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If you've ever wondered what happens to water when it's weightless, now's your chance to find out.
A mesmerising 4K video taken on the International Space Station demonstrates how water reacts in space, with NASA’s Scott Kelly adding food colouring and an antacid tablet to the water to change its appearance.
Although it just looks like a bit of fun, the filming has a serious side: the high resolution and frame rate used in the video could be applied to scientific experiments, allowing investigators to explore various phenomena in more detail.
See the weightless water below and tell us what you think of the enchanting video.
SpaceX Crew-1 NASA astronaut Victor Glover reacts during an interview with Christopher Williams, STEM educator at the National Museum of African American History and Culture (NMAAHC) in the Oprah Winfrey Theater at the NMAAHC, Tuesday, Nov. 16, 2021, in Washington. Glover and crew mates NASA astronauts Shannon Walker and Mike Hopkins, and Japan Aerospace Exploration Agency (JAXA) astronaut Soichi Noguchi, launched on the first crew rotation mission to the International Space Station for SpaceX’s Falcon 9 and Crew Dragon spacecraft as part of the agency’s Commercial Crew Program and spent 168 days in space across Expeditions 64 and 65. Photo Credit: (NASA/Aubrey Gemignani)
Steetley Pier
Landmark In Hartlepool, County Durham
A 2,000 foot long pier built in the 1960's to pipe sea water for the magnesia treatment works.
Steetley Pier is just off the North Sands near Hartlepool and was built in the 1960's to pipe sea water for the magnesia treatment works.
As demand grew, Steetley Pier was built in the 1960's to pump salty sea water into large round water holding tanks. By reacting Dolomite with the salty sea water, magnesia was produced, Dah da!
Steetley became the biggest plant of this nature in the world. Business continued under a few different companies such as Steeley Magesia, Pallister Works and Redland Magnesia until the works closed in 2005 after a couple of takeovers, one can surmise due to the decline of the Steel industries.
This 2,000 foot long pier was not built for perambulation. The pier was probably made from pitch pine and like any wood or concrete it suffers from the effects of the sea. There is a fisherman's forum where someone suggests parts of the pier are being washed away and landed on a beach further along the coast.
Despite the decay, this did not stop people accessing it to walk on. Some liked to go fishing. One fisherman refers to how he would hide from the security guide, and then catch huge amounts of cod off the end of the pier. After it became redundant in 2005 a section was removed to stop people walking or fishing as there are holes which (in the dark) people can and did fall through!
In the 1930s, industrial works alongside this part of the coastline, extracted magnesia (magnesium carbonate), used in the lining of kilns and incinerators, from dolomitic lime and seawater. Today, all that remains of this industrial site are some derelict buildings, old pipes and the dangerous, magnificent remains of Steetley Pier, a long, derelict structure, which stretches out into the sea here.
In the 1930s, industrial works alongside this part of the coastline, extracted magnesia (magnesium carbonate), used in the lining of kilns and incinerators, from dolomitic lime and seawater. Today, all that remains of this industrial site are some derelict buildings, old pipes and the dangerous, magnificent remains of Steetley Pier, a long, derelict structure, which stretches out into the sea here.
To get the most from this beach, check tidal tables and time your visit to coincide with low tide, when a vast amount of golden sand, interspersed with pipes is exposed. The beach is often deserted, and has no restrictions on dog walking.
The sands can be accessed by parking at West View Road and walking through the tunnel which passes under the railway line. Then walk towards the sea, past the former industrial buildings, and turn right, towards the old pier. The beach is backed by a cemetery and further north, by Hartlepool Golf Course, beyond which lies the Durham Coast Nature Reserve. Hartlepool Marina lies to the south of the beach.
There is a fish and chip shop nearby, and more places to eat and shops can be found in Hartlepool.
Hartlepool is a seaside and port town in County Durham, England. It is governed by a unitary authority borough named after the town. The borough is part of the devolved Tees Valley area. With an estimated population of 87,995, it is the second-largest settlement (after Darlington) in County Durham.
The old town was founded in the 7th century, around the monastery of Hartlepool Abbey on a headland. As the village grew into a town in the Middle Ages, its harbour served as the County Palatine of Durham's official port. The new town of West Hartlepool was created in 1835 after a new port was built and railway links from the South Durham coal fields (to the west) and from Stockton-on-Tees (to the south) were created. A parliamentary constituency covering both the old town and West Hartlepool was created in 1867 called The Hartlepools. The two towns were formally merged into a single borough called Hartlepool in 1967. Following the merger, the name of the constituency was changed from The Hartlepools to just Hartlepool in 1974. The modern town centre and main railway station are both at what was West Hartlepool; the old town is now generally known as the Headland.
Industrialisation in northern England and the start of a shipbuilding industry in the later part of the 19th century meant it was a target for the Imperial German Navy at the beginning of the First World War. A bombardment of 1,150 shells on 16 December 1914 resulted in the death of 117 people in the town. A severe decline in heavy industries and shipbuilding following the Second World War caused periods of high unemployment until the 1990s when major investment projects and the redevelopment of the docks area into a marina saw a rise in the town's prospects. The town also has a seaside resort called Seaton Carew.
