belfast

Belfast arts scene ‘damaged’ by lack of studios, says report

A shortage of studio and rehearsal space for artists and musicians risks causing “severe damage” to Belfast’s cultural life.카지노사이트

That is according to a “cultural mapping” report carried out for Belfast City Council.

It also said that Belfast was “lacking in museums and art galleries” compared with other similar cities.

Among longer-term ideas proposed to fund culture in Belfast, the report suggested introducing a hotel levy.

Other cities in the UK such as Liverpool, Edinburgh and Bath have also looked at introducing a “tourist tax” to pay for cultural events.

Councils in those cities have considered an additional small charge on hotel rooms of £1 or £2 to raise extra money to spend on culture but introducing such a move may need a change in legislation.

Artists recently held a protest in Belfast’s Cathedral Quarter to appeal for more affordable workspaces.

Some who took part had lost their equipment and work in a fire in a building on Donegall Street at the start of October.

The cultural mapping report was commissioned by Belfast City Council and the Department for Communities.

Carried out by the Daisy Chain Inc consultancy, it looked at how many museums, galleries, theatres, music venues and arts centres Belfast had.

But it also examined how much space and accommodation was available for artists, musicians and other people in the creative sector to work and rehearse.

“The lack of secure tenancy for artist studios in Belfast has put this sector in crisis,” the report said.

‘No space to work’
It said there was an “immediate need for provision for space for creative people to work” and that was “an existential threat that, if not addressed, will cause severe damage to the cultural fabric of the city”.

“With urgency, we recommend addressing the shortage of affordable studio space in Belfast,” the report continued.

“This should not be limited to visual artists – we include musicians, writers, theatre-makers and all creative producers.

“Belfast studio groups have waiting lists and when art students graduate every year there is no space for them to work.”

The report said that while the Cathedral Quarter area of the city was once “home to vibrant art studios“, rising property prices had caused them to leave.바카라사이트

Other established studios, like Vault Artist Studios which houses over 100 artists and the city’s first tool library in east Belfast, were coming to the end of their leases and looking for new premises.

Members of Array Studios, who won the prestigious Turner Prize in 2021, were among those who spoke to the report’s authors.

The report suggested a number of buildings in the city that could be used to provide more studio space, including the former Belfast School of Music on Donegall Pass in south Belfast and a former supermarket on Royal Avenue.

It also said that Belfast had fewer museums than comparable cities like Dublin, Edinburgh and Rotterdam.

“There is a gap in the infrastructure for both museums and galleries,” it noted.

The report said that the Golden Thread Gallery had a long-running plan to create a new venue and contemporary art gallery in the city centre, which could “provide a visitor destination for the gallery and the region”.

Golden Thread’s years of planning and consideration for this project make them well placed to get this project over the line and increase the offering of contemporary art in Belfast,” the report concluded.

Further, more detailed research on Belfast’s venues, galleries, studios and museums and the number of people who use them is now due to be carried out.

The report was presented to Belfast City Council’s Growth and Regeneration Committee in November and is likely to be discussed when the full council meets on 1 December.온라인카지노

trump

Tiffany Trump’s wedding assembles a family divided over its patriarch’s political future

(CNN)-After three days on hurricane watch, Tiffany Trump breathed a sigh of relief.카지노사이트

The weather in Palm Beach, Florida, was finally easing and the forecast for Saturday, her wedding day, looked sunny and warm. Two people familiar with the bride-to-be’s mood tell CNN that Donald Trump’s younger daughter, his only child with second wife Marla Maples, had been “stressed” about the late-season storm and what it might mean for her Mar-a-Lago celebration with 25-year-old Michael Boulos, her boyfriend of four years.

But even though Tropical Storm Nicole is moving on, the Trumps may still be in for some tumult over the weekend. They’re gathering as their patriarch makes moves toward a 2024 presidential run, a prospect not everyone in the family is excited about. Some of them are signaling they don’t want to be involved much, if at all, sources close to the family tell CNN.

Three people familiar with the former president’s activities say he is not in the best of spirits. Many of the high-profile candidates he endorsed in the midterms failed to secure a win, and now some Republicans are whispering about his dwindling influence over the party. Trump is “cranky,” says one of the people.

At present, say those who are familiar, Trump is more focused on his “special announcement” on Tuesday, when he may – or may not – announce his planned third run for the presidency. His mind is consumed with the 2024 political landscape and where and how he will fit into it.

But first he has to get through one other job: Father of the bride.

Trump typically likes being the center of attention at his private club, which also serves as his home, but only if he’s being congratulated or in the mood for accolades. The run-up to Tiffany’s big day has been rough and, as the skies clear and her guests descend on Mar-a-Lago, sources say the former president is lying low.

Two of the people familiar with Trump’s mood say he has also been on the outs with his wife, Melania Trump, after a post-election day news report said she got the brunt of his ire after Dr. Mehmet Oz’s loss in his run for the US Senate. The New York Times reported that Donald Trump blamed Melania Trump for his endorsement of the TV doctor; during a rally this year, he mentioned his wife was a big Oz fan.

Showing up in a news story is not something the ultra-private Melania Trump enjoys, and Trump was soon apologizing on Truth Social to her for what he called “made up” stories about her involvement. The damage, however, say the two people, was done. Plus, everyone steers clear of the former president when he’s in a bad mood, including his wife. CNN has reached out to a spokesperson for the former president.

Still, it’s a wedding, and an entire family cannot completely avoid one another. Tiffany Trump has close relationships with all of her half-siblings, say those who know her. Though she was often referred to as Trump’s “forgotten daughter” during the White House years, when older sister Ivanka Trump was center stage, Tiffany – who graduated from Georgetown Law in 2020 – is tight with her older sister. Ivanka was on hand last weekend at Tiffany’s bridal shower, held at a friend’s home in Palm Beach, a celebration that included a tiered Tiffany-blue cake along with her mother, Marla Maples, and her stepmother, Melania Trump. CNN has reached out to a spokesperson for Tiffany Trump for comment on this story.

