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Impressions from Skills Matter's FullStack Conference 2014.
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All talks have been recorded as SkillsCasts (film/code/slides) and are available to watch by Skills Matter's Community here: skillsmatter.com/conferences/6361-fullstack-node-and-java...
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FULLSTACK 2015 - LONDON, JUNE 25-26TH
We are proud to announce FullStack 2015 – the conference on Node, JavaScript and hackable electronics. This year, we will bring the world's top innovators, hackers and experts together with our amazing developer community in London to learn and share skills, gain insights and drive innovation. Join to experience three days jam-packed with talks, demos, and coding.
Join us at FullStack 2015 in London on June 25-26th!
The FullStack 2015 will kick off with two days of talks and discussions over 4 tracks each day covering JavaScript, Node, hackable electronics and other topics you may tell us you wish to see.
Each track will feature talks by some of the world's top hackers and makers who are helping evolve technologies and practices in the exciting world of web, mobile, servers, drones and robots. In addition, each track will feature a Park Bench Panel discussion and 5 lightning talks by some of the great engineering teams in our community who use FullStack technologies and practices daily and will demo their projects.
Following two days of talks, we'll continue with a Saturday featuring hands-on Tutorials, so that you can gain some hands-on experience and practical skills to implement new ideas from the talks you attended and the people you met during the first 2 days!
Like the sound of that? Find out more here: skillsmatter.com/conferences/6612-fullstack-the-conferenc...
CALL FOR THOUGHTS NOW OPEN - SHARE YOUR IDEAS!
Skills Matter's community conferences are made possible thanks to our passionate community - who constantly feed us with their ideas. Who are the experts you would like to learn and share skills with next year? What topics would you like to see covered? How can we improve on 2014's conference? Help us create a great 3 days by submitting your thoughts, ideas, dreams and requirements through our Call For Thoughts Program (www.surveymonkey.com/s/VFGCDQ9) - and we'll start working on these straight away!
Source: livinghistories.newcastle.edu.au/nodes/view/44871
Transcription
FROM PERCY GRAINGER
GRAINGER MUSEUM
THE UNIVERSITY OF MELBOURNE
MELBOURNE N.D. VIC. AUSTRALIA
Jan. 1956
Dear Alec & Phyllis -
Here we are with loving thought to you both dear people & wishing you a HAPPY NEW YEAR.
We are well & hard at work on this museum project - It is going quite well -
We have booked passage to USA on June 1st - We aim at being in Sydney for at least a 14-night before the[n?] - So will see you then. In the meantime much love from us both.
Ella & Percy -
Annotation
In Honolulu, Sept. 18, 1955.
This image was scanned from the original held in Cultural Collections, Auchmuty Library, the University of Newcastle, Australia.
If you have any information about the image you would care to share, please contact us or leave a comment.
Please contact us 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.
Native warm-season perennial
densely tufted C4 grass; stems grow to 1 m tall. Leaves are blue-green with a distinct whitish midvein and the nodes are hidden by leaf sheaths. Flowerheads are spreading open panicles to 40 cm long. Spikelets are 2-flowered, 2.5-3.5 mm long and sparsely paired; lower glume is 20-30% of the spikelet’s length; lower lemma is sterile; upper lemma is smooth and shiny. Flowers in summer and autumn. Found in native pastures, woodlands or disturbed areas (e.g. roadsides) on a range of soil types, but especially heavy clays and alluvial soils; most common in the Upper Hunter, North West Slopes and along the Plains. Native biodiversity. Tolerates flooding, but has poor drought tolerance. Establishes easily from seed; seed is spread when flowerheads break off at maturity and blow around. Hays-off in winter, but quickly regrows in spring and produces a good bulk of highly palatable feed after heavy warm-season rains or flooding. Increases under moderate stocking, but decreases under heavy grazing; its absence may indicate overgrazing or severe drought.
Use sufficient grazing pressure to prevent plants becoming tall, rank and less palatable. This can be difficult to achieve in good summers when an excess of feed is most likely to be produced.
www.visualcomplexity.com/vc/project_details.cfm?id=165&am...