The place name derives from Old English heort ("hart"), referring to stags seen, and pōl (pool), a pool of drinking water which they were known to use. Records of the place-name from early sources confirm this:
649: Heretu, or Hereteu.
1017: Herterpol, or Hertelpolle.
1182: Hierdepol.
A Northumbrian settlement developed in the 7th century around an abbey founded in 640 by Saint Aidan (an Irish and Christian priest) upon a headland overlooking a natural harbour and the North Sea. The monastery became powerful under St Hilda, who served as its abbess from 649 to 657. The 8th-century Northumbrian chronicler Bede referred to the spot on which today's town is sited as "the place where deer come to drink", and in this period the Headland was named by the Angles as Heruteu (Stag Island). Archaeological evidence has been found below the current high tide mark that indicates that an ancient post-glacial forest by the sea existed in the area at the time.
The Abbey fell into decline in the early 8th century, and it was probably destroyed during a sea raid by Vikings on the settlement in the 9th century. In March 2000, the archaeological investigation television programme Time Team located the foundations of the lost monastery in the grounds of St Hilda's Church. In the early 11th century, the name had evolved into Herterpol.
Normans and for centuries known as the Jewel of Herterpol.
During the Norman Conquest, the De Brus family gained over-lordship of the land surrounding Hartlepool. William the Conqueror subsequently ordered the construction of Durham Castle, and the villages under their rule were mentioned in records in 1153 when Robert de Brus, 1st Lord of Annandale became Lord of Hartness. The town's first charter was received before 1185, for which it gained its first mayor, an annual two-week fair and a weekly market. The Norman Conquest affected the settlement's name to form the Middle English Hart-le-pool ("The Pool of the Stags").
By the Middle Ages, Hartlepool was growing into an important (though still small) market town. One of the reasons for its escalating wealth was that its harbour was serving as the official port of the County Palatine of Durham. The main industry of the town at this time was fishing, and Hartlepool in this period established itself as one of the primary ports upon England's Eastern coast.
In 1306, Robert the Bruce was crowned King of Scotland, and became the last Lord of Hartness. Angered, King Edward I confiscated the title to Hartlepool, and began to improve the town's military defences in expectation of war. In 1315, before they were completed, a Scottish army under Sir James Douglas attacked, captured and looted the town.
In the late 15th century, a pier was constructed to assist in the harbour's workload.
Hartlepool was once again militarily occupied by a Scottish incursion, this time in alliance with the Parliamentary Army during the English Civil War, which after 18 months was relieved by an English Parliamentarian garrison.
In 1795, Hartlepool artillery emplacements and defences were constructed in the town as a defensive measure against the threat of French attack from seaborne Napoleonic forces. During the Crimean War, two coastal batteries were constructed close together in the town to guard against the threat of seaborne attacks from the Imperial Russian Navy. They were entitled the Lighthouse Battery (1855) and the Heugh Battery (1859).
Fans react as Big & Rich performs at the Chevy Court Stage at the NYS Fair on Tuesday, Aug. 30, 2022. (Photos by Warren Linhart-NYS Fair)
Madampu Sankaran Namboothiri, popularly known as Madampu Kunjukuttan, is a Malayalam author and a screenplay writer. A prolific and versatile actor, a Sanskrit scholar, a teacher of repute, priesthood in a famous temple, National awards for the best screenplay in 2000 for the film " Karunam' and the Ashdod International Film Award for Best Screenplay for the film Parinamam (The Change) in 2003-- his life has been extremely colorful and eventful. He lives in the Kiralur village in the Thrissur district of Kerala, India, 77 years young.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Fokker D.VII was a German World War I fighter aircraft designed by Reinhold Platz of the Fokker-Flugzeugwerke. Late in 1917, Fokker built the experimental V 11 biplane, fitted with the standard Mercedes D.IIIa engine. In January 1918, IdFlieg held a fighter competition at Adlershof, and for the first time, front line pilots participated in the evaluation and selection of new fighters. Fokker submitted the V 11 along with several other prototypes. Manfred von Richthofen flew the V 11 and found it tricky, unpleasant and directionally unstable in a dive. On short notice, Platz reacted and lengthened the rear fuselage by one structural bay and added a triangular fin in front of the rudder. Richthofen tested the modified V 11 and praised it as the best aircraft of the competition. It offered excellent performance from the outdated Mercedes engine, yet was safe and easy to fly. Richthofen's recommendation virtually decided the competition but he was not alone in recommending it. Fokker immediately received a provisional order for 400 production aircraft, which were named D.VII by IdFlieg.
Fokker's factory was not up to the task of meeting all D.VII production orders and IdFlieg directed Albatros and AEG to build the D.VII under license, though AEG did not ultimately produce any aircraft. Because the Fokker factory did not use detailed plans as part of its production process, Fokker simply sent a D.VII airframe for Albatros to copy. Albatros paid Fokker a five percent royalty for every D.VII they built under license. Albatros Flugzeugwerke and its subsidiary, Ostdeutsche Albatros Werke (OAW), built the D.VII at factories in Johannisthal [Fokker D.VII (Alb)] and Schneidemühl [Fokker D.VII (OAW)] respectively. Corresponding aircraft markings included the type designation and factory suffix, immediately before the individual serial number.
