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I'm continuing my Licca profile photos of Liccas wearing their default Licca Castle white dresses. :) Close-ups like these make you pay more attention to the faces because each doll has a different make-up palette (and that's awesome).
The pink-haired girl with shaggy bangs on the left was my second Castle Licca all those years ago (I got her in October 2006). She's the one that truly began my Castle obsession, you could say. ^^ Her hair's done in an 'odango' (dumpling) style, with two long sausage rolls at the sides of her face. She has the sweetest shiny lips in a pastel pink color and beautiful green eyes.
Her friend is one of my newer Liccas from a few months ago. Also a Castle Licca, she drew me in because of her make-up color combination: VIOLET EYES (!) and absolutely gorgeous candy pink lips. Paired with violet hair, she's as cutesy as can be! She's also my second violet-haired Licca - I do love candy colors for hair! :D
More to come.
Continuing our walk south past Dunstanburgh Castle to Craster (and beyond). We may have called in for liquid refreshment en route.
august 18
left side work
session 5, 2.5 hours
Thence come the maidens | mighty in wisdom,
Three from the dwelling | down 'neath the tree;
Urth is one named, | Verthandi the next,--
On the wood they scored,-- | and Skuld the third.
Laws they made there, and life allotted
To the sons of men, and set their fates.
Graca Machel, Co-founder of The Elders and SDG Advocate
Kumi Naidoo, Secretary General, Amnesty International
Sherwin Bryce-Pease, UN Bureau Chief, SABC
Continuing, a potential first record for New York County (finder unknown to me).
eBird Checklist: ebird.org/ebird/view/checklist/S35883347
Continuing with our review of the Chivers fleet and the Tillings era brings us to the bus that Chivers built!
It has not been possible to establish if the vehicle arrived at Histon as a single decker or with double deck bodywork, however it entered the company workshops along with it’s sisters for rebuilding and emerged sometime later as a six wheel double decker seating some eighty-nine passengers in 1926.
The background behind the decision to built such a large vehicle was down to cost (even in those far off days they were watching the pennies!) The company drew a lot of it’s labour from Cambridge and were using three buses to bring the staff in from the city and take them home. So to save money they built their own bus. It was operated as such till 1930 and was taken off the road at it would not meet the criteria of the incoming C&U regulations in 1931. The company also went one to gain it’s own operating licence so that it could legally charge it staff bus fares.
As mention above the vehicle was withdrawn from service in 1930. When it re entered the workshops and was outshopped as a liquid waste tanker for use at the new factory in Huntingdon and was used as such for many years. During my research on the company history I had some correspondence from a gentleman who had to visit the Histon factory soon after the company were taken over by Schweppes in 1958. He remarked that he noticed in the transport department they were working on a three axle petrol-electric chassis, which may have been this one. The new owners it seems were not too interested in the heritage angle and the various vehicles that were hanging around were sold off. Moving fast forward to the late 1980’s-early 1990’s a local scrapyard in Cambridge was cleared after the owner passed away, the contents of the yard were it seems cut up and skipped away including I’m told a six-wheel petrol-electric chassis!
If only I had started this research earlier! I went in the yard once during a lunchtime break to photographed an old bus that had been there years and just inside the gate on the right was a garden shed full of old log books and I still wonder today how many would have been Chivers vehicles!
The majority of the dune field in Rabe Crater consists of a sand sheet with dune forms on the surface. The sand sheet is where a thick layer of sand has been concentrated. As continued winds blow across the sand surface it creates dune forms. The depth of the sand sheet prevents excavation to the crater floor and the dune forms all appear connected.
Rabe Crater is 108 km (67 miles) across. Craters of similar size often have flat floors. Rabe Crater has some areas of flat floor, but also has a large complex pit occupying a substantial part of the floor.
The interior fill of the crater is thought to be layered sediments created by wind and or water action. The pit is eroded into this material. The eroded materials appear to have stayed within the crater forming a large sand sheet with surface dune forms as well as individual dunes where the crater floor is visible. The dunes also appear to be moving from the upper floor level into the pit.