Ivanka and Tiffany Trump still have a strong relationship, but elsewhere the family dynamic has been shifting over the past two years. Ivanka’s interactions with her father have changed since both left the White House. Now living in Miami, Ivanka is not wistful for Washington – “far from it,” says one of several people who spoke to CNN on condition of anonymity to preserve personal and professional relationships with the family. CNN reached out to a spokesperson for Ivanka Trump and did not receive a response.

Senior adviser to the president is not a role Ivanka Trump wishes to resurrect.

“(Ivanka) would never go back to that life,” says one of the people familiar with her thinking. “She knows it’s not something that would serve her or her family at this point.”

Another person says Ivanka has been “done” with Washington “since the day she left” and that “hasn’t changed.” A third person contends if Ivanka had any interest in taking part in politics again, people would have seen her on the campaign trail, pushing candidates for the midterms. Yet she made zero appearances or public endorsements, despite requests for participation by some of those in tight races, says a person with knowledge.

All of the people who spoke with CNN say Ivanka Trump’s life is centered around her three young children. Though she may not yet have had direct conversations with Donald Trump about her lack of interest in a second White House campaign, he is aware that any bid would not include the assistance of his daughter, says one of the people with knowledge of family discussions.

Trump would also lack the presence of his son-in-law, Jared Kushner, once the gatekeeper for Trump in the White House and one of the most connected and influential voices of his administration.바카라사이트

“Jared does not intend to join the campaign and get back involved,” says a source familiar with Kushner’s plans. CNN reached out to a spokesperson for Jared Kushner and did not receive a response.

The person maintains Kushner has a good relationship with his father-in-law and that he “makes an effort to be with (Trump),” but said he would do little more than offer the occasional piece of advice should Trump run again.

“I’m sure (Jared will) be tested in numerous different ways, he’s his father-in-law, but that said, it would be a far cry from helping in the way he helped before,” said the person. Kushner, who now runs a private equity firm, has “moved on,” from the last several years in a way Trump has not.

Trump is presumably aware of the lack of interest his wife, Ivanka and Jared have in campaigning. Melania Trump did little in the way of stumping for her husband during his first run for the White House and held only three solo campaign events on his behalf before the 2020 election.

There is no indication Melania Trump would change her habits and take an active part in any upcoming campaign. “Never say never” was all she would say when asked during a May interview if she could live in the White House again. In Ohio last week, during a rally for JD Vance, where it was rumored Trump might announce his latest presidential run, there were only four chairs set up for Trump family. They were designated for Eric and Lara Trump and for Donald Trump Jr. and Kimberly Guilfoyle.

Donald Trump Jr. is sending different signals to his friends. “Of course!” is the answer from a person familiar with Don Jr.’s thinking when asked if Trump’s son will campaign on his behalf, should he announce his candidacy next week. Don Jr. has none of his stepmother, sister and brother-in-law’s hesitancy about another Trump presidency.

“He’s going to be out there campaigning for his dad,” said the person. CNN reached out to a spokesperson for Donald Trump Jr. and did not receive a response.

Don Jr. is right now the closest family adviser Trump has. Unlike his presidential years, when Ivanka and Jared were the inner circle, Don Jr. has emerged as a key figure in the future of Trumpian politics. But that’s not to say Don Jr. wants to fill the shoes of Jared and Ivanka.

“He does not want the Jared behind-the-scenes role,” says the source, adding Don Jr. isn’t in to the micromanagement of Trump. “When (Don Jr.) has strong opinions about something involving his father, he does not have a problem saying them out loud,” says the person, giving as an example Don Jr.’s insistence Trump not announce his candidacy before the midterm elections. “He just didn’t think it made sense.”

Opinions and appearances will be Don Jr.’s sweet spot should his dad run again, but the eldest Trump son will draw the line at a defined job description.

“He’s not going to be the shadow campaign manager or anything,” says the source, who adds Don Jr. is also focused on his five children, his publishing company and “hunting.”

Eric Trump, and likely more so his wife, Lara Trump, a frequent guest on conservative news outlets, will fall more under the Don Jr. level of participation in a Trump second act, than that of Ivanka and Jared.

Most of the people who spoke to CNN say family division over the political plans of their patriarch is not a concern – Tiffany Trump won’t be switching up seating arrangements to keep the pro-campaign faction away from the anti-campaign. Mar-a-Lago, closed for the storm until Friday at 6 p.m., will be back in full swing in time for Tiffany’s marriage to Boulos, the son of a wealthy businessman who owns several companies in Nigeria.

The wedding will not be a place for squabbles and power plays. “It’s going to be a day that is all about Tiffany,” says a person familiar with the event, rumored to be a $1 million affair.

“They get along great,” says one of the people who spends time with the siblings, adding that politics and their dad are not always what they talk about when they get together. “Believe it or not, they’re a pretty normal family.”온라인카지노

Betting

Sports Betting – In-Play and Over/Under

If you’ve ever played sports, you’re probably familiar with the concept of in-play wagering. This type of wagering involves betting on an event after it has started, but after the event has ended, the wager will be void. In this article, we’ll look at the implications of betting in-play on favorites and underdogs, as well as over/under bets.카지노사이트

Betting on underdogs

Betting on underdogs is a popular choice for sports betting. This strategy is great for amateurs and experts alike. The underdog’s high odds and low probability of winning help make betting on the underdog an attractive option.

It is important to note that sportsbooks take into account many factors when setting odds. The more time you have before a game, the more likely you are to see underdogs at good odds. However, it’s important to avoid getting carried away by the hype surrounding the favorite.

Betting on underdogs can make a great profit even if you bet a small amount. However, the size of the wager depends on many factors. Firstly, the importance of the game affects the odds of the underdog. If the game is not critical, the underdog will have better odds, meaning that you should wager a low amount.

When betting on underdogs, make sure that you are betting on the team you think is more likely to win. This is because sportsbooks are trying to keep the action balanced. In order to keep the odds even, they may push the line to favor the underdog. This means that underdogs often get more points on the spread than they should.

Betting on favorites

Betting on favorites has a few advantages. First, you can win more points. Second, you can hedge your bets and win regardless of the outcome. Third, betting on a favorite with an underdog can increase your odds of winning.