Some parts were not interchangeable between aircraft produced at different factories, even between Albatros and OAW. Each manufacturer tended to differ in both nose paint styles and the patterning and layout of their engine compartment cooling louvers on the sides of the nose. OAW produced examples were delivered with distinctive mauve and green splotches on the cowling. All D.VIIs were produced with either the five-color (“Fünffarbig”) or, less often, the four-color (“Vierfarbig”) lozenge camouflage covering, except for early Fokker-produced D.VIIs, which had a streaked green fuselage. However, these factory camouflage finishes were often overpainted in the field with colorful paint schemes or insignia for the Jasta or for a specific pilot, making identification during aerial combat easier.
The D.VII entered squadron service with Jasta 10 in early May 1918. When the Fokker D.VII appeared on the Western Front in April 1918, Allied pilots at first underestimated the new fighter because of its squarish, ungainly appearance, but quickly revised their view. The type had many important advantages over the Albatros and Pfalz scouts. Unlike the Albatros scouts, the D.VII could dive without any fear of structural failure. The D.VII was also noted for its high manoeuvrability and ability to climb, its remarkably docile stall and reluctance to spin. It could "hang on its prop" without stalling for brief periods of time, spraying enemy aircraft from below with machine gun fire. These handling characteristics contrasted with contemporary Allied scouts such as the Camel and SPAD, which stalled sharply and spun vigorously.
Nevertheless, several aircraft suffered rib failures and fabric shedding on the upper wing. Heat from the engine sometimes ignited phosphorus ammunition until additional cooling louvers were installed on the metal sides of the engine cowling panels, and fuel tanks sometimes broke at the seams through high G loads and a twisting, wooden airframe. Aircraft built by the Fokker factory at Schwerin were noted for their lower standard of workmanship and materials. But despite some faults, the D.VII proved to be a remarkably successful design and a true fighter benchmark, leading to the familiar aphorism that it could turn a mediocre pilot into a good one and a good pilot into an ace.
In September 1918, eight D.VIIs were delivered to Bulgaria. Late in 1918, the Austro-Hungarian company Magyar Általános Gépgyár (MÁG, Hungarian General Machine Company) commenced licensed production of the D.VII with Austro-Daimler engines. Production continued after the end of the war, with as many as 50 aircraft completed.
Richthofen died days before the D.VII began to reach the Jagdstaffeln and never flew it in combat. Other pilots, including Erich Löwenhardt and Hermann Göring, quickly racked up victories and generally lauded the design. Aircraft availability was limited at first, but by July there were 407 in service. Larger numbers became available by August, by which point D.VIIs had achieved 565 victories. The D.VII eventually equipped 46 Jagdstaffeln. When the war ended in November, 775 D.VII aircraft were in service, and they were outfitted with various, ever more powerful engines, but the aircraft remained outwardly virtually identical. Some late production machines had a rare BMW IIIa 6-cyl. water-cooled in-line piston engine fitted. It had a continuous output of 137.95 kW (185 hp), but also an emergency rating of 180 kW (240 hp) at low level that gave the aircraft a top speed in level flight of 200 km/h (124 mph; 108 kn) and a phenomenal rate of climb (four times as good at low altitude as the early machines and still twice as good at higher altitudes), even though at the risk of engine damage.
After the war, the Allies confiscated large numbers of D.VII aircraft after the Armistice. The United States Army and Navy evaluated no less than 142 captured examples and used them in what would today be called “aggressor” units for dissimilar air combat in training and for the development of indigenous military aircraft. Several of these aircraft were re-engined with American-built Liberty L-6 motors, which were very similar in appearance to the D.VII's original German power plants and hard to tell apart. France, Great Britain and Canada also received numbers of war prizes, but these aircraft did not enter active service. Other countries used the D.VII operationally, though: the Polish deployed approximately 50 aircraft during the Polish-Soviet War, using them mainly for ground attack missions; the Hungarian Soviet Republic used a number of D.VIIs, both built by MAG and ex-German aircraft in the Hungarian-Romanian War of 1919; the Dutch, Swiss, and Belgian air forces also operated the D.VII. The aircraft proved still so popular that Fokker completed and sold a large number of D.VII airframes that he had smuggled into the Netherlands after the Armistice. As late as 1929, the Alfred Comte company manufactured eight new D.VII airframes under license for the Swiss Fliegertruppe.