This martian scene spans 17 x 62 kilometers (11 x 38 miles). To see where on Mars this area lies, and to download high-resolution versions of the image, go to bit.ly/2Bufbdd
See the Red Planet Report at bit.ly/14KXe4O for updates on Mars research and exploration. For more about Mars geology, check out the Mars-ePedia: bit.ly/1fnXbhw
For the latest THEMIS Mars images as received by mission scientists, see bit.ly/1d6HA7o . To learn more about the THEMIS camera and its Mars images, see bit.ly/13YOfgm .
This image is in the public domain and may be republished free of charge, but if used it should be credited as NASA/JPL-Caltech/Arizona State University.
NASA's Mars Odyssey spacecraft has spent over 15 years in orbit around Mars, circling the planet more than 69,000 times. It holds the record for longest working spacecraft at Mars. THEMIS, the IR/VIS camera system, has collected data for the entire mission and provides images covering all seasons and lighting conditions.
Over the years many features of interest have received repeated imaging, building up a suite of images covering the entire feature. From the deepest chasma to the tallest volcano, individual dunes inside craters and dune fields that encircle the north pole, channels carved by water and lava, and a variety of other feature, THEMIS has imaged them all.
For the next several months the image of the day will focus on the Tharsis volcanoes, the various chasmata of Valles Marineris, and the major dunes fields. We hope you enjoy these images!
Well, to continue the saga, yesterday I tried to get a second quick release plate for my f/2.8 70-200 lens, but nobody had any in stock (. . .???. . .). Since I was going to pass my Manfrotto on to my niece along with a Joby Focus Gorilla Pod (she doesn't have an account here yet, so the secret's safe), I wanted to be sure that I would be able to pass everything to her before she goes back to college (yeah, that's my excuse and I'm sticking to it).
So, 'bright idea," why not pick up a B-2 for the tripod while I pick up the Gorilla Pod (by the way, I WANT one). Better fit on the tripod, and when you need an extra quick release plate, why NOT buy the new ball head that comes attached to it. . .
. . .why are you rolling your eyes at me? It makes perfect sense. . .
. . .it does.
DxO FilmPack:
Generic Fuji Velvia 100
Intensity: 60
Contrast: -40
Saturation: 40
taken with a Sigma 24-70mm f/2.8 (D) EX DG lens
At the north end of the bridge over the Kershope Burn the Waverley route trackbed enters Scotland and continues towards Newcastleton.
I arrived in Yosemite during stormy weather and it continued through the next morning. I woke up the first morning and looked outside and decided to just sleep in. The storm passed and by the second morning the storm was gone. I looked outside and saw clear skies so I didn't think there would much of a sunrise, but it was my last day in Yosemite so I had to get out and see the park at sunrise. The conditions didn't seem promising so I wasn't in a rush to get to any specific spot and I got in the car about 10 minutes before sunrise. As I was driving near El Capitan, my girlfriend looked out the back window towards the sun and said, "The sky is turning pink!" That got me excited and luckily Valley View was only minutes away. I parked, grabbed my camera and tripod as fast as I could and just starting exposing. There wasn't any time to find some interesting foreground element, and I'm glad I didn't look for one because the color started to fade quickly, less than a minute after I got there. This isn't the ultimate Valley View photograph but it was my first trip to Yosemite and I'm happy just to have witnessed this in person.
The funny thing is that I wasn't planning on shooting at Valley View during this trip. I checked it out the day before and I figured there were so few parking spots that I wouldn't find parking and I'd miss the sunrise. When I shot this one, there was only two other people there. Also, when I checked it out the day before, I didn't even like this spot. The water level was so high that there were no foreground elements except for a few rocks here and there that I thought would surely be taken by some photographer that got there earlier than me. This image ended up being my favorite out of the whole trip.