Bettors like betting on the favorite, so the favorite often ends up with a lower point spread. This means that you can bet less on your bet and still win a larger amount. If you bet $100 on the Maple Leafs, you’ll win $135. On the other hand, if you bet $100 on the Bruins, you’ll win $125. This means that the amount you bet affects the outcome, so be careful about how much you bet.바카라사이트

Betting on totals

Betting on totals is a great way to get an edge on a game if you’re a serious sports gambler. Betting on totals is usually set at a parenthesis number called the “vig” or “juice.” Hence, if the game total is -110, you will have to bet $110 to win $100. However, the juice can vary depending on the risk of the sportsbook. For instance, the Over/Under totals can be set at -115 or -105. If you’re betting $100 on the Over/Under the total, you’ll have to risk $115 or $105 to win $100.

Betting on totals doesn’t require you to pick a team. Instead, you’re betting on the total combined score, not the winning team. Because you’re not picking the winner of a game, totals bettors don’t have to worry about whether a team can score a half-point or a full point.

Betting on over/under

Over/under bets have become one of the most popular types of bets. But before making a decision to place an over/under wager, you should consider the odds involved. This way, you can make sure you are receiving the right amount of reward for the risk you’re taking.

Over/under betting is a fun way to make money on sports. You’ll have to guess which team will score more or less than the predicted total. You’ll also want to think about overtime, which can make a difference in the final score.

The best bets to make are those with a low vig rate. This means that sportsbooks will take a smaller cut of your money and still give you a good return. Betting on totals is also popular among mathematical models, who can use clear inputs like expected possessions and efficiency. However, this makes it difficult for the average bettor to beat them.

Betting on over/under involves placing a wager on how many points will be scored by each team. If you bet on a game that has a total of 48 points, the Patriots would win and the Eagles would lose. Conversely, if the Eagles were to score more than 20 points, the underbet would win.온라인카지노

Film

Eternal relevance of ‘Dead Poets Society’

If there is one film that explores tragedy and romance so beautifully and poetically, it would be “Dead Poets Society.” The film is a cult favorite among so many people and is one of the films that showed the great Robin Williams’ acting prowess.카지노사이트

The daring and incredibly charismatic Mr. Keating, the character that Williams played, inspired a bunch of teenage boys and encouraged them to see the world in all its tragic and beautiful glory.

If you are not familiar with this film, let this article entice you and serve as an invitation to watch one of the most beloved films in cinema.

Here are some of the reasons why “Dead Poets Society” will always ring true to the hearts of those who love and watched it:

Emphasis on literature

Set in a boarding school, one can imagine that things are serious, and the academe is very much stuck in a very traditional way of teaching that is usually done in a very monotonous fashion.

Mr. Keating deviates from that kind of teaching, and, as an English teacher, he teaches the boys to live bold and passionate lives through the power of literature. One of the best lines of the film, “poetry, beauty, romance, and love… these are what we stay alive for,” is a reminder that as human as everyone can be, it is important that there is beauty in the simplest of things.

Carpe Diem

This Latin phrase means “seize the day,” and it is another lesson that Mr. Keating taught to the boys in one of his classes. It is the most famous quote from the film, and it has become widely associated with the film. Living with so many constraints and in the expectations of others, it is time to break free and live the life that one’s heart truly wants.바카라사이트

Your voice matters

“Dead Poets Society” is a cult favorite to many, most likely because of the realistic depiction of teenage boys: scared, awkward, reckless, and sometimes rebellious. The movie also narrates the journey of young boys who are inspired to live every bit of their lives with utmost vigor. Furthermore, the movie is a reminder that words and ideas matter no matter how small they may seem to you or to the world.

Tragedy

One of the reasons why this film gets so much of the credit that it deserves is that it does not portray a happy image until the later part of the film. It integrated tragedy in a way that no one saw coming as a factor that resonates in the hearts of many as it shows the cruel realities of this world—one can never be too happy in their lifetime. The initial sense of comfort in the film lulls the viewer into a false sense of security that everything will turn out perfectly well, but it ultimately does not.

“Dead Poets Society” is a story about how life can be beautiful and tragic all at the same time. It does not sugarcoat the realities of this calloused world, but it serves as a reminder that there is so much beauty and tragedy and it all comes with the territory of living. The eternal relevance of “Dead Poets Society” is a testament of poignant hope that affects everyone one way or another, and it is something that the world should constantly be reminded of.온라인카지노

the

GOD OF WAR RAGNAROK BREAKS A FUNDAMENTAL RULE OF VIDEO GAMES

GAME STUDIOS RARELY SHARE THE SECRETS OF THEIR SUCCESS.카지노사이트

A great game can spawn countless imitators — look at Breath of the Wild or Stardew Valley — and it’s all but unheard of for a company to tell its competitors the magic formula. But accessibility is increasingly becoming a notable exception to that rule.

God of War Ragnarok — a continuation of the 2018 adventures of the grizzled warrior Kratos and his tween son Atreus, and the ninth installment of a venerable PlayStation franchise — is the most accessible game in the series yet. To help make that vision a reality, the team at Santa Monica Studio turned to the folks at Naughty Dog, known for its boundary-breaking innovations for players with auditory, visual, and motor differences.

In keeping with that spirit of open collaboration, Lead UX Designer Mila Pavlin says the team at Santa Monica Studio isn’t interested in keeping the 70+ accessibility innovations in God of War Ragnarok a secret.

“Accessibility has a very unique place when it comes to cross-collaboration because it is the one set of features where we want that innovation to spread. We don’t want to contain that just to one franchise,” Pavlin tells Inverse.

“If we can develop a feature and then someone else were to implement a very similar feature based on our work, that would be a bonus to the player overall. That’s something that we want to encourage, that the community for accessibility is sharing that information,” she adds. “Accessibility is for everyone. It’s not a race. Regardless of who comes out with a feature first, the player is really the winner at the end.”