General characteristics:
Crew: 1
Length: 6.95 m (22 ft 10 in)
Wingspan: 8.9 m (29 ft 2 in)
Height: 2.75 m (9 ft 0 in)
Wing area: 20.5 m² (221 sq ft)
Empty weight: 670 kg (1,477 lb)
Gross weight: 906 kg (1,997 lb)
Powerplant:
1 × 137.95 kW (185 hp) BMW IIIa 6-cyl. water-cooled in-line piston engine with a 180 kW (240 hp)
emergency only rating at low level, driving a wooden 2-bladed fixed-pitch propeller
Performance:
Maximum speed: 189 km/h (117 mph, 102 kn) at normal power
200 km/h (124 mph; 108 kn) at emergency power
Range: 266 km (165 mi, 144 nmi)
Service ceiling: 6,000 m (20,000 ft)
Rate of climb: up to 9.52 metres per second (1,874 ft/min) at emergency rating
Time to altitude:
1,000 m (3,281 ft) in 1 minutes 40 seconds
2,000 m (6,562 ft) in 4 minutes 5 seconds
3,000 m (9,843 ft) in 13 minutes 49 seconds
4,000 m (13,123 ft) in 10 minutes 15 seconds
5,000 m (16,404 ft) 14 minutes 0 seconds
6,000 m (19,685 ft) 18 minutes 45 seconds
Armament:
2× synchronized 7.92 mm (0.312 in) LMG 08/15 "Spandau" machine guns,
firing through the propeller disc
The kit and its assembly:
My fifth submission for the “Captured” group build at whatifmodellers.com, and a very simple one, since the kit was built OOB. Inspiration came from a profile of a captured Albatros D.III in USAAC markings, unfortunately without further explanation. However, the aircraft sported a garish paint scheme, including bright green and even pink, so that I assumed that it would be not only WWI booty, but also in some operational use, since the paint scheme/camouflage did not look like a German pattern, but rather like an American design, similar to the aircraft operated by the American Expeditionary Force (AEF) in continental Europe, just with bright colors.
When I checked options for a different aircraft to apply this idea to, I came across the common Fokker D.VII and the fact that a lot of these aircraft had been captured and tested/flown by the USAAC – and then the weird scheme started to make sense, and this what-if model was born.
The D.VII kit is the ESCI offering, which was released in 1983 but is actually a mold from 1968. I thought I gave it a chance, instead of the Revell kit, which dates back to 1963 and is rumored to be not a pleasant build. The bet and newest one in 1:72 is probably the Eduard kit, which also has the benefit of offering optional parts for various production versions.
As a small biplane model, the ESCI kit is a simple, straightforward affair, and no major conversions were made, I just added a pilot figure, because the ESCI kit lacks one as well as any interior detail except for a kind of tub that it molded into the fuselage halves. IIRC, the figure I used comes from a Revell biplane, and I had to chop the legs off to make it fit into the D.VII’s tight cockpit. However, this solution had the benefit that I did not have to worry about any interior details.
Another weak point of the ESCI kit is that it lacks some finer details like the boarding ladder or handles at the tail. These were scratched with thin wire. Overall fit is also not the best – PSR on the fuselage halves, and on some visible ejection markers (e.g. under the single-part wings) and sinkholes. Esp. the integral cockpit tub with its rather massive walls left visible dents in the flanks that had to be filled! On the other side, the fabric structure on the wings and the fuselage is nicely reproduced, and the cowling is apparently from a late production D.VII with additional/bigger air scoops, so I decided that my model would also be one of the final machines with the uprated BMW engine.
A problem that cannot be blamed on the mold but rather the specific 2nd hand kit I bought is that the stabilizer was missing – it had probably detached from the sprue long ago, and slipped through the box lid, gone and eaten by some carpet monster… ☹ I had to improvise and decided to cut a replacement stabilizer from 1mm styrene sheet. I used the painting instructions (which are almost 1:72 scale) as benchmark and tailored a piece of sheet into shape, sanding away the edges for some light curvature and also added some shallow grooves to mimic the rib structure. Not perfect, but I also did not want to spend too much time on this. As a bonus, though, I added the (tiny) rudder levers of the tail surfaces and the ailerons, which originally are also not part of the ESCI mold. These were later, after painting, outfitted with wires during the final rigging process with heated sprue material – thankfully the D.VII does not require too many strings, just some wires between the landing gear struts and on the tail.
Painting and markings:
The funnier part, with many, really bright colors united in a tiny space – almost like an anime movie prop! I stuck to the original Albatros benchmark and applied scheme, colors and markings truthfully to the D.VII. Paints/tones became, as a guesstimate, Humbrol 155 (Olive Drab), 7 (Light Buff), 47 (Sea Blue) and a mix of 200 (Pink) with a little 68 (Purple), maybe at a 5:1 ratio, for a deeper tone. The contrast between the colors is pretty strong and aircraft looks very individual!
The wing struts were painted in black, the interior in a light olive drab tone. The engine was painted with Revell 99 (Aluminum) and treated with grinded graphite for a more metallic look, and the propeller was painted with a streaky wet-in-wet mix of Humbrol 71 and 113.
The roundels come from a Hobby Boss F4F, and since they have a rather odd style with a kind of dark blue border, they suit the model pretty well, because these roundels were introduced around 1920, so that deviations from the later, “classic” look appear plausible. The tactical code comes from an RAF Gloster Gladiator and the BuNo on the fin were created from a post-war Spitfire code.
A light black ink washing was applied, and some light post-shading was done, in order to emphasize edges and the boxy form of the aircraft with its fabric-covered surfaces. After the decals had been applied, I also added an overall light dry-brushing with khaki drill (Humbrol 72) and light grey (Revell 75). Finally, the model was sealed with matt acrylic varnish (Italeri), final bits were assembled and the rigging was added.