Ever since I got into photography and saw Ansel Adams' work, I've always wanted to come to Yosemite. Over the years I feel like I've been building up all this anticipation, to the point of thinking a trip to Yosemite might be some kind of spiritual and potentially life changing experience. From all the pictures I've seen and films I've watched about Yosemite, it gives it this grand, majestic, awe-inspiring feel. Part of me was fearing that I had built this place up so much that I would be disappointed when I got there. I have to say, it wasn't exactly how I built it up to be. But that wasn't a bad thing. Yes, the views are breathtaking and the towering granite cliffs are awe-inspiring but what I felt most in Yosemite was how peaceful it was. Maybe it was due to the fact that it was a break from a difficult semester of school, a change from the hectic city life, or the fact that I visited during the park's off season, but that was the strongest feeling I got from being there.
The Bubble fixation continues, but no blowing through tubes this time, just a syringe :)
I keep coming back to this and guess I'm still looking for the perfect formation. I'm not sure what that is, but I'm sure I will know it when I see it, LOL.
The lighting on the bubbles, I'm fairly happy with, but still playing around with the background. and trying to decide if I like a hint of colour, rather than a monotone or pure white. The jury is still out at the moment. For these I placed a pale blue tissue over one of the flashes lighting the background and after seeing the results, thinking of going a little stronger. Enough of my rambling, but I guess for those who might be interested, the lighting details to follow.
Maybe stating the obvious, but the pic has been turned upside down, so i'm hoping these notes make sense.
Lighting the bubbles is simple, a pair of Neewer SF-01 mini slave flashes placed to the sides of the tank. One with a red filter atached, the other with a blue one.
Behind the tank, lighting a white card background, placed approx 300mm/12inches behind, were 2 flashes. Another Neewer SF-01 down low, covered with a pale blue tissue, pointed upward at the background. Above and firing down at the background, a Yongnuo YN460 set to 1/4 power.
Triggering was a mixture, the 2 flashes lighting the tank were activated by radio triggers, while the 2 lighting the background used their optical sensors to pick up the light from the others.
Sounds more complicated than it is :)
A futuristic revolver with holes and other shit, no white shapes. I will answer your replies when I wake up today. 12:24 :(
Christian worship has continued on this site for over twelve hundred years since the Celtic saint, Maelruain, founded a monastery here in the 8th Century. This monastery became an important centre of spiritual life: The Ceilí Dé (also known as Culdees, or the servants of God) had their headquarters here.
Three outstanding religious texts, "The Martyrology of Aengus", "The Martyrology of Tallaght" and "The Stowe Missal", were compiled here. The 'Rule of Tallaght' and the 'Teaching of Maelruain' reflect the spirit of the Ceilí Dé reform. All these manuscripts or copies may be seen in the Royal Irish Academy in Dawson Street.
The tower is four storeys high and has a spiral staircase. An external stairs gives access to the first floor and the spiral stairway to the floors above. The third floor has a vaulted stone ceiling above which is a flat roof and a small turret.
On the left inside the churchyard gate is a font called St. Maelruain's Losset. This is a wide and shallow granite stone trough or font. Losat is an Old Irish word denoting a wooden trough used in former times for kneading bread. It is likely that the country people named it from its similarity in shape to the lossets that they used in their homes. St. Maelruain's Cross lies south of the font. It is a small ancient cross set in a pedestal which is fixed in a circular granite base resembling a mill stone. The pedestal and base were formerly known as Moll Rooney's loaf and griddle and the font was called Moll Rooney's Losset.
There are a great many tombstones in the graveyard dating mainly from the 18th and 19th centuries, and some even from the 17th century. One of these commemorates Colonel John Talbot of Belgard who sat in the Parliament of King James II of England and took part in many important military engagements. The graves of the artists Oisin Kelly, Evie Hone and Elizabeth Rivers are in the new graveyard at St. Maelruain's. A survey of the graves was carried out by SDCC which recorded, amongst other information, locations of the graves, observations on their general condition, and details taken from the grave headstones where readable. Copies of this survey are available (for reference only) in the Local Studies section of the library.
Also buried here are George Otto Simms, successively Archbishop of Dublin, from 1956 to 1969, and then Archbishop of Armagh, from 1969 to 1980, and his wife, Mercy Felicia née Gwynn.