Like the rest of the gaming world, Pavlin and the team at Santa Monica Studio were impressed by Naughty Dog’s groundbreaking innovations for 2020’s The Last of Us Part II, which includes a broad suite of tools to customize the experience to an individual’s preferences and needs. Ragnarok was already well into development at that point. Still, the team was eager to incorporate some of those innovations into the next God of War game. Naughty Dog was happy to oblige.

“They shared information about consultants they had brought in and players they had consulted with. We were fortunate enough to have one of their team members join our team as an accessibility designer, which especially helped us with some of the motor functions and many of the combat accessibility items. It gave us a direct connection into the accessibility community,” Pavlin says.

God of War Ragnarok’s accessibility features encompass four main areas: hearing, motor, cognitive, and vision. Notably, the game builds upon the high-contrast visual mode pioneered in TLOU 2, allowing players to assign more than a dozen brightly-colored filters to more easily distinguish between enemies, treasure chests, NPCs, and bosses. Pavlin says the depth and breadth of those options in Ragnarok were directly inspired by player feedback.

“Players were telling us what they wanted, as opposed to us deciding on these things,” she explains. “There’s a statement in the accessibility community, ‘never about us without us.’ We really took that to heart.” 바카라사이트

“THAT IS A HAND-DONE, HAND-WRITTEN, HAND-TAILORED KIND OF EXPERIENCE.”

The goal wasn’t simply to make Ragnarok easier, but to make it more enjoyable for more players — whether this is their first God of War game or they’re seasoned veterans of grueling battles with Valkyries and trolls.

“We’ve had some of our low-vision players say that they wanted to play on Give Me God of War [the series’ highest difficulty], but they just had trouble understanding what was happening on screen,” Pavlin explains. “Adding features like high contrast made it approachable in a way that didn’t significantly change the experience.”

Ragnarok’s suite of accessibility options also includes a host of quality-of-life tweaks many players could benefit from, like automated item pickups and customizable subtitles. This philosophy of helping players have the best experience possible is baked into the game in more subtle ways, too.

For instance, if you spend a bit of time bumbling to find a solution to a puzzle, one of your companion characters will offer a clue, like “maybe you should try your axe.” Better still, if you notice a conspicuous object that’s just begging to be tinkered with, those same companions will flat-out tell you “we should come back later” rather than let you bang your head against the wall for half an hour.

These kinds of additions aren’t settings that can be turned on or off. Each situation needs to be individually produced and scripted, which is a massive undertaking for something that may be a boon to series newcomers, but longtime fans might never notice.

“WE DON’T WANT TO CONTAIN THAT JUST TO ONE FRANCHISE.”

“What we’re trying to do is create an experience where you can organically learn things and experience that world, so as you become more confident, we can step back a little bit and let you go wild,” Pavlin says. “That is a hand-done, hand-written, hand-tailored kind of experience. That’s one of the things that makes the game so great, the love and care that has gone into this.”

Making Ragnarok approachable to more players also demanded a dramatic rethinking of some core mechanics from the 2018 game. The team scrapped and rebuilt the entire user interface to accommodate larger text sizes, and reworked the control scheme to allow for button remapping. The team also built in more flexibility for “flavor moments” like quicktime events and traversal, adding options for fewer button inputs where the team felt it didn’t detract from the experience.

Pavlin hopes all of those changes will add up to a game more players can love.

There are a lot more people who are able to play Ragnarok now than were able to play the 2018 game,” she says. “I think the expansion of accessibility is really going to surprise people.” 온라인카지노

Van

Van Gogh’s Sunflowers back on display after oil protesters threw soup on it

One of Van Gogh’s famous Sunflowers paintings has been cleaned and is back on display, after climate activists threw tins of what appeared to be tomato soup over it.카지노사이트

London’s National Gallery confirmed it is now back in place, about six hours after the soup incident.

Footage showed two people in Just Stop Oil T-shirts opening times and throwing the contents on the masterpiece before gluing their hands to the wall.

Two people were arrested.

The gallery said earlier the painting was covered by glass and therefore not damaged.

A statement from the Trafalgar Square venue said: “At just after 11am this morning two people entered Room 43 of the National Gallery.

“The pair appeared to glue themselves to the wall adjacent to Van Gogh’s Sunflowers (1888). They also threw a red substance – what appears to be tomato soup – over the painting.

“The room was cleared of visitors and police were called. Officers are now on the scene.

“There is some minor damage to the frame but the painting is unharmed.”바카라사이트

The Metropolitan Police said: “Officers were rapidly on scene at the National Gallery this morning after two Just Stop Oil protesters threw a substance over a painting and then glued themselves to a wall.

“Both have been arrested for criminal damage and aggravated trespass. Officers are now de-bonding them.”

Videos of Friday’s incident showed a protester shouting: “What is worth more? Art or life? Is it worth more than food? Worth more than justice? Are you more concerned about the protection of a painting or the protection of our planet and people?”

She also referenced the cost of living crisis and “millions of cold, hungry families” who “can’t even afford to heat a tin of soup”.

The painting is one of seven Sunflowers works Van Gogh created in 1888 and 89, five of which are on display in galleries and museums across the world. The artist created them to decorate his house in Arles, France, before a visit from his friend, the artist Paul Gauguin.

The gallery describes the sunflower paintings as “among Van Gogh’s most iconic and best-loved works“.

The action comes three months after members of the same group pasted paper over John Constable’s the Hay Wain in the same gallery.온라인카지노

Apple

Apple Watch for kids: Family Setup, bands, plans, and specs

Apple Watch for kids is something parents are embracing more and more. The New York Times ran a story a few weeks ago about Apple Watch adoption among children as young as five. Parents are finding the Apple Watch more appropriate for kids wanting smartphones. The Apple Watch gives kids a way to stay in touch with parents, share location, and build responsibility without the full cost and risk of a smartphone.카지노사이트

Apple Watch for kids

The Apple Watch gives kids a way to stay in touch with parents, share location, and build responsibility without the full cost and risk of a smartphone.

With very limited access to the web and no social media apps, the watch can be a great starter device for kids if parents are looking for a manageable way to introduce technology early.

Family Setup for Apple Watch

Apple’s Family Setup feature allows parents to set up a cellular Apple Watch SE or Series 4 and higher from their iPhone. No iPhone required for the family member.