A simple build, but a very colorful one – hard to believe that there were aircraft in real life that actually looked this way! But the small D.VII now really stands out among “seriously” camouflaged biplanes in my collection, a very picturesque model. BTW, I am also surprised how effective the camouflage is, at least in the air - despite the garish colors!
My little niece has a surprising reaction to the very sight of my cousin. If she sees him make eye contact, even from across the room, she bursts into tears. SO funny.
May 9, 2013 - Bucharest, Romania. Macedonian law student Tefik Mahmud reacts during a discussion with World Bank Group President Jim Yong Kim and participants from the Roma Education Fund. Photo © Dominic Chavez / World Bank
Quality of life: from safe food to data protection
SPAGHETTI ALL’UOVO, AGLIO, OLIO E PEPERONCINO
di Carlo Cracco
Per la pasta all’uovo:
kg 1sale grosso affumicato
gr 250zucchero
n 12tuorli d’uovo
Per l’aglio affumicato:
n 1 ½ testa d’aglio
lt 2latte
sale
peperoncino
olio extravergine
prezzemolo fritto
Impastare il sale con lo zucchero , mettere i tuorli d’uovo a marinare per circa 4/5 ore, dopodiché sciacquare sotto l’acqua corrente.
Prendere i 12 tuorli marinati e metterli tra 2 fogli di carta da forno e con l’aiuto di un matterello stenderli in modo uniforme formando uno strato sottile.
Togliere dalla carta e passare la sfoglia nella trafila per spaghetti.
Far bollire l’aglio con il latte e ridurre della metà.
Passare il tutto a maglia fine e tenere da parte.
In una padella, mettere un goccio d’olio, aggiungere gli spaghetti e poco peperoncino.
Saltare per un paio di minuti e servire in una fondina con alla base la crema d’aglio.
Finire con il prezzemolo fritto e un goccio di olio crudo.
-------------------------------------
What does quality of life mean for you? Safe food? Accessible medical care? Breathable air and clean environment? Strong consumers’ rights? Or knowing that your data and privacy are safe? European Parliament holds improving of the quality of life in the EU high on its agenda. Read more here and follow 4th ReACT conference on quality of life on 23 January in Rome live!
Streaming ReACT Rome, 23 January 19:00
www.europarl.it/view/it/react.html
ReACT Rome: web site in IT
This photo is free to use under Creative Commons license (CC) and must be credited: "© European Union 2014 - European Parliament" (Attribution-NonCommercial-NoDerivs Creative Commons license). For HR files please contact: webcom-flickr(AT)europarl.europa.eu
Reactable in performance, live at the Stone Church in NH.
The group is called Bastinado, with a didgeridoo player and the Reactable guy.
Also, laser beams! Watch out!
Lovebytes - Digital Spring.
UNQUIET : Art and music events at Sheffield's Central Library
Sat 24 March 11am-4pm
Sheffield Central Library, Surrey Street, Sheffield.
Sheffield Central Library provided the venue and inspiration for a spree of artistic interventions, impromptu performances and creative workshops:
Sheffield Library's documentation from Unquiet (requires Flash):
Reactable
The Reactable is a revolutionary new electronic musical instrument, designed to create and perform the music of today and tomorrow. It combines state of the art technologies with a simple and intuitive design, which enables musicians to experiment with sound, change its structure, control its parameters and be creative in a direct and refreshing way - unlike anything you have ever known before.
Juxtavoices
Juxtavoices is a large 'antichoir' under the direction of composer Martin Archer and writer Alan Halsey. The group includes many familiar faces from Sheffield's leftfield music, poetry and visual arts scenes. Although the group performs structured scores, no fixed pitches are ever notated, and the group uses improvisation to shape the detail of the scores as the music progresses. Both trained and untrained voices are included. As well as playing "normal" concerts, the group is to be found in various unexpected public places, and at poetry / text events. For this event, Juxtavoices have created 2 special pieces for performance: one in suitably hushed tones inside the main library, and one utilising the rich acoustic of the adjacent stairwell.
20Hz by Semiconductor
05.00 minutes / HD video installation / 2011
20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.
20Hz is a Semiconductor work by Ruth Jarman and Joe Gerhardt.
Audio Data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency.
Co-commissioned by Arts Santa Monica + Lighthouse for the Invisible Fields Exhibition at Arts Santa Monica, Barcelona. 2011-2012. Supported by the British Council.
Catalyst
This sound installation in the Lending Library presents a series of collaborative works by a number of Sheffield based writers and sound artists.
In 2011 composers from the University of Sheffield Sound Studios (USSS) were asked to produce a work drawing on Brian Eno's concept of 'ambient music' - music that could be subtly diffused into the atrium space at Bank Street. These compositions were played throughout the day and the writers spent an hour free-writing in response to them. These initial responses were then developed into poems by the writers and then were recorded reading their poems. These sound recordings formed the source material for a new series of compositions - in some cases settings of the poems themselves, in others more abstract manipulations of the source material.