Also to be seen in the grounds of the church is the remains of the fosse, the ancient curved bank which enclosed Maelruain's monastery. The best view is from the car park at the rear of Smith's Toystore
Continuing with some emergency themed MOCs, here are two ambulances.
The one on top is based on a Mercedes-Benz Sprinter and is similar to the police van that I've shown previously here.
The one on the bottom was a somewhat more tricky to build and it is based on a Fiat Ducato. It takes inspiration from a few MOCs I've seen online, plus the back doors (wich you can't see that well, I know) are based off a MOC by FireRescue112.
This weekend, we continued rehabilitating the 225 St Station on the 1 Line. This photo shows workers repairing a corroded canopy column. Photo: Metropolitan Transportation Authority / Lee Shek
SFU Continuing Studies staff at our table at last evening's open house in Surrey.
Left to right: An open house attendee; Joti, who works with our Management and Professional Programs; and Kim and Yvonne, our SFU NOW: Nights or Weekends staff.
Tuesday, April 30, 2013
OIL, GAS, AND RENEWABLES: WHERE ARE WE HEADED?
The fracking gas boom continues to put pressure on wind, solar, and other renewables, not to mention coal. With gas prices extremely cheap, utilities are building more natural gas power plants than ever before. This expansion is making it hard for wind and solar, which are still more expensive than gas, to compete. What will it take for renewables to become more competitive?
Panelists:
David Crane, President and CEO, NRG Energy
David Hawkins, Director, Climate Programs, National Resources Defense Council
Andy Karsner, Executive Chairman and Founder, Manifest Energy
Marvin Odum, President, Shell Oil Co. and Director, Upstream Americas, Royal Dutch Shell
Moderator: Brian Dumaine, Fortune
Photograph by Stuart Isett/Fortune Brainstorm Green
This is a photograph from the first running of the Clonard GAA 4 Mile Road Race, Fun Run and Walk which was held in the village of Clonard, Co. Meath, Ireland on Wednesday 2nd August 2017 at 19:30. This race was organised to faciliate the continued fund raising for the wonderful new GAA facilities at St. Finian's Park - the new home of Clonard GAA. The race itself was an outstanding success with over 400 participants including over 230 participants having chip timing. The new GAA facilities provided ample car parking and space for refreshments and mingling afterwards.
The four mile distance is something of a novelty these days on the road racing circuit and the large field shows that the distance holds an attraction for runners, joggers and walkers.
The race started and finished at the new GAA pitch and incredibly only 20 meters separated the start and finish line of the race. The route took the participants east bound on the R148 towards Enfield through the village of Clonard and onwards to take a right turn onto Keegan's boreen to cross the M4/M6. The route then took a right turn on the Clonard Edenderry road to return back to Clonard with another crossing of the M4/M6 motorway.
As this was the first running of the race the support from local athletes was very visible.
Credit must go to Clonard GAA and Clonard Community Council who provided excellent organisation on all aspects of the race including event management, parking and race stewarding with the Gardai. This race can be an example to every other club in Ireland in how a properly organised race can be run.
Race event management and registration was supplied by Kildare company POPUP Races www.popupraces.ie
Full set of photographs: www.flickr.com/photos/peterm7/albums/72157683703248712
Clonard GAA Facebook: www.facebook.com/ClonardGaaMeath/
Official Race Website: www.ashglebeinformatics.ie/clonard/
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 directly to: email, Facebook, Instagram, 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.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,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 or acknowledge us as the original photographers.
This also extends to 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.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want 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 takes 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.
Let's get a bit technical: 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. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
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.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
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
Struggling over the impact of economic sanctions, Iran’s parliament has passed a stop-gap budget while it debates President Mahmoud Ahmadinejad's latest full-year spending proposal.
It’s the third straight year the Iranian parliament hasn’t been able to pass a full-year budget by the March 21 beginning of the Iranian calendar and fiscal year. Western economic sanctions have cut Iranian oil exports by more than half over the past year, sharply reducing Iran's income and causing the nation’s currency to lose half its value over the past year.
