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At our offer you will find various types of long brick slips. Don't hesitate and choose the type of long brick slips you need. They come in various colours. Our clients are always satisfied. And you certainly will too!
Bakers Landing Marina
1418 Renwick Pl.
Long Branch, NJ
Nestled in the serenity of the calm and protected waters of Pleasure Bay on the Shrewsbury River in Long Branch, NJ, Baker's Landing offers a superb focal point for any boating experience...
Baker's Landing has 78 slips accommodating boats up to 55'. Amenities at the Marina include floating docks, dockside water and electric, picnic area and barbecue, bathrooms and showers, trash disposal, pump out station, along with in and out water storage availability at our Highlands, NJ 'Marina on the Bay'.
Whether you are looking to tackle the superb fishing grounds of the Shrewsbury River, Navesink River or Sandy Hook Bay for fluke, striped bass, blues, weakfish and blue claw crabbing or you want to sit back and relax and enjoy the breathtaking sunsets, Baker's Landing offers it all.
Our goal is to provide our customers with the greatest boating experience! Baker Marinas offer our members the longest boating season, April 1st through December 1st. Choose one of our four locations and enjoy free weekend getaways at our other three.
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahà González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahà González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahà González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
During recovery of the Seismic Liquifaction In-situ Penetrometer (SLIP) instrument, an octopus emerged from the platform and escaped back into the sea, 21 September 2014.
Credit: Ocean Networks Canada
WORKSHOPS ACCIDENT.
FATALITY AT NEWMARKET.
MAN CRUSHED TO DEATH.
FRAME SLIPS FROM HOOK.
SECOND LABOURER INJURED.
An accident which occurred at the railway workshops, Newmarket, shortly after three o'clock yesterday afternoon resulted in the death of Mr. Edward Reid, single, aged about 45, employed as a labourer, residing in McLeod's Road, Henderson.
Mr. George Busby, labourer of 1, Onslow Road, Epsom, received a severe scalp wound. After undergoing X-ray examination at the Auckland Hospital, he was taken to his home. Steel waggon-frames, each weighing between two and three tons, were being unloaded by means of a crane from trucks on a siding alongside the upper engineering workshop, facing Manukau Road. A frame had been lifted clear of the truck and was being swung round preparatory to being lowered, when one of the chains slipped from the crane-hook and one end of the frame crashed to the ground, pinning Mr. Reid beneath it, and striking Mr. Busby a glancing blow on the head and shoulders, stunning him.
When the frame was lifted, Mr. Reid was found to have been terribly injured about the head and shoulders. The St. John Ambulance and Dr. M. G. Pezaro arrived within a few minutes, but life was then extinct, deceased having sustained a fracture of the skull sufficient to cause instantaneous death.
paperspast.natlib.govt.nz/newspapers/NZH19280512.2.30
CRUSHED TO DEATH.
STEEL FRAME HITS WORKER.
SLING SLIPS FROM PLACE.
RECENT NEWMARKET FATALITY.
Details of a recent accident in the Newmarket railway workshops were given at the inquest yesterday concerning the death of Edward Reid, aged 40, who was killed instantly when a steel frame weighing two tons crushed him to the ground. Deceased and other men were lifting steel car frames with a sling from railway trucks on the afternoon of May 11, when the fatality occurred.
Describing the accident, Thomas H. Jones, a crane driver, employed at the workshops, said he was engaged on the crane hoisting van frames weighing between two and three tons from a waggon on to the ground. They were being lifted by two slings tested approximately at lifting power of five tons each. These slings were hooked in the usual way around the frame with about 10ft. between the slings, which were 14ft. in length. There were two men below working with witness, one being deceased.
"I started my engine and had the load lifted about 6ft. above the floor of the waggon and was slewing the load round to my right when there was a crash," continued witness. "I found one sling had slipped off the crane hook and the load had crashed, the left end being on the ground.
"Getting out of my cabin I saw one of the men pinned to tho ground by the end of the van frame, which was on his shoulders and head. Then I lowered the load, bringing the high end of the frame down on the waggon and the end pinning deceased rose."
