana Frendl, Gao Shiming, Alice Ming Wai Jim, Barbara London, Karen Smith, and Zheng Shengtian.
We gratefully acknowledge the generous support of JNBY Art Projects, the Canada Council for the Arts, and our Belkin Curator’s Forum members.
On 1 May 2011 works will begin to restore the Arch of Victoria. A $335,000 grant from the Federal Government’s Regional and Local Community Infrastructure Program and $175,000 from the Federal Government’s National Sites Program has been received.
The project includes:
repair and replacement of deteriorated, cracked and otherwise damaged render; new matching mouldings to replace deteriorated mouldings or reinstate original mouldings ; removal of lichen and other organic growth to rendered surfaces; paint coating to new and existing render & new lighting
City of Ballarat
Victorian Heritage Register Statement of Significance
What is significant?
The Avenue of Honour (1917 - 1919) and Arch of Victory (1920) were erected as memorials to the people of the Ballarat and the surrounding district who enlisted in World War I. The Avenue of Honour consists of 3,771 trees planted at regular intervals of approximately 12 metres along 22km of the Ballarat-Burrumbeet Road. The Arch of Victory marks the beginning of the Avenue of Honour at its eastern end. The Avenue of Honour, with the Arch of Victory, was officially opened by the Prince of Wales on 3rd June 1920.
The planting of the Avenue commenced in June 1917 on the suggestion of Mrs W. D. Thompson, a director of clothing firm E. Lucas & Co, Ballarat, that an avenue of trees be planted in honour of the men and women of the district who had enlisted for service. The planting of one tree for each enlisted person began in June 1917 with funds of £2,000 raised by the 500 women employed in the factory, known as the 'Lucas girls'.The planting, carried out in eight phases over the next two years until its completion in June 1919. The planting, done by staff of the Lucas factory with the support of local farmers included 23 species of trees, mostly exotic deciduous species planted in single lines along either side of the road at regular spacings of 10 - 12 metres.Each species was usually planted in blocks of about 25 trees on either side of the road. The trees were numbered and allocated to individuals as close as possible to their order of enlistment, beginning at the Ballarat end. Plaques were originally attached to each timber tree guards giving the individual's name, the unit in which he or she enlisted and their number in the avenue. In 1934 these were replaced by permanent bronze plaques at the base of each tree, of which more than 80% are still in place.
Following cessation of hostilities in 1919 and completion of the avenue plantings, the 'Lucas Girls' led by Mrs W. D. Thompson began planning and fund raising of £2600 for a commemorative arch to provide an entrance to the Avenue of Honour. The Arch of Victory, designed by H.H. Smith, Head of the Art School at the School of Mines Ballarat, was a grand cement rendered masonry structure of a single central arch flanked by wide piers 20metres in width, spanning the roadway, and 18metres high. The arch, erected in 1920, is crowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch. In addition to the initial costs, for the Avenue of Honour and the Arch of Victory, a further £400 was donated by the public to a Maintenance Fund, with a returned soldier employed to attend to the trees.
During the First World War, the Avenue of Honour played a commemorative role and provided a stimulus for more people to enlist. Unlike other forms of memorials, avenues of honour and in particular the Ballarat Avenue required a high level of community participation in their creation which took place over a substantial period of time. Subsequently the Arch of Victory and Avenue of Honour became emblems of civic commitment to the war effort.
There have been a number of changes to the Avenue of Honour.Several of the original 23 species did not flourish and were replaced with species of Elms and Poplars which are the dominant genera of trees in the Avenue. In 1997, the Avenue consisted of 3,332 trees of forty different species and cultivars. Approximately half were found to be of fair to poor health and a management strategy developed, including the replanting of some trees.
In 1936 a memorial Cairn and Cross of Remembrance were erected at the Learmonth end of the Avenue where a tribute tree was also planted in 1959 in memory of Mrs W. D. Thompson. In 1938 a Memorial Rotunda was constructed 180m west of the Arch of Victory originally containing a 'Book of Remembrance' with the name of every person for whom a tree was planted, information now contained in a Roll of Honour on engraved metal sheets. In 1994 the avenue was cut by the Western Freeway Bypass, with the removal of sixteen trees which were replaced by trees in the freeway reserve.