“The government faces huge uncertainties,” according to Iranian-born economist Mehrdad Emadi from London’s Betamatrix consultancy firm. “This short-term budget shows that planning beyond 90 days has become impossible because of sanctions,” he added.
Ahmadinejad’s proposed full-year budget forecasts a 31 percent hike in domestic currency spending, reflecting the sharp drop in the value of the rial. The International Energy Agency estimates that Iran's oil exports may have dropped below one million barrels per day in January, from 2.2 million bpd in late 2011.
New economic sanctions imposed by the United States and European Union in the past year banned the sale of Iranian oil to Europe, making it difficult for other countries to pay for Iranian oil or for ships that carry it to get insurance. The sanctions were imposed over Iran’s nuclear program, which the West say is aimed at producing nuclear weapons. Iran insists its program is peaceful.
The approval process for the temporary budget will likely be hampered by the deep political divisions between the president and a parliament that has accused him of reckless financial management, which they blame for Iran's economic misery. Ahmadinejad, who is nearing the end of his second and final four-year term, has often quarreled with the Iranian parliament over economic policies, including cuts in food and fuel subsidies.
Economic sanctions against Iran continue to put pressure on the Islamic Republic to abandon its nuclear program, but so far haven’t succeeded in getting Tehran to reconsider their nuclear quest. The nation’s latest budget crisis reflects that economic pressure, so pray that the hearts of the Iranian leaders will be moved to reconsider the nation’s actions (Proverbs 21) and that – as a result – the world – and especially Israel – can avoid an armed conflict with the Islamic Republic over its nuclear program.
For more on this story, visit: Jerusalem Prayer Team Articles Page.
LIKE and SHARE this story to encourage others to pray for peace in Jerusalem, and leave your own PRAYERS and COMMENTS below.
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Continue Acelerando, oficina de valuation e patentes. Palestra "Patentes & Propriedade Intelectual, Mitos e Verdades, com Henry Suzuki, da Axonal Consultoria Tecnologia. Data: 15/07/16. Local: São Paulo/ SP. Foto: Patrícia Cruz/Sebrae-SP.
On Saturday, December 12, St. John Cantius Parish hosted its annual Festival of Nine Lessons and Carols.
The Festival, which originates in the Anglican Church, is a service of Christian worship celebrating the birth of Jesus. The story of the fall of humanity, the promise of the Messiah, and the birth of Jesus is told in nine short Bible readings from Genesis, the prophetic books and the Gospels, interspersed with the singing of Christmas carols, hymns and choir music.
At St. John Cantius, the Festival is traditionally celebrated after first Vespers of Gaudete Sunday. It is concluded with exposition and benediction of the Most Blessed Sacrament, and is thus a splendid way for the participants to prepare for the coming of Christ on Christmas.
‘SOLUTIONS’
Opening event Wednesday 1 May 6-8pm
Continues until 18 May 2013
Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.
Bus Projects presents an exhibition of DIY art solutions.
For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.
Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.
Danae Valenza
Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.
MAXIMUM RIM
MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.
Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.
Christopher LG Hill
Ideas of freedom mediated through the self and others, and objects.
Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.
Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.
Adelle Mills
Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.
Marcin Wojcik
Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.
Continuing the Bexhill to Crowhurst railway interest..``In 1900 it was decided to build an approach road to Crowhurst Station from the village at a cost of £4,000 which was payed for by the SE&CR which also put up £4,184 for a hotel to be built near the station``..(see Peter A. Hardings book The Bexhill West Branch Line).The Inn At Crowhurst closed in 1998...
A small copper green raku figure by me,a white crackle raku teapot from the Glebe inner city clayworkers ,annual teapot show,a Bob Connery gold lustre bowl and a raku mug from a favourite potter,whose name has temporarily escaped me :)
Pride of the Clyde Bova IIG 9817 is seen about to pick up a contingent of shipyard workers from Scotstoun for the journey home.
At one time there would have been well over a dozen buses and coaches lined up on South Street at the end of the day, now there are just two which serve both Govan and Scotstoun yards.