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Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
A Coleção fotográfica faz parte integrante da cobertura efetuada durante a mesa redonda, realizada a 17 de novembro no Auditório da ESTIG, com Gil do Carmo e Felipe Pereira.
Todas as fotografias estão otimizadas para a internet e fazem parte do espólio do Instituto Politécnico de Beja. Nenhumas das fotografias podem ser reproduzidas, no seu todo ou parcialmente, de forma eletrónica ou impressas, sem a autorização do IPBeja. Para adquirir fotografias com maior resolução contacte o Gabinete de Imagem e Comunicação do Instituto Politécnico de Beja através dos seguintes mail:
gicom@ipbeja.pt
apassarinho@ipbeja.pt
jdomingos@ipbeja.pt
Site Institucional: WWW.ipbeja.pt
38° 00' 46.87''N
7° 52' 22.19''W
The corner by the kitchen is, as usual, tricky. The foundation doesn't come all the way up to the electrical main, but they'll have to cut the form down.
Eine einfache geometrische Form zieht sich wie ein roter Faden durch die Arbeiten von Dmitry Teselkin. Das von ihm „Constructor“ genannte Grundmodul besteht aus einem Rechteck, bei dem in der Mitte jeder Kante rechtwinklig ein Einschnitt oder eine Einfräsung vorgenommen wurde. Er bedient sich dabei einer Vielzahl von Materialien wie Karton, Plexiglas, Stahl, Stein und Beton. Entsprechend unterschiedlich sind auch die technischen Ausführungen von Scherenschnitt bis Laser-Cut.
Nachdem er dieses Baukastensystem vor elf Jahren entwickelt hatte, erarbeitet der seit einem Jahr in Frankfurt lebende russische Künstler Wandobjekte und raumbezogene Installationen, die sich auf Prinzipien des Minimalismus, des Industriedesigns und des Kinderspiels beziehen.
Teselkins Werk basiert auf seiner Erkenntnis, Kunst wie ein Spiel zu verstehen: „Ich bin davon überzeugt, dass das Schaffen einer kreativen Person immer dann am stärksten ist, wenn die Person spielt. Egal ob es um Ideen, Formen oder physikalische Gesetze geht. Ich verstehe Kunst als ein Spiel, mit dem ich sowohl die Kunstwelt als auch die Welt grundsätzlich entdecke.“
Neben der spielerischen Herangehensweise entwickelte sich Constructor in Teselkins letzter Interpretation zu einer kritischen, aggressiveren Version. Kunst als Waffe, Kunstobjekte als Waffen der Künstler mit dem Ziel, die Welt zu erobern. Denn genau wie eine kostbare Waffe wird auch Kunst ausgestellt und sorgfältig um die Welt transportiert. In diesem Zusammenhang versteht sich Constructor auch als eine Waffe Teselkins. kvfm.de/dmitry-teselkin-neurotisches-spiel/
Diesel locomotive Mk45 2005 is seen at Huvosvolgy running on to the coach to form a service to Széchenyihegy.
Budapest Childrens Railway
4 February 2017
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
A Coleção fotográfica faz parte integrante da cobertura efetuada durante a mesa redonda, sobre Moda, realizada a 24 de novembro no Auditório da ESTIG, com Raquel Prates e Carlos Ramos.
Todas as fotografias estão otimizadas para a internet e fazem parte do espólio do Instituto Politécnico de Beja. Nenhumas das fotografias podem ser reproduzidas, no seu todo ou parcialmente, de forma eletrónica ou impressas, sem a autorização do IPBeja. Para adquirir fotografias com maior resolução contacte o Gabinete de Imagem e Comunicação do Instituto Politécnico de Beja através dos seguintes mail:
gicom@ipbeja.pt
apassarinho@ipbeja.pt
jdomingos@ipbeja.pt
Site Institucional: WWW.ipbeja.pt
38° 00' 46.87''N
7° 52' 22.19''W
Dogwood 52 Week Photo Challenge. WEEK 17: Technical: Loop Lighting. As a former stage lighting technician, then sculpting with light (rather than just pointing them in the perceived right direction) to create form is important. But here everything has been softened using a reflector. Thank you to my partner, Janice.
Challenge: "Loop lighting is one of the most used portrait lighting techniques. Shoot a portrait using loop lighting. If you don't have an off-camera flash setup, get creative with how you light your subject." #Dogwood52 #Dogwood2017 #Dogwood2017Week17
Little Finland, Nevada - aka Hobgoblin's Playground and Devil's Fire - just north of Lake Mead. Amazingly intricate and delicate sandstone shapes formed through different types of erosion, snow-like white mineral deposits on the rocks, a truly alien terrain. Near Whitney Pocket in the Gold Butte National Monument.