The Arch of Victory remains intact but with the addition of memorial plaques in 1954 and 1987 to commemorate those who served from 1939-1945 and in the more recent conflicts in Korea, Borneo, Malaya and Vietnam. In 1993 the Arch of Victory Precinct, opened by Edward 'Weary' Dunlop, was created by the relocation of the 1938 Memorial Rotunda and Roll of Honour to the road reserve immediately south of the Arch and the construction of the adjacent Memorial Wall with 72 bronze plaques recording the names and tree numbers of service people honoured in the Avenue.
How is it significant?
The Avenue of Honour and Arch of Victory, Ballarat is of historic, architectural, aesthetic and social significance to the State of Victoria.
Why is it significant?
The Avenue of Honour is of historic significance as one of the earliest known and the longest example of this uniquely Australian form of memorial. Planting of memorial trees had been common during the Boer War but the Avenue of Honour at Ballarat was an early planting of an avenue of trees along a roadside as a memorial, setting a precedent which was soon followed by the planting of 91 other avenues in Victoria, principally in Central Victoria, between 1917 and 1920.
The Avenue of Honour is historically significant as representative of memorials that first appeared in Australia during World War I commemorating not just the dead but all those who enlisted for service in an egalitarian form where each individual, regardless of rank, was equally recognised for their service.
The Arch of Victory Precinct and Avenue of Honour, including the Memorial Cairn at the end of the Avenue, is historically significant as a collection of memorial types and structures that represent various forms of memorialisation in Victoria over the twentieth century.
The Arch of Victory is of architectural significance to State being an outstanding landscape monument, in the tradition of the Roman and Napoleonic victory arches erected across major routes or carriageways. It is the only memorial arch in Victoria constructed at such a grand scale. Other arches commemorating World War I such as at White Hills Botanic Gardens Bendigo (H1915), and in Murtoa were constructed as entrance gates to public gardens and have neither the size nor prominent location of the Arch of Victory. The association of the Arch of Victory with an Avenue of Honour is unique in Victoria.
The Avenue of Honour and Arch of Victory is aesthetically significant as an outstanding designed landscape and living memorial with the grand arch heralding the start of the roadside planting of more than 3300 trees over a length of 22 kilometres of roadway.
The Avenue of Honour and Arch of Victory is of social significance to the State of Victoria as a well recognised symbol of community endeavour and cooperation during war time. It is of social significance as being Victoria's best known war memorial with the exception of the Shrine of Remembrance. The significance of the Avenue of Honour and Arch of Victory to the Ballarat community, to the descendents of those commemorated by trees in the Avenue and to the Returned Services League is reflected in the continual use of the area for memorialisation over the course of the twentieth century culminating in the creation of the Arch of Victory precinct.
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Officially opened to the public on July 28, 1985, the entire park includes a farm, a large forest and a mansion now called the Patterson House which was first constructed in 1857 by the farm's original owner, George Washington Patterson.
Patterson called his estate "Ardenwood", after the forested area in England mentioned in Shakespeare's play, As You Like It. There were two subsequent additions to the house. The largest was in 1889 when Patterson and his wife Clara added the Queen Anne Victorian section to the House. The second addition came in 1915 when Patterson's son Henry and his wife remodeled the old farm house section, and added rooms including the kitchen, a large bedroom above the kitchen, the sun porch, nursery, and a bathroom with indoor plumbing.[1]
A feature of the park is the Railroad Museum at Ardenwood which operates a horse-drawn railway, a recreation of a historic local branch of the South Pacific Coast Railroad. The museum has a collection of narrow gauge railroad cars and other artifacts of 19th. century railroading.
The park hosts many events, a Celtic festival,[2] an Independence Day celebration, the Washington Township Railroad Fair on Labor Day, a Renaissance Faire in September,[3] The Harvest Festival in October, a Zydeco concert, and many Halloween celebrations, complete with a haunted railroad. Among other crops, in the fall the farm harvests a large pumpkin patch.
ca. 1911
Includes the Rev. and Mrs. D. Gunson, Mrs. Tweedale, Mrs. P. C. Higgins, Mrs. Collins, Mr. S. Wilson, Mr. Frank Apted, Mrs. Roebuck, Miss Lily Wright, Mrs. Mercer, Misses Gwladys and Gwen Apted, Jessie Gunson, K. Higgins. The four boy are Harold Wright, David Gunson, Jack Gunson and Alec Gunson. The two small girls are Mable Gunson and (probably) Florence Wright.
