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Sometimes in Prague
Created by Joshua William Gelb and Stephanie Johnstone
Featuring:
Jess Almasy as Ryan
Leah Goldstein as Joanna
Chris Lind as Alex
Jenni Lawton as Waitress/Swing
Danielle Sacks as Melissa
With Music Direction and Additional Music by Scott Thomas
Band:
Hiroyuki Matsuura on drums
Frank Rathbone on lead guitar
Nate Stevens on bass
Crew:
Assistant Director: Sophia Schrank
Stage Manager: Tegan McDuffie
Visual Media: Jean Ann Douglass
Sound Design: Ryan Maeker
Lighting and Set Design: Ben Kato
Costume Consultant: Julie Saltman
Social Media Guru: Dave McGee
Produced by Magic Futurebox and Rusty Ring Thelin
for the Soho Thinktank Ice Factory Festival 2011 at 3LD
Photo by Beth Wexelman
I keep taking photos late at night and I am not helping myself - this lighting is not ideal
Ichiro Stower - KDF Salgoo
This is a photograph from the 3rd annual running of The Lough Lene Gaels Hurling and Camogie Clubs New Year Road Challenge which was held in Collinstown, Co. Westmeath, Ireland on Sunday 11th January 2015 at 13:00. There were two races on offer today - a 10KM road race and a 5KM road race, fun run, and walk. This is one of the first road races in the midlands of the New Year 2015. As this was a community orientated event families were especially welcome in the 5KM race. The race was organised to raise funding for the development of the GAA pitches for the Lough Lene Gaels Hurling and Camogie Clubs. Overall this was a very successful event with a very large field of well over 300 participants in both races combined. The great local effort was exemplified by a very big local contingent from Collinstown and neighbouring areas.
The 5KM race was an out and back course on the Collinstown to Fore Road. The 10KM was also on an out and back course with a deviation between 2KM and 7KM for the longer race. There were several tough hills but an equal amount of down-hill. There was a bitter cold wind on the backs of participants of the 10KM for the first half of the race which unfortunately turned to become a headwind for the return stretch to the finish. The turn around on the course for the 10KM came at Doyle's Pub [goo.gl/maps/WxPSy - Google Streetview] at Glenidan. Refreshments were served afterwards in the Lough Lene Inn where the prize ceremony was also held.
Due to the inclement weather and poor lighting we had to, unfortunately, delete a lot of our photographs as there were very many blurs and fuzzy pictures. However, we have an extensive set of photographs from today's events on the following Flickr Photoset Page: www.flickr.com/photos/peterm7/sets/72157649832542838/
Some useful Internet links
Race Event Facebook Page: www.facebook.com/loughleneinn.collinstown?fref=ts
Our Flickr Photographs from Lough Lene Gaels 5KM New Year's Resolution Run 2014: www.flickr.com/photos/peterm7/sets/72157639654608496/
Our Flickr Photographs from Lough Lene Gaels 5KM New Year's Resolution Run 2013: www.flickr.com/photos/peterm7/sets/72157632508354317/
Our Flickr Photographs from the Lough Lene Gaels 5KM Road Challenge - July 2012: www.flickr.com/photos/peterm7/sets/72157630562888662/
Lough Lene Gaels GAA Club on Wikipedia en.wikipedia.org/wiki/Lough_Lene_Gaels_GAA
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.
I want to download these pictures to my computer or device?
You can download the photographic image here direct 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. However - look for a symbol with three dots 'ooo' 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 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.
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.
Creative Commons aims 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
Sometimes We Sing Together (Trey Lockerbie and Ashleigh Haney) performing live at Room 5 Lounge in Los Angeles California on Wednesday March 19th, 2014.
~ Albert Schweitzer
...
I can't express fully how grateful I am for those of you who continually flamed my creative fires and rekindle this light....the one I hold but sometimes feel waning.
Toughie adores Jack. Jack picked him up the first day because I was at The Windmill and couldn't go with him. Tough worries and frets anytime Jack goes outside or goes to town. When Jack sits down in his favorite place, Toughie has to come and take a nap on Jack's lap. And sometimes he snores.
Sometimes the painting is an adventure.
With the box of watercolors and no preliminary drawing, I made this sketch improvised .
Sometimes it's important to know when to ride and when to carry. The track is much steeper than it looks, honestly!