Southern Hawker Dragonfly. The two shots I've posted are the result of 40 intensely frustrating minutes of mostly following the flight, pressing the shutter and trashing the out of focus result! Swallows in flight are easy by comparison. (The title is because I mis-identied it as an Emperor. Thanks again to Fenwalker whose shots of invertebrates are superb!)
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
These most recent pics were to show form in photography. We had to hand in a contact sheet with 20-24 photos and print an 8x10 of the one shot we thought was best.
I didn't put all 20 up here because...well...some were just filling space. The Ho-Jo's building I printed as the 8x10
in the garden
Magdeburg / Germany
© All Rights Reserved - you may not use this image in any form without my prior permission.
Também de nome São Cipriano, está situada no centro da vila, na Praça da Liberdade. Esta Igreja está datada do séc. XVI, sob planta longitudinal formada por três naves retangulares e capela-mor. A esta estão adossadas à parte central duas torres sineiras, ligeiramente recuadas. A fachada, de frontão contracurvado, está delimitada por cunhais em cantaria, encimados por pináculos.
O portal principal em arco abatido é contornado por uma moldura contracurvada e encimado por uma pedra de armas coroada. Está ladeado por duas colunas em cantaria, rematado por aletas. Este portal está encimado por um janelão de moldura curvilínea, sobrepujada por um frontão contracurvado. Ambas as torres possuem duas portas iguais de molduras contracurvadas, e as janelas igualmente iguais apresentam-se em arco perfeito, sendo contornados por molduras. Terminam com as sineiras de arco perfeito, contornadas por uma sacada de guarda de ferro.
O interior é formado por três naves e capela-mor que estão divididas por arcos de volta perfeita. O retábulo-mor corresponde ao estilo barroco. O sacrário está envolvido por anjos e ladeado por dois nichos quadrangulares, significando a Adoração dos Reis Magos e o Juízo Final.
Finalmente no séc. XVIII tomou o aspeto atual, com as reformas feitas e a reedificação após as consequências provocadas por um temporal em 1877.
www.visitarportugal.pt/distritos/d-viana-castelo/c-vila-n...
Formed 1.5 billion years ago from a dome of molten magma, the large granite boulders at Elephant Rocks State Park resemble a train of pink elephants. The reddish or pink granite has been quarried in this area since 1869, and has provided red architectural granite for buildings all across the country, particularly in nearby St. Louis, Missouri. Stones unsuitable for architectural use were made into paving stones that were used on the streets of St. Louis, as well as the wharf along the Mississippi River. The granite from this area is commercially known as Missouri Red monument stone.
One of the largest boulders, named “Dumbo,” measures 27 feet tall, 35 feet long and 17 feet wide, tipping the scales at a hefty 680 tons.
Elephant Rocks State Park was created in 1967 following donation of the land by geologist John Stafford, and is managed by the Missouri Department of Natural Resources. It is located in Iron County, Missouri, and is part of the Saint Francois Mountains, which rise over the Ozark Plateau in southeastern Missouri. This mountain range is one of the oldest exposures of igneous rock in North America. The park has a one-mile paved Braille Trail designed for people with visual and physical disabilities.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark Schuver.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver
Treecreeper, ( Certhia familiaris ),
The Treecreeper forms a sibling species with the Short-toed Treecreeper in Europe. The Treecreeper is found in coniferous,mixed and some deciduous woodland ( the latter in places where the short-toed Treecreeperdoes not occur ). It prefers more upland or montane forests to the Short-toed species. The diet is mainly small insects and larvae, spiders and woodlice, as well as a few seeds, The food is obtained by searching cracks in the bark of trees and the species runs rapidly up and around tree-trunks, It uses its tail as a support like a woodpecker and rarely descends head-down like a Nuthatch. It is not gregarious and is seldom seen in a group other than family parties, but often associates with mixed feeding flocks of Tits in winter.
The nest is concealed behind loose bark on a tree or in a crevice, and is a loose cup of twigs, moss, roots and plant material, lined with feathers, wool or fine bark debris, Both sexes take part in nest-building. The Female incubates alone and the young are tended by both parents,
The Treecreeper is mainly resident and sedentary, though some movement of northern birds takes place in winter, with some of the Scandinavian form occasionally reaching Britain,
Length, - 13 cm
Wing Length, - 5.9 - 6.7 cm
Weight, - 9 g
Breeding,- End of April to June, 2 broods per year,
Skirza natural rock art. Liesegang rings formed from iron rich mineral deposition in Devonian Old Red Sandstone.
Petites formes dansées, Cie Gilles Verièpe ( www.compagnie-gilles-veriepe.com/site/ ) @ Rafales d'art, Le Bateau Feu ( www.lebateaufeu.com/fr/liste-des-spectacles-rafales-d-art... ). Dunkerque, vendre 21 septembre 2012