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/172522
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
Includes a reproduction of the 1971 beach-loving Malibu Barbie wearing her original blue 1-pc PLPrice: “Lemon Kick” fashion. Also includes collector booklet.
My Favorite Barbie Doll Collection 2009
The owners of a house 'round the corner from me have really gone to town with their Christmas lights this year.
Fairy Lights #29 in 101 pictures
Tenerife
Botanical Gardens Puerto de La Cruz
www.tenerife-information-centre.com/botanical-gardens-pue...
Although known officially as Jardín de Aclimatación de la Orotava, or "JAO", this installation is actually in Puerto de La Cruz (there is a smaller one actually in La Orotava).
Ravenala is a genus of flowering plants with a single species, Ravenala madagascariensis, commonly known as the traveller's tree, traveller's palm or East-West palm, from Madagascar. It is not a true palm (family Arecaceae) but a member of a monocotyledonous flowering plant family, Strelitziaceae. The genus is closely related to the southern African genus Strelitzia and the South American genus Phenakospermum. Some older classifications include these genera in the banana family (Musaceae). Although it is usually considered to be a single species, four different forms have been distinguished.[
RUFFA'S CURRENT WORK INCLUDES:
TV Host / Actress / Talent Judge
Film Actress
Businesswoman
iLoveRuffaG.com
OCTOBER NEWS 2011:
New Projects: More to come
New Film: Ded Na Ded Sayo in production
August 2, 2011 "Avon Believe Tour" Araneta Coliseum
Andrea Jung and Ruffa on stage to present grant money.
*** Film Project #1
Regal Entertainment and SMDC's “Hototay”, a comedy film directed by Joel Lamangan
*** Film Project #2 -
Watch out for "Wanted: Perfect Stepmother" produced by Regal Films. Abangan...November 2011! My first time to work with Pokwang! Exciting! ☺
RUFFA'S CURRENT PROJECTS 2011:
Contract Artist - TV5 Network
2010 – Present
Endorser - Century Properties, Inc.
2009 - Present (2 years)
Endorser - Belo Medical Group
2008 - Present (3 years)
Endorser - AVON 2007–Present (4 years)
AVON Philippines Ambassador - 2008-Present (3 years)
Vice President - Royale Artists Management (co-founder)
1995 - Present (16 years)
RUFFA'S PAST PROJECTS:
2007 – 2010 ABS-CBN Network contract artist (Manila) 3 years
1999 – 2002 Century Productions contract host (USA) 3 years
1986 – 2003 GMA, RPN and IBC Networks contract artist (Manila) 16 years
Ruffa began her Practical Education at the Real World University with real projects.
RUFFA'S FILM PROJECTS:
2010 Working Girls
2009 Shake, Rattle & Roll XI
2008 Desperadas 2
2008 My Monster Mom
2008 Desperadas
1986 - 2003 Completed over 50 Films to date.
Twitter.com/iLoveRuffaG
Philippine Fashion Supermodel Lifestyle on TV every week since 2007.
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
www.photojunkie.ca/archive/2006/07/my-toronto-includes-an...
Anna Bowness , Writer
Taking an evening strolling in Cabbagetown at Parliament and Carleton.
What is your most favourite place in the city? 1. Riverdale Farm 2. Parliament Street
What is it that you like about this location? 1. It's funny and confusing that there are cows and chickens so close to the DVP. 2. It's the most demographically confusing street in town.
Where is the best place to eat in the city? I'm pregnant, so everywhere.
What do you like about living in Toronto? It's optimistic and awkward at the same time, like a teenager. It feels like it wants everybody to help it grow up.
What do you hate about living in Toronto? It's almost impossible to get out -- the traffic is like a Berlin Wall.