While the monthly connection fee is typically around $10 plus fees, T-Mobile has a kid-friendly plan with unlimited calling and 500MB/month that’s half the price with auto-pay. This is convenient if you’re already a T-Mobile subscriber and want to save on a watch plan for your child.

There’s even a special mode with Family Setup called Schooltime that restricts the Apple Watch during school hours. Parents can remotely manage this from their iPhone.

Watch bands that fit kids

I happen to have a five-year-old who owns my heart. While I don’t think he’s quite ready for an Apple Watch, I was curious about watch band compatibility with kid-sized wrists. He happily let me borrow his little wrist for testing.

Any bands I already had weren’t fitting for a small wrist. Trying an Apple Watch band specifically made for kids worked great, though. For under $15, this Nike Sport style band with a buckle was a perfect fit.바카라사이트

Best Apple Watch prices for kids

As a trial introduction to the semi-smartphone world for kids, new Apple Watches can be a bit pricey. A new 40mm Apple Watch SE 2 with cellular goes for $299. That’s why hand-me-down watches with cellular are great for Family Setup.

Another option is shopping for second-hand Apple Watches from places like eBay, Facebook Marketplace, and Amazon’s refurbished inventory. I’ve found a 40mm cellular SE for $120 locally, and Amazon’s Renewed Store has very similar offers.

Recommended model

Just be sure to look for GPS + Cellular if you want to use Family Setup. 40mm or 41mm sizes are also more kid-friendly than 44mm or 45mm.

Also avoid Apple Watch Series 3 if you want to set up a watch for a child without an iPhone. You can find models with cellular for cheap, but they don’t receive software updates anymore. More importantly, they don’t work with Family Setup and require the wearer to have an iPhone.

Have your own experience with setting up your kids with an Apple Watch? Share your tips and suggestions in the comments! And don’t forget 9to5Toys, your one-stop-shop for the best Apple deals everyday including Apple Watch.온라인카지노

the

Explained: Why is the hijab significant in Iranian society?

Iran is once again on fire.카지노사이트

There is widespread public anger over the death of Masha Amini after she was detained by the country’s morality police.

While on a family trip to Tehran, the 22-year-old was arrested last Tuesday for “improper” hijab, an Islamic headscarf which Iranian women must wear by law.

Eyewitnesses and relatives accuse officers of severely beating the young Kurdish woman – striking her several times on the head. She later collapsed and was taken to hospital in a coma. On 16 September, three days later she died.

Iranian authorities claim she had a fatal heart attack. Her family says she was perfectly healthy.

The shocking incident has again put the spotlight on Islamic dress codes and police brutality in Iran.

But what is the significance of the hijab in Iranian society?

A (brief) history of the hijab in Iran
Since the 1979 Islamic Revolution, it has been compulsory for women to wear the hijab in Iran.

The government draws on parts of the Quran (Islam’s holy book) and the Hadiths (sayings of the Prophet Mohammad) to justify the policy, though Muslim religious writing is not entirely clear on whether women should veil.

Islamic dress codes are strictly enforced by the country’s morality police, who prowl the streets in vans detaining people who have “inappropriate” clothing. They are known as gasht-e ershad (guidance patrols).

Despite the threat of arrest, millions of Iranian women actively oppose the hijab, wearing it loosely around their heads and often letting the headscarf fall to their shoulders.

Resistance to the compulsory hijab was almost immediate. After Iranian Supreme Leader Ayatollah Khomeini said women should observe Islamic dress codes in 1979 there were fiery protests, leading the government to say his comments were only a recommendation. It became law in 1983.

Protests against the hijab have continued sporadically ever since, culminating in the women burning their headscarves and dancing we see today.

‘Symbol of oppression’
Before the revolution, when Iran was ruled by a secular king Mohammad Reza Pahlavi, many Iranian women actively wore the hijab. They did so for a variety of reasons, be it because of tradition, identity, religious expression or family pressure.바카라사이트

However, according to Iranian poet and journalist Asieh Amini, the main problem today is that women are forced to veil, pointing out they can be lashed or imprisoned for defying Islamic dress codes.

“Unfortunately, this has led many people to hate it,” she told Euronews Culture. “Women experience so much oppression. They can’t stand this domination and want their rights.”

“Police say they are there to advise,” Amini added. “But, in reality, every single day, in all of Iran’s cities, they are controlling women’s bodies, their dress, everything.”

“Hijab is a symbol of this oppression.”

Amini – herself once arrested by the morality police – said the demonstrations currently rocking Iran are about much more than dress codes.

The demands of people are not limited to the hijab,” she said. “They want freedom. They want democracy. They want to be free of this Islamic Republic.”

Mahsa Amini’s death has unleashed pent-up fury over issues including personal freedoms in the Islamic Republic and an economy reeling from sanctions. Women have taken off their veils during four days of protests, with some cutting their hair in public.

According to one Iranian activist, who wished to remain anonymous, another issue with the current hijab policy is that does not respect the different forms of dress worn by Iran’s various ethnic and religious groups.

Instead, the government tries to promote the black chador, a large piece of cloth, which leaves only the face exposed.

“The Islamic government is not even approving of the other types of hijab and traditional clothing in other ethnic groups,” she said. “They even oppress those people who are actually practising their religion.”

Iran is a very mixed society, containing Persians, Kurds, Azerbaijanis, Lurs, Gilakis, Arabs, Balochi and Turkmens. Each has its own traditional clothing and wears the hijab in different ways, switching colours, patterns and styles.

However, Amini was quick to point out that the hijab in Iran is not a cultural matter.

“Whenever we talk about women’s dress code and their rights in Iran, the government always answers that this is Iranian culture,” she said. “This is not culture, it is force.”

“We need to talk about law, punishment, how many women have been arrested just because of their outfit, not culture,” she said.

Like Amini, the unnamed Iranian activist pointed out the oppressive, involuntary nature of the hijab in Iran, claiming it was counter-productive.

“As a human being whenever you are forced to do something you always want to reject it,” they said. “It is human nature.”