Catalyst is a collaboration involving Bank Street Arts' Poet in Residence Angelina Ayers; writers on the MA Writing at Sheffield Hallam University; Bank Street Arts Resident sound artist Ian Baxter and fellow composers working from the USSS.
Animation/Pixilation Workshop
Children's Library session beginning 11am, 12pm, 2pm and 3pm (4 x 45min workshops)
Age 6+ Free. Book in advance / places are limited.
To book a place email - kidsandteens.library@sheffield.gov.uk
or tel. - 0114 273 4734
Come and have a go at animating...Yourself! Pixilation is an exciting form of animation where everyday objects and humans are the made to do extraordinary things such as disappear into walls, change into other people, fly, get eaten by black holes and ice skate on carpets!
In this workshop you'll learn how to make use pixillation to create animated films. You and your parents or carers will also find out how to film animation at home using your home computer, a webcam and free software. No experience or equipment necessary - just bring yourself! The workshop is led by Melvyn Turnan - you can see his films at www.melmation.com
Places are very limited, so please book in advance to avoid disappointment.
Sssh! There's going to be a FREE secret film show for kids at 1PM, somewhere in the Library...
Are spy pigeons and lost mechanical aliens your kind of thing? Do you know a cat who belongs to Simon? (or is it a Simon who belongs to a cat?)...
You can only find out the secret location for this screening when you collect a free golden ticket from our information desk in the Winter Garden. Make sure you get there early, it's first come first served and there are only a few places available for this extra special, hush hush event for those in the know. The films are suitable for any age but children must be accompanied by an adult.
These films are 100% guaranteed to totally amaze you... here's a sneak preview of what you will see...
The Lost Thing by Andrew Ruhemann & Shaun Tan (Passion Pictures, Australia 2011). This film won an Oscar for best short animated film in 2011. A boy finds a strange creature on a beach, and decides to find a home for it in a world where everyone believes there are far more important things to pay attention to.
Pigeon Impossible by Lucas Martell. This amazing bagel bite-sized adventure was 5 years in the making. It's the tale of Walter, a rookie secret agent faced with a problem seldom covered in basic training: what to do when a curious pigeon gets trapped inside your multi-million dollar, government-issued nuclear briefcase?
Love Over Goldfish by Janet Jennings and Jon Harrison. Have you ever seen a movie that is upside-down from beginning to end? Well the star of this film has, he's lived it! He's a goldfish and this is his life story. Love Over Goldfish was filmed in Sheffield, see if you can spot any familiar locations (but don't get a crick in your neck;)
Thanks to all the staff at Sheffield Libraries for hosting this event.
Special thanks to:
Emma Croft, Sarah Hogan, Martin Dutch and Andrew Milroy at Sheffield Libraries, Martin Archer and Juxtavoices, Ian Baxter (Catalyst), Sergi Jordà (reactable), Sheffield University Sound Studios, Passion Pictures, Lucas Martell, Flatpack Festival, Amber and Joab Harrison
Technical wizards: Darren Chouings (Prism), Melvyn Turnan (Melmation), Richard Bolam (RB Digimedia).
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Quality of life: from safe food to data protection
What does quality of life mean for you? Safe food? Accessible medical care? Breathable air and clean environment? Strong consumers’ rights? Or knowing that your data and privacy are safe? European Parliament holds improving of the quality of life in the EU high on its agenda. Read more here and follow 4th ReACT conference on quality of life on 23 January in Rome live!
In the past few years, European parliament worked on wide range of rules to improve the quality of life in Europe: ensuring safe and accessible medicines and medical treatments, strengthening passenger rights, enabling consumers to buy clearly and correctly labelled food, cutting CO2 emissions and preventing other environmental pollution, but also making sure that privacy of European citizens is protected and their data safe. Read more in our Top Story.
Three of those topics: environment, health and food and the “European way” to protect them are to be debated during fourth ReACT conference “Cutting Quality of life: past, present and future” that takes place on 23 January in Rome. Chef Carlo Cracco, climatologist Riccardo Valentini and Professor Michele Mirabella present their points of view and debate them with the audience. Conference is moderated by geologist Mario Tozzi. Follow live and comment #Reactroma via links on the right.
ReAct Roma is the fourth in a series of five interactive conferences on subjects vital to the EU, ahead of the European elections in May 2014. They take place in different European cities where opinion leaders will share their ideas about today's issues. Previous events were dedicated to jobs and employment (15/10 Paris), EU in world (14/11 Warszawa), EU and finances (5/12 Frankfurt). The fifth event will be about EU and economy and will take place on 20/2 in Madrid.
Streaming ReACT Rome, 23 January 19:00
www.europarl.it/view/it/react.html
ReACT Rome: web site in IT
This photo is free to use under Creative Commons license (CC) and must be credited: "© European Union 2014 - European Parliament" (Attribution-NonCommercial-NoDerivs Creative Commons license). For HR files please contact: webcom-flickr(AT)europarl.europa.eu
Lovebytes - Digital Spring.
UNQUIET : Art and music events at Sheffield's Central Library
Sat 24 March 11am-4pm
Sheffield Central Library, Surrey Street, Sheffield.