Where would I find you on a lazy Sunday afternoon in the city? In Riverdale Park West -- this last Sunday there was a bulldog convention there, so I watched Cabbagetown's prize bulldogs drool on and try to mate with each other.
Who is your favourite Local Celebrity? Friends of mine, and the mayor.
Car, Bike or Transit? Normally: bike. Pregnant: transit.
I went to the island, one Sunday, with two boys I know. I think we were all hung over. We went to Hanlan's Point and swam in the cold lake and skipped stones and tried not to critique people's genetalia, and on our way back we ran into an enormous Hare Krishna recruitment picnic. They gave us free vegetarian food and kool-aid in paper cups (!) and we helped them dismantle a multi-mannequin display representing Hare Krishnas throughout the ages.
My Toronto includes cows, chickens, glowing, bright-white optimistic architecture, fetid Spadina bustle, sad, crashing ice-waves on the Spit in winter, the Neville Park loop, Hogg's Hollow, tragic wall murals in Flemingdon Park, the bright shock of city when the subway crosses the Don, tacky drinks at the Mendoza, wet Regent Park children under the brutalist water feature, BCE Place, ferry lineups, trees, ravines at night, hills, straight lines, irate psychopaths, Dundas Square, Parliament Street, squirrels, the blue sky of my parents' 1970s Crombie-era city when the CN Tower was still a shaft without a bulb and hippies lived in Yorkville.
The Tailgating Trailer includes:
-Two 48 inch flat screen Sony Bravia TV's
-Blue Ray system
-HD MotoSat self finding satellite system
-2 DVR systems
-5.1 surround sound
-3 kegs and tapping system
-20,000 watt Honda EU generator
-Lights
-Freedom Grill
-Tons of storage including a drawer system on the outside and specialized storage areas inside
This heritage walk in old Delhi includes sampling some of the street food. We started our walking tour at one of the biggest and most popular mosques in Asia, Jama Masjid. It was built in mid-seventeenth century by the Mughal Emperor Shahjahan. It is built on a hillock, high above rest of the ground & gives an excellent view of the surrounding busy market streets. The trail follows the main street of Chawri Bazaar. The first food stop on this walking tour is Jain Coffee House in Raghuganj grain market. This shop sells fruit sandwiches: of pineapple topped with pomegranate seeds; of cheeku with butter, mango with thinly sliced grapes & many more. The sandwiches not only taste great but are a treat for the eyes too. The differently coloured fruits make a tempting sight to look at. And the sandwiches go best with cold coffee or a fruit shake. A personal favourite is the samosa sandwich. Samosa is fried patty filled with boiled potatoes, peas & spices. We negotiated our way out of Raghuganj through a extremely narrow lane, back on to Chawri Bazaar. The next stop was a century old chaat shop- Hira Lal Chaat Bhandar. Delicious aalu chat and mind blowing kulle are the specialty here. Kulle are almost like cup cakes: the base is made of different fruits or vegetables like sweet potato, watermelon, orange, potato, cucumber & even banana, apple & mango. They are then topped with gram, pomegranate & a dash of lemon & spices. From here we visited gem of a monument, which few people would know of. There is hardly any information on Ruknuddaulah mosque. It was built during the time of Akbar Shah, the Mughal Emperor & is one of the prettiest mosques in Delhi. Further on, stands the Hauz Qazi mosque or Haji Qazi mosque. It is in bad shape today, its narrow entrance hidden behind shops in the busy old Delhi market. Hauz is a tank and Qazi is Muslim law giver. It is an active mosque built almost 300 years. Our next food stop was Daulat ki Chaat, a stark contrast to earlier spicy experience. This is a particular delicacy found prominently in this part of Old Delhi. The right proportion of milk, cream and butter with saffron flavoring makes it so soft and fluffy that it melts in mouth. At this point we left Chawri Bazaar to walk into Sita Ram Bazaar and then entered Kucha Pati Ram. Then was the halt at Kuremal Kulfi Wala which surprises its guests with mind boggling variety of fruit kulfis (ice creams). Name a fruit and they are ready to serve its kulfi for you! The final stop on our walking tour was a 19th century haveli which has been recently restored.
(posted by Niti Deoliya & Kavita Singh, team members, Delhi Heritage Walks)