“It’s [the hijab] has been forced on us for so many years that we don’t know who’s wearing it because of their choice or because they are forced to.”

Looking to the future, they said they were “trying to be hopeful.”

“It is really hard to talk about hijab at the moment,” they said. This looks like one of the biggest feminist uprisings that has happened in Iran since the revolution. Both men and women are coming to the streets together to fight for change.”

“By killing Mahsa they opened the gates of anger.”온라인카지노

the

‘I saw the possibility of what could be done – so I did it’: revolutionary video game The Hobbit turns 40

As a teenager, Veronika Megler was intent on becoming a statistician. She signed up for a computer science course at Melbourne University, reasoning it would assist her chosen career. “I think there were four women in a class of about 220 people, and it was pretty misogynistic,” she recalls. Megler had already built her own PC, buying the motherboard, chips, capacitors and diodes from an electronics shop in Melbourne. “In the store they’d say ‘tell your boyfriend we don’t have these’,” she recalls.카지노사이트

Realising that statistics wasn’t for her, Megler answered a newspaper advert for a part-time programming job at a local software company called Melbourne House. It was 1980, and she was halfway through a course that focused on designing operating systems and developing programming languages. “The day I was hired, the first thing my boss said to me was, ‘write the best adventure game ever,’” she remembers. The eventual result of this instruction was The Hobbit, a landmark 1982 text adventure game that’s still fondly remembered today.

Though the 20-year-old didn’t have a lot of experience with video games, she’d enjoyed one in particular. “I had found Colossal Cave Adventure addictive until the point where I had mapped out the game and solved it. Then it instantly became boring, and I never played it again. So I thought about what it was that made that game stop being interesting, and designed a game that didn’t have any of those issues.”

Megler enlisted fellow student Phillip Mitchell to assist with the game’s parser – the code that helps the game and the player to understand each other, turning words into commands and vice versa. The story was originally a generic fantasy adventure. However, as fans of Tolkien’s work, Megler and Mitchell suggested using one of his works as a base for the game. The sprawling and epic The Lord of the Rings stories were the most famous; the programmers suggested that the less complex and tighter plot of The Hobbit would be a better fit.

Melbourne House boss Fred Milgrom loved the idea, and Megler began adapting the book. “I went through it and identified key locations, characters, puzzles and events,” she says. “Then I tried to map that into the game. It seemed doable. But it was a stretch. And probably a little too ambitious.” By the time Melbourne House secured the Hobbit licence, Megler had already designed much of the game’s engine.

In most text adventures of the time, the player typed commands – examine sword, go north – and the program reacted accordingly with a set of preset replies. But writing code on a TRS-80 knock-off computer from Australian manufacturer Dick Smith Electronics, Megler created an innovative system that allowed the player to experiment with different commands and objects. “The classic example was ‘turn on lamp’. It turns on the lamp, right? But turn on the angry dwarf, and you turn him into a randy dwarf that continually propositions you,” laughs Megler. (Sadly, this particular interaction was removed from the final game.)

In an era where most text adventures could be boiled down to a game of “guess the correct verb”, The Hobbit allowed for adverbs and using items, eliminating the issues that had bugged her in Colossal Cave Adventure. The game also allowed for the passage of time: if you dawdled for too long in the wrong place, Bilbo soon became a juicy snack for a troll.바카라사이트

“I saw it as a super-interesting puzzle to solve – and I saw the possibility of what could be done – so I just did it,” says Megler. “There were essentially message templates and a dictionary of words, and a lot of the power of the game comes from the fact that there are just three or four basic ideas that interact with a fair amount of randomness to create what can be called emergent behaviour.” At a time when most home computer video games were still coded in Basic language, this was remarkably progressive work.

Megler had the foresight to structure her system so it could be scrubbed clean and used as the basis for more games. “I designed [The Hobbit] so that it would have pluggable parts: you could take the same basis for the game and then just change the character lists and map and sell it as a different game.” Sadly, apart from a followup based around Sherlock Holmes, Melbourne House failed to take advantage. It seemed the world was not ready for an adaptable game engine.

About halfway through writing The Hobbit, Megler and Mitchell were called away to work on another game called Penetrator – Melbourne House’s transparent knock-off of Konami’s seminal scrolling shoot-’em-up Scramble. They created an excellent clone with an innovative feature: a level designer. “After we’d written Penetrator, the idea came up of adding a graphical element to the Hobbit,” remembers Megler. Artist Kent Rees drew the famous images, which Mitchell expertly rendered into the game using a minimal amount of precious memory.

If there’s one thing that anybody who played The Hobbit in the 80s remembers with a smile – or a grimace – it’s that annoying dwarf-king in exile, and his enthusiastic singing. “One of the iconic things about Thorin in the book was that he frequently sat down and sang about gold,” grins Megler. “So, I picked that up as something that was quintessentially him … The problem with Thorin was that the sequence was too short! So he ended up sitting down and singing about gold much more than he did in the book.”

Released in the UK and Australia in 1982, The Hobbit accrued glowing reviews and awards in the press. The ambition, skill and determination of these two part-time students, charged with making the “best adventure game ever”, has influenced a whole generation of gamers and coders. “I think solving a problem within tight constraints – which is the space we were in – unleashes a very different type of creativity,” concludes Megler. “And that in itself can be very powerful.”

Why is it that The Hobbit made such an impression? Forty years on, why is it still talked about? “I think it’s because it was revolutionary compared to the other games available at the time,” muses Megler. “I mean, I’ve had letters from people who talked about how it’s changed their life; others who became interested in relationships and people rather than just shooting games. And people who have done PhDs in linguistics because they found the parser so fascinating.”온라인카지노

Feminist

10 Women Artists Shattering Expectations of Feminist Art

What does it mean to be a feminist artist today? These 10 emerging and mid-career artists are redefining the canon, centering female perspectives and histories in their works but in ways that eschew the—until now—rigidly patriarchal definitions of feminist art. And despite the continued disparity in the art world, a wealth of ideas and ambitions are breaking down barriers that have previously held feminist artists back. This might be the most expansive and inclusive era of feminist art yet.카지노사이트

Ilma Savari

Ilma Savari lives in the remote Anahobehi village (Gora) in Ömie territory, a five-day trek up the volcanic slopes of Mount Lamington, Papua New Guinea. It was there that London-based gallerist Rebecca Hossack first met the Indigenous artist and encountered her textile paintings on nioge—or fine-grained, beaten cloth made from the inner bark of mulberry or fig trees—that Savari stitches additional details on top of with a superfine bat wing bone.