SoNIA (Social Network Image Animator) is a java package for making animations of dynamic networks. Networks in SoNIA are not limited to the standard notion of a set of relations among a set of entities at a given point in time. Instead, consider the entities (or nodes and individuals) as a stream of events. Every event has a real-valued time coordinate indicating when it occurs. If the event is not instantaneous, it also has an ending coordinate to indicate its duration. A node-event, for example, can describe a company that comes into existence on Jan 1, 1990 and then dissolves on June 1, 1996. Alternatively, a node event might describe a single observation of a node, such as an individual in a friendship survey wave done in 1995. These images represent a movie of a classroom attention network built from a streaming record of interactions collected by Dan McFarland. The dataset consists of repeated observations of social interactions in over 150 high school classrooms during the 1996-97 school-year. In the network movie, the interaction was depicted from one of these class periods using 2.5 minute time slices (average tie value in each), a .5 minute delta, and multi-component Kamada-Kawai layout process. As such, there is a sliding window of 2.5 minutes of interaction always being shown. The authors selected this time-window because it is wide enough to capture enough of the interaction to represent fluid patterns or network forms, and narrow enough so as to not merge a variety of interaction routines together, thereby confounding meaningful configurations.
Source: livinghistories.newcastle.edu.au/nodes/view/33038
Thomas James Rodoni was born in 1882 at Hotham East, Victoria, to
Swiss and Irish parents. While living in Sydney in August 1914 as a man of
31, Rodoni joined the first Australian Imperial Force that would engage in the
Great War: the Australian Naval & Military Expeditionary Force. A week after
enlisting, Rodoni’s company embarked on the HMAS Berrima and sailed
to German New Guinea among a fleet with orders to seize two wireless
stations and to disable the German colonies there.
Rodoni’s unofficial photographs – many of them “candid” shots, captured
in the moment – are a rare glimpse of this pivotal moment in Australia’s
history. He has documented the energetic atmosphere of prewar Sydney
and its surrounds, from civilian and military marches to battleships docked
in Sydney Harbour, with accompanying crowds of people brought together
for these special events. His camera voyaged with him on the expedition to
the Pacific region, taking images both from the ship’s deck and then again
on dry land after disembarking.
Rodoni was stationed in New Guinea for five months with the AN&MEF
after the successful capture of territory from the German forces. His striking
images are testament to his ease with the camera, and the ease of his fellow
servicemen around this avid amateur photographer. He used his camera to
record daily events and significant moments in the expedition, and made
several group portraits of the officers and soldiers in his company. Yet his
images also suggest a genuine curiosity for the foreign people and places
where he was stationed, and a love of the photographic medium in which
he practiced during this early period of the war.
After leaving New Guinea with the AN&MEF and returning home to Australia
in January 1915, Rodoni left the force to work in a Small Arms Factory
manufacturing munitions for the war. He soon married and settled in
Newcastle with his wife, Catherine Annie Wilson, and had four children:
Thomas, Mary, Jim and William (Bill). The wider collection of glass plate
negatives – over 600 in total and with many views of Newcastle and its surrounds is an incredible legacy to Thomas Rodoni and his family.
Rodoni died in 1956 as a result of a car accident in Waratah, Newcastle.
The original negatives are held in Cultural Collections at the Auchmuty Library, University of Newcastle (Australia).
You are welcome to use the images for study and personal research purposes. Please acknowledge as Courtesy of the Rodoni Archive, University of Newcastle (Australia)" For commercial requests you must obtain permission by contacting Cultural Collections.
If you are the subject of the images, or know the subject of the images, and have cultural or other reservations about the images being displayed on this website and would like to discuss this with us please contact Cultural Collections.
If you have any further information on the photographs, please leave a comment.
These images are provided free of charge to the global community thanks to the generosity of the Bill Rodoni & Family and the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: dl.dropboxusercontent.com/u/21528529/veradeaconform.jpg
metronomes stand ready for action in the Ligeti, NODE concert, 15 March 2011, Samuel Beckett Theatre, Trinity College Dublin
Source: livinghistories.newcastle.edu.au/nodes/view/3819
This image was scanned from a negative in the Bert Lovett collection. It is part of the Norm Barney Photographic Collection, held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
If you have any information about this photograph, please contact us or leave a comment in the box below.
Please contact us if you are the subject of an image, or know the subject of an image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.