Witness said he had been a crane driver for 20 years, and had lifted many van frames with tackle similar to that used on the day of the fatality. "I consider the tackle was quite in order for the job," he said. "The reason the accident occurred was because the ring of the left sling slipped off the crane hook, but I cannot pass an opinion as to how it occurred." Witness said his instructions were "safety first," and before he hoisted the frame he saw that the ring was properly on the hook "I think," he added, "that when the load was swung it must have hit something, so causing the ring to come off the hook."
Andrew W. Samson, manager of the workshops, said he thought the accident was caused by the frame striking something, thus causing the ring to come off.
Mr. F. K. Hunt, S.M., coroner, returned a verdict of accidental death.
paperspast.natlib.govt.nz/newspapers/NZH19280622.2.82
Plot 12: Edward Reid (47) 1928 – Labourer
1st N.Z.E.F
64349 Pte
E. REID
Otago Regt
died 11.5.1928
aged 49 yrs
(N.Z.) (fern)
DEATHS
REID. —On May 11. 11)28, accidentally killed at Newmarket Railway Workshop, Edward Reid, late 13th Reinforcement, and dearly beloved fourth son of John and Elizabeth Reid, of McLeod Road, Henderson; aged 47 years. R.I.P. The funeral will leave the mortuary of Messrs. C. Little and Son, Hobson Street, at 3.30 p.m. to-morrow (Sunday), for Waikumete Cemetery. Friends please accept this intimation.
paperspast.natlib.govt.nz/newspapers/AS19280512.2.5
View Edward’s military personnel file on line:
www.archway.archives.govt.nz/ViewFullItem.do?code=2080493...
View and/or contribute to Edward’s profile on the Auckland War Memorial Museum Cenotaph data base:
www.aucklandmuseum.com/war-memorial/online-cenotaph/recor...
As the sun slips behind the distant mountain range, our night in the desert begins.
My Karen Sue has put up with a lot from me over our 35 years together, and this has to range near the top of her list. We both trudged the two miles through the desert to set up a bare-bones backpack tent site, just so I could take some photographs. Her biggest worry was the critters, I believe. The idea of rattle-snakes, scorpions, tarantulas, and other beasts and insects of the desert had her creepy meter pegged to the far right of ugh. I was happy to go it alone, but she insisted on being my guardian angel. We ended up having a pretty good time of it. This is just one of many images that we stored up for future enjoyment.
Seeing how it's now dipping near the 0 degrees Fahrenheit with a wind chill nearing minus 15F predicted, I thought this view of the desert sunset would be one way to warm up. At least the concept of warmth comes through in the image.
For the record, none of those aforementioned desert critters appeared in our sight during our night among the sand and stars. We only saw beetles, mosquito-like insects, and a few butterflies. The butterflies had me looking at their flight in wonder.
Nature sure is interesting.
It slips away...and all your money won't another minute buy.
Dust in the Wind - Kansas
Image #6 in My Lyrical Imagery Project
.
I'm counting each day as this life slips away.
It's time to let go of the past.
The things that I feel, they no longer seem real;
I walk in the shadow I've cast.
(Rick Miller ~ The River Lethe)
English: A documentary image - Dr. Ingrid-Maria Gregor (ZEUS/DESY) talks to Berlin S-Bahn passengers on the "World Machine".
On June 14, 2008 the "Long Night of the Sciences" took place in Berlin. More than 60 universities and institutions presented their scientific work to the public. One of the events is shown here: dozens of German particle physicists talked to metro train travellers about the CERN Large Hadron Collider (LHC) which will become the world's largest and highest-energy particle accelerator. The train was the "LHC Express", a regular model of the Berlin Circle Line S41 equipped with information panels and images. The length of the S41 is in the same order of magnitude (37 km) as the underground LHC tunnel (27 km). There were dozens of LHC talks around me during the hour the S41 takes for one trip around Berlin city. - I took part in a sweepstake, the name of Peter Higgs had to be guessed who postulated the Higgs boson in 1964 which physicists hope to verify in LHC experiments.