A traditional practice and a central feature of Ömie culture, the designs of nioge paintings are created and executed almost exclusively by women. Since the works contain a myriad of stories, spiritual teachings, and ancestral knowledge in their carefully choreographed patterns and colors, their makers undertake the role of keepers and protectors of Ömie history.

This past summer, Savari’s work traveled nearly 9,000 miles away from the artist’s home to be showcased in the Royal Academy of Arts’s “Summer Exhibition” in London. Savari became the first Indigeous Papua New Guinean artist to ever be presented in the annual show since it began in 1769. And this November, Savari will have her debut London solo exhibition, “Eye of the Sun,” at the Rebecca Hossack Art Gallery. It’s another historic moment—until now, no Papua New Guinean woman artist has ever exhibited outside the country in a solo show.

Jenna Gribbon

Jenna Gribbon’s lush, sensuous figurative paintings are fastidiously advancing the discourse around the female gaze. Almost exclusively featuring her partner, the musician MacKenzie Scott (a.k.a. Torres), Gribbon’s works and the intimate ambience they conjure question what it means to see and be seen as, by, and for a woman. Even male spectators find themselves caught in the intertwined looks between the female subject and her female lover, Gribbon. Perhaps this is what female freedom and a truly emancipated gaze looks like.

In other moments, Gribbon pushes the significance of seeing and being seen beyond the personal charge exchanged between two women. Instead, she contemplates the power of self-projection and interposes a woman to square up against the reciprocal male gaze depicted by male painters throughout history. In her intervention at The Frick Collection earlier this year, Gribbon’s empowered, emotionally charged portrait of Scott was placed opposite Hans Holbein the Younger’s painting of Thomas Cromwell, who served as chief minister to King Henry VIII.

Cromwell also propelled the English Reformation that would enable the king to annul his marriage to Anne Boleyn and marry Anne of Cleaves—a marriage that would be annulled after six months and lead to Cromwell’s own beheading. That Scott stands in confrontation with a man so representative of the corruption of male power, and who was so involved with the public destruction of women, makes a poignant statement about who is revered, celebrated, and loved.

There is still much more to be explored in the unique dynamics and details of Gribbon’s work, which have become increasingly confident and bold. In scales that range from tiny to larger than life, her paintings are unafraid of being personal, sexually explicit, and romantic. In October, Gribbon will present new work at the Collezione Maramotti in Italy, and return to London for her second solo exhibition at MASSIMODECARLO.

Dindga McCannon

Dindga McCannon grew up in Harlem and developed her early practice in the 1960s during the Harlem Renaissance movement. She joined the Weusi Artist Collective and later formed—with Faith Ringgold, Kay Brown, and 12 other young, Black women artists—the collective “Where We At” Black Women Artists Inc. (WWA) to specifically address the lack of Black women represented within the feminist art movement. McCannon became a prominent figure in the wider Black Arts Movement that took place from 1965 to 1975, and to many, her importance has never been in question. While raising two children, McCannon has worked prolifically as a fiber artist, muralist, and educator to foreground the experiences of Black women.

The mainstream art world’s delayed recognition of McCannon, now 75, follows a familiar pattern—an outstanding Black woman artist who, despite her achievements, was ignored by the canon for far too long. This has been changing for McCannon since her participation in the Brooklyn Museum’s 2017 group exhibition “We Wanted a Revolution.” McCannon’s first solo gallery show in the United States took place just last year at Fridman Gallery in New York. And as she prepares to stage her first European solo show at Pippy Houldsworth Gallery in London, an international audience will soon get the chance to become more intimately familiar with the last 50 years of her artmaking.

McCannon’s oeuvre ranges from intricately detailed quilts and sumptuous textile works to dazzling wearable art, all of which wrest traditional needlework—which she learned from her mother and grandmother—from the domestic domain and into a radical new terrain. Themes of sisterhood, solidarity, and the importance of marking women’s achievements in history are salient throughout the diverse forms of McCannon’s practice.

Soheila Sokhanvari

This October, Soheila Sokhanvari will take over the Barbican’s Curve gallery with dozens of dazzling portraits of Iranian feminist icons to explore the intersections between culture, gender, fashion, and feminism. Titled “Rebel Rebel,” Sokhanvari’s first major institutional solo show in London will examine the stories of women—a theme that has long occupied her work. The exhibition will pay homage to major female figures active in Iran from 1925 to the Revolution of 1979—a period of emancipation and liberation for women that soon collapsed.

Sokhanvari’s portraits made with crude oil on paper depict Persian pop cultural icons, including the celebrated singer Googoosh, dancer Jamileh, and actress Forouzan. Set against a background of intensely detailed patterns steeped in symbolism that often references Islamic interiors, the women are shown wearing glamorous attire and hairstyles that reflect both their epoch and sex appeal. Taken as a whole, the works create an evocative compendium of Iranian feminine creativity and vitality.

Sungsil Ryu

When the international art world descended on South Korea’s capital for the inaugural edition of Frieze Seoul, among the local standout artists was Sungsil Ryu. At the fair, Ryu presented a video and installation work telling the story of a group of older men who go on a “pleasure vacation”—a holiday where men are entertained by young women—that ends in a macabre twist.

Born, raised, and still based in Seoul, Ryu takes primary inspiration from her surroundings. “I’m interested in the interactions between the locality and materiality of Korea,” she explained in an interview with GirlsClub.Asia. A 2018 sculpture graduate of the Seoul National University, Ryu has since pivoted to the digital realm, creating performances, installations, and videos that feverishly address and reject traditional Korean gender roles. In her darkly comical works, the chaos of consumerism and its specific effect on women is conveyed in a heady mix of brash aesthetics, biting satire, and fantasy.

