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A panorama (5 shot) taken in portrait mode this time, flickr seems a little kinder to pano's in this format it seems as doesn't look too bad at the moment, but still, needs to be viewed large, on black at the very least :)
I've applied a digital filter to give it a film-effect (oh the irony!), apparently it's a cross-processed, e6-c41 fujichrome velvla 100F, yeah, take that all you film buffs :P
My dear friends sean and mia got married last night. Was a beautiful ceremony and so good to be around great people.
This is a photograph from the annual Rathcoffey GAA 10KM and 7.5KM Road Race, Fun Run, and Walk which was held in Rathcoffey, Co. Kildare, Ireland on Saturday 8th February 2014 at 11:00. This race event is in conjunction with Console Ireland, the National Suicide Charity (www.console.ie/). About 300 people took part in the two events. Despite the recent very stormy wet weather experienced in Ireland the weather conditions for the race were reasonably good. There was mild temperatures but at various points in the race route participants had to deal with a very strong head-wind. Nonetheless the race was enjoyed by everyone involved. The race begins at Rathcoffey GAA and goes out on to the road taking a right turn into Rathcoffey village itself. The race then follows the R408 towards Maynooth. The route heads for Ladychapel before turning towards Smithstown (goo.gl/maps/W5Kzf) and Johninstown rejoining the village at (goo.gl/maps/l7oEP) and returning to the GAA Clubhouse. The final 2KM of both races sees the participants return to the GAA club on the same 2KM as the start of the races. Rathcoffey is a small rural village which is easily accessible from it's larger Kildare town neighbours of Clane, Kilcock, and Maynooth. Rathcoffey GAA Club provided excellent facilities for the Race Headquarters and Start/Finish area which can be viewed on Google Streetview [goo.gl/maps/MtTpg]. The race also benefited from great support from athletes from the local GAA clubs in North Kildare.
Congratulations to all in the Rathcoffey GAA club and the local community. This is a very well organised event with every detail attended to for race participants. There are refreshments, showers, and changing areas provided inside the main hall. The route is a flat fast rural country roads route and the event is gaining popularity with every passing year. Well done to all.
We have a large set of photographs from today's event including both the start and the finish. The full set is available on Flickr at www.flickr.com/photos/peterm7/sets/72157640651922944/
Rathcoffey GAA on Facebook: www.facebook.com/RathcoffeyGAA
rathcoffey.gaa.ie/club-news-1/2014annualfunrun
Our photographs of the 1st Annual Rathcoffey 10KM in 2012 - photographs on Flickr: www.flickr.com/photos/peterm7/sets/72157629272298761/
We use Creative Commons Licensing for these photographs
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
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Its been decided~~Meatball will officially become a member of the inside realm of catdom--whether they all like it or not.
Wednesday he will be neutered...shhhh, don't tell him!
{018/365}
At home, in that quiet time, while the house is empty and still, before meetings and the busyness of the day.
Last night, I ran into a friend while riding around the city on my bike (there aren't a lot of comfortable riding days left, I'm sure this won't be the last time.) I was carrying my Canon EOS M, and thanked him for planting the mirrorless bug in my ear -- it's been a real boon to have a camera light enough to have on me at all times, and I was grateful for him introducing me to these lightweight and powerful tools.
Photography has fallen out of my life in the last few years, just like any passion -- after a period of overindulgence, sometimes you just need to step away. My 40D has collected dust in a corner of the apartment for years now, most of my lenses given out to friends who would put them to better use. It's been long enough away from photography for me though, and I'm ready to clear the haze from my eye. Since it's been a while, expect some bad photography in the start, but I'm excited at the potential to get back into photography, and grateful for David and others who have encouraged me to return to behind the lens.
Here's to being a man of balanced passions. Thanks, David.
This 2012 Ford Flex came to us needing rear suicide doors to make it handicap accessible. We completely disassembled the interior to begin the work. New hinge pockets were made in the door jamb and door. The door and quarter were also reinforced to handle the new hinge point. The door handles and latches were swapped side for side and moved to the front of the doors. We did this for two reasons, the first being functionality and the second aesthetics . With the door handles moved to the fornt of the doors, you get the classic look assoicated with the factory style rear suicide doors. Alot of effort also went into making the drivers side rear door power open and close. This door operates with a seperate key fob and can also be operated with a button on the dash and has an emergency release cable installed. This project turned out to be exactly what the customer wanted while keeping a factory built look.
For all of your custom and restoration needs contact us at (314) 968-8377 or www.cleancutcreations.com
Like us on face book at www.facebook.com/CCCSTL
For more pics see the full set at www.flickr.com/photos/cccstl/sets/72157632854930327/
Saturday 6th May 2009
Whilst all around it bears the scars of destruction of truly Biblical proportion – this new, very small Cycad grows from behind a rock in the winter sun. Behind it can be seen the charred remains of a predecessor.
To set fire to a dream,
To let loose the ashes
On a winter wind
To sing to a broken theme
To believe in morning
When the light has dimmed
Dream, how I dream to feel
Then everything will fill with light
A golden sun would fool this night
And all that is and ever was
Begin again
Begin again
The School begins classes once each year, early in October. Students are divided into sections of 12 students each, and get two hours of classroom instruction and six hours of shop instruction per day, Monday through Friday 8am - 5pm.
Basic Boatbuilding is the focus of the first semester, which runs from early October to late December.
The instructors assume that most, if not all, students have no woodworking skills and proceed from that assumption. The skills taught in the first semester are those essential to boatbuilding, and the course, for that reason, is very "hands-on".
Students learn to sharpen and use all their tools, and participate in a wide range of individual skill-building exercises, from learning to make the joints commonly used in boatbuilding to a series of tools. Students learn to draft and make a half-model. Then, working in pairs, they learn to loft a boat full-size on the floor. Finally, working, together as a team, the semester culminates in December as students work together to build a flat-bottomed skiff.
This is the William Atkin SCANDAL being built by Senior Instructor Jeff Hammond's section.
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is a private, accredited non-profit vocational school.
Our mission is to teach and preserve the skills and crafts of fine wooden boatbuilding and other traditional maritime crafts.
You can find us on the web at www.nwboatschool.org .
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948