From October 15 to November 16, 2008 an exhibition on the LHC will take place in the future subway station of the German parliament: World Machine.
Thanks to Dr. Gregor for corrections.
Deutsch: Ein dokumentarisches Bild - Dr. Ingrid-Maria Gregor (ZEUS/DESY) spricht mit Passagieren der Berliner S-Bahn über die "Weltmaschine".
Am 14. Juni 2008 fand die achte Lange Nacht der Wissenschaften in Berlin statt. Mehr als 60 Universitäten und Forschungseinrichtungen präsentierten der Öffentlichkeit ihre wissenschaftliche Arbeit. Eine der Veranstaltungen ist in diesem Bild zu sehen: Dutzende Teilchenphysiker aus ganz Deutschland unterhielten sich mit Reisenden über den Large Hadron Collider (LHC) am CERN in Genf, der in diesem Jahr seine Arbeit aufnehmen soll und dann der größte und stärkste Teilchenbeschleuniger der Welt sein wird. Die Veranstaltung fand in einem regulären Zug der Berliner Ringbahn S41 statt, der mit LHC-Fotos und Informationstafeln ausgestattet war. Die Länge der S41 bewegt sich mit 37 km in der gleichen Größenordnung wie der Untergrund-Tunnel des LHC (27 km). Während der einstündigen Ringbahn-Fahrt waren um mich herum Dutzende von Gesprächen über das Projekt zu beobachten. Ich nahm an einem Gewinnspiel teil, bei dem der Name von Peter Higgs zu errätseln war, der das Higgs-Boson 1964 postulierte. Eines der wichtigsten Ziele des LHC ist die Verifizierung dieses Elementarteilchens.
Vom 15. Oktober bis zum 16. November 2008 wird im U-Bahnhof Bundestag eine weitere Ausstellung über die Weltmaschine stattfinden.
Danke an Frau Dr. Gregor für Korrekturen.
Links (sorry, German):
Wikipedia: Large Hadron Collider
de.wikipedia.org/wiki/Large_Hadron_Collider
Chris Quigg: Teilchenphysik vor dem Umbruch
Spektrum der Wissenschaft, Sonderheft 30 Jahre SdW, Oktober 2008
www.spektrum.de/artikel/967468
Gerhard Samulat: Ring der Erkenntnis
Spektrum der Wissenschaft, September 2006 (PDF-Datei)
Lange Nacht der Wissenschaften
www.langenachtderwissenschaften.de/
Die schnellste Ring-Bahn der Welt stellt sich vor (S-Bahn Berlin, 12. Juni 2008)
www.s-bahn-berlin.de/aktuell/2008/150_lndw_teilchenbeschl...
Volksfest der Forschung - Besucherrekord bei Langer Nacht der Wissenschaften (Tagesspiegel, 16. Juni 2008)
www.tagesspiegel.de/magazin/wissen/Wissenschaften;art304,...
i do not like this at all. except for her hair which i like regardless of its' precence in a photograph.
Style # GL-DWS-CS
100% Silk
Vintage Inspired Pin Tuck Drop Waist Slip Dress
Shown in Sapphire - Available in other colors
Shown With Spun Scarves by Subtle Luxury
Style # SL-CT-CP
Shown in Purple - Available in other colors
The sun slips down bedding heavy behind
The front of your dress all shadowy lined
And the droning engine throbs in time
With your beating heart
Sing Blue Silver
These are two of the photos which will be showcased at the exhibition called Redefine on October 5-9 at the MVP Roofdeck of the Ateneo de Manila University. Opening night's on the 5th, at 6PM. Everyone who's in the Philippines by then is invited to come!
Concept & Photographer: Ashley Gosiengfiao (me)
Makeup: Alodia Gosiengfiao
Models: Mia Marquez & Mike Rabat
Project Manager & Owner of car: Gab Aguila
Lighting Assistants: Miguel Rabat & Jobim Javier
Dress: JV Castro
As the summer slips away into Fall, nothing more comes to mind that trying to spend a weekend surrounded by the granite peaks and alpine lakes where the thin air can melt away all the worries and discomferts of modern life and where nothing else matters but the enjoyment of the current place. Well, nothing else except for the mosquitoes that you are busy swatting.