Sheffield Central Library provided the venue and inspiration for a spree of artistic interventions, impromptu performances and creative workshops:
Sheffield Library's documentation from Unquiet (requires Flash):
Reactable
The Reactable is a revolutionary new electronic musical instrument, designed to create and perform the music of today and tomorrow. It combines state of the art technologies with a simple and intuitive design, which enables musicians to experiment with sound, change its structure, control its parameters and be creative in a direct and refreshing way - unlike anything you have ever known before.
Juxtavoices
Juxtavoices is a large 'antichoir' under the direction of composer Martin Archer and writer Alan Halsey. The group includes many familiar faces from Sheffield's leftfield music, poetry and visual arts scenes. Although the group performs structured scores, no fixed pitches are ever notated, and the group uses improvisation to shape the detail of the scores as the music progresses. Both trained and untrained voices are included. As well as playing "normal" concerts, the group is to be found in various unexpected public places, and at poetry / text events. For this event, Juxtavoices have created 2 special pieces for performance: one in suitably hushed tones inside the main library, and one utilising the rich acoustic of the adjacent stairwell.
20Hz by Semiconductor
05.00 minutes / HD video installation / 2011
20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.
20Hz is a Semiconductor work by Ruth Jarman and Joe Gerhardt.
Audio Data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency.
Co-commissioned by Arts Santa Monica + Lighthouse for the Invisible Fields Exhibition at Arts Santa Monica, Barcelona. 2011-2012. Supported by the British Council.
Catalyst
This sound installation in the Lending Library presents a series of collaborative works by a number of Sheffield based writers and sound artists.
In 2011 composers from the University of Sheffield Sound Studios (USSS) were asked to produce a work drawing on Brian Eno's concept of 'ambient music' - music that could be subtly diffused into the atrium space at Bank Street. These compositions were played throughout the day and the writers spent an hour free-writing in response to them. These initial responses were then developed into poems by the writers and then were recorded reading their poems. These sound recordings formed the source material for a new series of compositions - in some cases settings of the poems themselves, in others more abstract manipulations of the source material.
Catalyst is a collaboration involving Bank Street Arts' Poet in Residence Angelina Ayers; writers on the MA Writing at Sheffield Hallam University; Bank Street Arts Resident sound artist Ian Baxter and fellow composers working from the USSS.
Animation/Pixilation Workshop
Children's Library session beginning 11am, 12pm, 2pm and 3pm (4 x 45min workshops)
Age 6+ Free. Book in advance / places are limited.
To book a place email - kidsandteens.library@sheffield.gov.uk
or tel. - 0114 273 4734
Come and have a go at animating...Yourself! Pixilation is an exciting form of animation where everyday objects and humans are the made to do extraordinary things such as disappear into walls, change into other people, fly, get eaten by black holes and ice skate on carpets!
In this workshop you'll learn how to make use pixillation to create animated films. You and your parents or carers will also find out how to film animation at home using your home computer, a webcam and free software. No experience or equipment necessary - just bring yourself! The workshop is led by Melvyn Turnan - you can see his films at www.melmation.com
Places are very limited, so please book in advance to avoid disappointment.
Sssh! There's going to be a FREE secret film show for kids at 1PM, somewhere in the Library...
Are spy pigeons and lost mechanical aliens your kind of thing? Do you know a cat who belongs to Simon? (or is it a Simon who belongs to a cat?)...
You can only find out the secret location for this screening when you collect a free golden ticket from our information desk in the Winter Garden. Make sure you get there early, it's first come first served and there are only a few places available for this extra special, hush hush event for those in the know. The films are suitable for any age but children must be accompanied by an adult.
These films are 100% guaranteed to totally amaze you... here's a sneak preview of what you will see...
The Lost Thing by Andrew Ruhemann & Shaun Tan (Passion Pictures, Australia 2011). This film won an Oscar for best short animated film in 2011. A boy finds a strange creature on a beach, and decides to find a home for it in a world where everyone believes there are far more important things to pay attention to.
Pigeon Impossible by Lucas Martell. This amazing bagel bite-sized adventure was 5 years in the making. It's the tale of Walter, a rookie secret agent faced with a problem seldom covered in basic training: what to do when a curious pigeon gets trapped inside your multi-million dollar, government-issued nuclear briefcase?
Love Over Goldfish by Janet Jennings and Jon Harrison. Have you ever seen a movie that is upside-down from beginning to end? Well the star of this film has, he's lived it! He's a goldfish and this is his life story. Love Over Goldfish was filmed in Sheffield, see if you can spot any familiar locations (but don't get a crick in your neck;)
Thanks to all the staff at Sheffield Libraries for hosting this event.
Special thanks to:
Emma Croft, Sarah Hogan, Martin Dutch and Andrew Milroy at Sheffield Libraries, Martin Archer and Juxtavoices, Ian Baxter (Catalyst), Sergi Jordà (reactable), Sheffield University Sound Studios, Passion Pictures, Lucas Martell, Flatpack Festival, Amber and Joab Harrison
Technical wizards: Darren Chouings (Prism), Melvyn Turnan (Melmation), Richard Bolam (RB Digimedia).