Eva Stenram

With an artistic practice that began in 2007, Eva Stenram isn’t a new name in the feminist sphere, but her ideas are constantly renewing and relevant. When the Swedish artist opened the largest exhibition of her work to date, “Cadastral,” at Copenhagen’s Fotografisk Center this past August, the depth of her ideas and extent of her influence was made clear.바카라사이트

Stenram’s most famous body of work is perhaps “Drape” (2011), an enigmatic series of collages that excavate images of women’s silk stocking–donned legs from pop cultural, erotic, and pornographic publications, and embed them into cozy domestic scenes. Stenram has continued to produce works that incisively comment on the way we disembody and objectify women in all forms of visual culture, particularly through the medium of photography.

Stenram uses the reconstructive act of collage as a deft political mode, a way of regaining control over the passive experience of viewing women’s bodies. But her works are always purposefully open-ended to present and encourage, rather than expose, an interrogation of the way we are used to looking at women.

Tala Madani

Known for her bitingly satiricial, sardonic paintings, Tala Madani has been pushing the notion of feminist art forward for 15 years. Informed by experiences often related to being a woman today, Madani’s works drag up the subconscious realm through phallic symbols, slippery depictions of hypermasculinity, morphing figures, and even cartoonish babies eating a mom made of feces. Her current solo exhibition “Biscuits” at the Museum of Contemporary Art, Los Angeles, marks the first North American survey of Madani’s work and includes her paintings as well as lesser known animations.

A big part of Madani’s impact has been her ability to transgress what is expected of women artists. She’s not afraid to be gross, crass, or slapstick. Her works might make the viewer wince and want to look away, but they certainly can’t be forgotten once seen. Dealing with deep-rooted, cross-cultural stereotypes, history, and human experience, Madani recenters the feminine as the default way of seeing the world.

Poulomi Basu

Poulomi Basu’s focus on the ecological, cultural, and political issues experienced specifically by South Asian women such as herself gives voice to those often considered voiceless. The unstoppable Basu has been ferociously advocating for women through her practice as a transmedia artist and activist for more than a decade. Shifting between mediums based on what’s most effective for conveying her message, Basu has to date worked with photography, installation, virtual reality, and film. Her aesthetic is defined by rich storytelling and galvanizing visual imagery, often introducing surreal colors and mystical landscapes influenced by magical realism, sci-fi, and speculative fiction.

Basu has collaborated with the United Nations, Action Aid, and WaterAid on campaigns raising millions in aid for young women and girls, and has brought the world’s attention to the way women’s bodies are weaponized in political conflicts rarely acknowledged in the world press. She has previously spread awareness on the fight for Indigenous land and sovereignty in the Indian state of Chhattisgarh, as well as the states of Odisha, West Bengal, and Jharkhand. The conflicts and the Indigenous women at their forefront were the subject of Basu’s multi-layered docufiction Centralia, which tied for first place for the 2020 Louis Roederer Discovery Award Jury Prize presented by Rencontres d’Arlesand, and was one of the four shortlisted works for the 2021 Deutsche Börse Foundation Photography Prize.

Following her fascinating institutional solo exhibition at Autograph in London this past spring, Basu will participate in Unbound, the nonprofit independent project by Amsterdam’s Unseen, curated this year by Damarice Amao, photography curator of the Centre Pompidou in Paris.

Sahara Longe

One of Sahara Longe’s most striking paintings to date is an approximately six-foot-tall portrait of a naked mother and child. Longe’s interpretation of the widely venerated water deity Mami Wata portrays the goddess as both mystical and relatable. The portrait could easily be read against beatified classical depictions throughout Western art history of white mothers. Here, Mami Wata’s strong, stable figure faces the viewer directly as she holds her child proudly and confidently on her shoulders, a bold reflection of her own physical power and strength.

With a backdrop of water, animals, and nature, the painting has a Renaissance-like atmosphere, as many of Longe’s oil paintings with their expressive brushwork, careful compositions, and sumptuous palettes do—and deliberately so. A fundamental part of the figurative painter’s practice is the insertion and inclusion of Black people, especially Black women, in the historical and art historical canon. “Representation is extremely important and growing up I never saw representations of myself in museums and galleries and it had a very profound effect on me,” Longe told She Curates. “That want of being able to see Black people depicted in paintings (and not holding a bowl of fruit in the background) really propelled me to choose the path I did.”

Longe has been steadily garnering interest in her work since graduating in 2018 from Charles H. Cecil Studios in Florence. A solo booth with Ed Cross Fine Art at 1-54 London in 2021, and her participation in the Great Women Artists Residency and subsequent group exhibition at Palazzo Monti, drew further attention to Longe’s oeuvre. Earlier this year, Longe was picked up for gallery representation by London’s Timothy Taylor, which will present a solo booth of new paintings by the artist at Frieze London 2022 in October.

Bisila Noha

“With my practice, I want to build bridges and unite us all,” ceramist and activist Bisila Noha told the gallery Thrown. Before turning to pottery seven years ago, Noha studied diplomacy, translation, and interpretation in Spain, where she grew up. Now based in London, she works with clay, using a common form of expression that extends back over centuries, shaped by women’s hands in communities all over the world.

Noha’s supple and sensuously sculpted ceramics, such as her abstract porcelain studies and clay vessels, allude to fertility goddesses and African shapes in a nod to her Equatorial Guinean background. They also pay homage to a long history of women potters and ceramic artists, from Ladi Kwali and Kouame Kakaha to ancient practitioners in Morocco and Mexico. Keeping their craft alive through her own, Noha creates earthy, urgent, and raw surfaces and textures that leave the traces of her hands and labor visible.

In addition to her art practice and several other roles, Noha works at London LGBTQ+ Community Centre Project. A passionate social justice and LGBTQ+ advocate, Noha is a leading voice in a new generation of feminists not only posing questions about women’s rights, but also coming up with solid, tangible solutions—whether in the form of clay or in creating spaces for others to thrive. Noha will have a solo exhibition of new work opening on October 20th at Galerie Revel in France.온라인카지노