Perhaps thats what Young Lakes in Yosemite National Park afforded me the year before. Serene lakes, green grass meadows, beautiful ragged treeless granite peaks and formations surrounding a towering Mt Conness - and all a reward for my very first backpack into the Sierras. I couldn't have been more truly gratified.
The sunset was decent - the lack of clouds plagued me then, the mosquitoes, were however, aplenty. The night was calming. No strong winds, no snow, no extreme colds. And the following sunrise was exquisite. Some of my more defining compositions were taken during this trip.
Oh, how I wish I could go back there. Nothing sizzles and energizes me more than being amidsts the mountains, my calling.
Below are a few other shots from that morning, including one from later day while hiking back, when the calm surface of the Middle Young Lake beckoned a shot.
Yosemite National Park
CA USA
RICHMOND -- Each day, when the General Assembly is in session, 81-year-old Bud Roderick slips on a pair of white gloves. At precisely three minutes before the gavel bangs in the House of Delegates, Roderick -- dressed always in a blue blazer, gray slacks and a white shirt -- opens a glass case, tenderly removes a golden mace and carries it on extended arms into the chamber.
In a Capitol rich with pomp, few things embody it more than Virginia's solid silver, 24-karat-coated ceremonial mace.
Weighing in at 10 pounds plus, measuring nearly 4 feet long with a head that's shaped like a crown, the staff is a throwback to the days of kings and queens.
"It seems unusual in an American setting, I know," says Mark Greenough, a Capitol historian. "But tourists find it fascinating."
To Roderick, it's the best part of being sergeant at arms in the House, a position he's held for eight years.
"The mace is everything," Roderick says reverently.
Its every movement is escorted by an armed Capitol police officer. Its display case is double-locked and outfitted with a pressure-sensitive alarm. Gleaming in a wooden cradle where Roderick lays it at the front of the chamber, the mace signals that an official session is under way.
It's also a symbol of authority and order, a significance that traces its origins to ancient kings and the clubs of their bodyguards.
No one can say why Virginia's Senate doesn't have a mace -- only that they're usually associated with lower houses of assembly, and today, even that's rare. In Washington, the House of Representatives opens its sessions with one, but among the states, only five still cling to such ceremony.
Once, all 13 colonies claimed official maces, each presented by a royal governor as an emblem of ties to the British empire. But only South Carolina still has its genuine article.
Virginia sold its original after the Revolutionary War, when anything that smelled of nobility was shunned. A Richmond silversmith paid $100 for the 7-pound sterling silver mace in 1794, money that went into the public treasury.
"It was probably melted down to make punch bowls and ladles and tea pots," Greenough says with a sigh. "What would it be worth today? I often wonder."
For 180 years, the nation's oldest representative assembly did its work without a mace. In 1974, the Jamestown Foundation presented the House with the replacement.
Crafted in Britain in 1938 for a wealthy Englishman, the mace had changed hands several times and been stolen at least once, only to be recovered by Scotland Yard mere moments before it was melted down. The Jamestown Foundation bought it from an art dealer for $4,625. Colonial Williamsburg restored it and then, the mace was "Virginia-ized" with a couple of inscriptions about the legislature's history.
"Since it wasn't made from scratch for us," Greenough says, "it has some of the things you might expect -- the royal coat of arms, Tudor roses, oak leaves -- all good English stuff. So we customized it with engravings and things like that."
Theoretically, the mace has the last word inside a chamber. Debates can get heated, and when members get too passionate, the sergeant at arms presents the mace to restore order. In Washington, fistfights have been halted by sheer respect for the mace.
"We've never had to do that here, though," Roderick says. "Although, long ago, there was a sergeant at arms who used to tap legislators with his cane."
As for the tangible, Virginia's mace is valued at $70,000 for insurance purposes.
As for the intangible: "It doesn't matter what its worth," says Greenough. "It's a symbol of the best ideals of representative government transmitted from England to North America. We sold it once. We're not going to make that mistake again -- for any price."