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
wall that took far to long....
i think we both lost interest...
plus work runs our shit :)
mine anyway
character and backy by react
letters by me
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
April Doster, left, reacts to the dinner comments by her husband, Rubin, while she helps her daughter Hailey, 7, with a box top project in the kitchen of their Palmyra home on Tuesday, Nov. 5, 2019.
ReACT Sofia, organized by EP Information Office in Bulgaria: Kristian Filipov, Private Sector Development expert from the World Bank Bulgaria and moderator journalist Mario Gavrilov from Bulgarian National TV
More information: www.europarl.bg/reactsofia
Quality of life: from safe food to data protection
What does quality of life mean for you? Safe food? Accessible medical care? Breathable air and clean environment? Strong consumers’ rights? Or knowing that your data and privacy are safe? European Parliament holds improving of the quality of life in the EU high on its agenda. Read more here and follow 4th ReACT conference on quality of life on 23 January in Rome live!
In the past few years, European parliament worked on wide range of rules to improve the quality of life in Europe: ensuring safe and accessible medicines and medical treatments, strengthening passenger rights, enabling consumers to buy clearly and correctly labelled food, cutting CO2 emissions and preventing other environmental pollution, but also making sure that privacy of European citizens is protected and their data safe. Read more in our Top Story.
Three of those topics: environment, health and food and the “European way” to protect them are to be debated during fourth ReACT conference “Cutting Quality of life: past, present and future” that takes place on 23 January in Rome. Chef Carlo Cracco, climatologist Riccardo Valentini and Professor Michele Mirabella present their points of view and debate them with the audience. Conference is moderated by geologist Mario Tozzi. Follow live and comment #Reactroma via links on the right.
ReAct Roma is the fourth in a series of five interactive conferences on subjects vital to the EU, ahead of the European elections in May 2014. They take place in different European cities where opinion leaders will share their ideas about today's issues. Previous events were dedicated to jobs and employment (15/10 Paris), EU in world (14/11 Warszawa), EU and finances (5/12 Frankfurt). The fifth event will be about EU and economy and will take place on 20/2 in Madrid.
Streaming ReACT Rome, 23 January 19:00
www.europarl.it/view/it/react.html
ReACT Rome: web site in IT
This photo is free to use under Creative Commons license (CC) and must be credited: "© European Union 2014 - European Parliament" (Attribution-NonCommercial-NoDerivs Creative Commons license). For HR files please contact: webcom-flickr(AT)europarl.europa.eu
Fans react as Boy George and Culture Club perform at the Chevy Park Stage at the NYS Fair on Tuesday, Aug. 30, 2022. (Photos by Warren Linhart-NYS Fair)
"Nuestro valor diferencial es divertirnos", Roberto Carreras, fundador de una empresa española que trabaja en los campos de la música, la tecnología y la publicidad bit.ly/1bY1G0F
‘How to exit from the crisis - Europe responds’ is the title of the interactive conference that the European Parliament is organizing this Thursday in Madrid (Spain) from 20.00 to 22.30. Follow live on our website this debate on how to reverse the damage caused by the recession and ensure future economic growth and employment. And join the conversation on social media with #ReACTMadrid.
ReAct Madrid is the final event in a series of five interactive conferences held ahead of the European elections in May on subjects vital to the EU. Each has taken place in a different European city bringing together opinion leaders and ordinary people and inviting them to share their knowledge, ideas and experience on the issues. Previous events were dedicated to jobs and employment (15 October in Paris), the EU in the world (14 November in Warsaw), finances (5 December in Frankfurt), and quality of life (23 January in Rome).
Follow the conference live, Thursday 20 February 2014, 20.00-22.30 CET via ReACT Madrid website (in Spanish only)www.europarl.es/es/react_madrid.html
Press release (in Spanish only)www.europarl.es/es/sala_de_prensa/communicados_de_prensa/...
Follow the conference via the EP’s Twitter account in Spanishtwitter.com/Europarl_ES
Follow the conference via the EP’s Information Office in Madrid Twitter account (in Spanish)twitter.com/PE_Espana EP’s Information Office in Madrid website (in Spanish only)www.europarl.es/es/root.html
Press kit on Economic and financial reformwww.elections2014.eu/en/press-kit/content/20131112PKH2441...
European elections websitewww.elections2014.eu/en
This photo is free to use under Creative Commons license (CC) and must be credited: "© European Union 2014 - European Parliament" (Attribution-NonCommercial-NoDerivs Creative Commons license). For HR files please contact: webcom-flickr(AT)europarl.europa.eu
Hugo reacting to the news that he will soon get a haircut. 100 degree days and long poodle hair don't mix. Check out the shock of pure white hair on his ear. We have taken to calling him "Rogue."
Last week we gave two teams of Theatremakers from the Open Exchange Network the opportunity to create a piece of work at the Exchange. It’s a chance for them to explore and develop the way they make work. Using the illustrated children’s book THE RED TREE by Shaun Tan as inspiration, the focus of this REACT is to create an age specific piece for children aged 10 and under. #RXREACT