Well sometimes you can't change and you can't choose. And sometimes it seems you gain less than you lose..
LAKE ANNIAN or Lake Anneen, sometimes referred to as Anneen Lake or (incorrectly) Nannine Lake, is a DIWA-listed salt lake system in Western Australia. It is located at 26°56_S 118°18_E about 40 kilometres southwest of Meekatharra.
The lake is roughly 12000 hectares in area, and consists of a main waterbody with two elongate arms. The main waterbody is rectangular, with its long side oriented along a north-westerly axis. A narrow arm, essentially a network of anastomosing creeks, arises from near the eastern edge, stretching north almost to Meekatharra; the lake receives inflow from this arm and also some smaller creeks on the west and north side. Drainage is via the other arm, which arises from near the western edge and reaches almost to headwaters of the Hope River, into which Lake Anneen flows following heavy rains. A low ridge nearly divides the lake in two, and the Great Northern Highway now runs along this ridge.
Lake Annean is shallow, with a great many islands and peninsulas. Some parts of the lake almost always hold water, but the entire lake fills only after flooding caused by tropical summer and autumn rains. This occurs only every five to ten years.
It is one of the most important breeding sites in Western Australia for Gelochelidon nilotica (Gull-billed Tern) and Chlidonias hybridus (Whiskered Tern}. It is also an important refuge for other waterbirds, the nearest adjacent wetland, Wooleen Lake, being nearly 200 kilometres away.
The ghost town of Nannine is located on the northern banks of Lake Annean. The lake is no longer currently subject to any human use, except for some recreational sailboarding by residents of the area. Potential degrading processes include pastoral grazing; grazing and predation by feral and introduced animals; the illicit picking of wildflowers, and pollution by the highway or nearby gold mines. See WIKIPEDIA for more.
We are reminded how small we are....the news from the northeast US the last 48 hours has been very humbling. I am happy that most of my family and friends in that area are doing well, although many of them cold from the loss of power that may not be restored for over a week. Keeping those families that have suffered loss of life or injury close in thought and prayer.
The Abbey Theatre opened its doors in 1904, and from then onwards was to play a major, if sometimes controversial role in Irish culture. The artistic careers of W.B. Yeats, John Millington Synge and Sean O’Casey, along with a plethora of lesser literary lights, were closely bound with the theatre. The importance of the Abbey is reflected in the fact that it was given an on-going state subsidy from 1925.
Read more about Yeats and Dublin | Copyright notice.
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí 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 Anahí 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.
Anahí 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
things just go right and you have Christmas in July.
An evening shower brought sparkles and light to the Queen Anne's Lace. A wonderful way to end a day
Belfast's tradition of political murals is a century old, dating from 1908 when images of King Billy (William III, Protestant victor over the Catholic James II at the Battle of the Boyne in 1690) were painted by Unionists protesting against home rule for Ireland. The tradition was revived in the late 1970s as the Troubles wore on, with murals used to mark out sectarian territory, make political points, commemorate historical events and glorify terrorist groups. As the 'voice of the community' the murals are apparently rarely permanent, but change to reflect the issues of the day.
The first Republican murals appeared in 1981, when the hunger strike at Maze Prison saw the emergence of dozens of murals supporting the hunger strikers. In later years, Republican muralists broadened their scope to cover wider political issues, Irish legends and historical events. After the Good Friday Agreement of 1998, the murals came to demand policy reform and the protection of nationalists from sectarian attacks. Common images seen in Republican murals include the phoenix rising from the flames, the face of hunger-striker Bobby Sands, and scenes and figures from Irish mythology.
Whereas Republican murals were often artistic and rich in symbolic imagery, the Loyalist ones have traditionally been more militaristic and defiant in tone. The Loyalist battle cry of 'No Surrender!' is everywhere, along with red, white and blue painted kerbstones, paramilitary insignia and images of King Billy, usually shown on a prancing white horse. You will also see the Red Hand of Ulster, sometimes shown as a clenched fist and references to the WWI Battle of the Somme in 1916 in which many Ulster soldiers died; it is seen as a symbol of Ulster's loyalty to the British crown, in contrast to the Republican Easter Rising of 1916. In this mural, quis-separabit means 'Who Shall Divide Us?'.