Arlington may refer to: Sir Arlington Butler, Bahamian teacher and politician Arlington G. Reynolds, Republican politician from Ohio, Speaker of the Ohio House of Representatives from 1900 to 1901 Arlington Nelson Lindenmuth, American landscape and portrait painter Arlington P. Van Dyke, American businessman and politician from New York Arlington Valles, Academy Award-winning Hollywood costume designer from London, born Fred Valles Arlington, Nova Scotia Arlington No. 79, Saskatchewan Arlington, Yukon Arlington, Free State Arlington, Devon Arlington, East Sussex Arlington, Gloucestershire Arlington, Alabama Arlington, Arizona Arlington, California Arlington, Colorado Arlington, a geographical section east of downtown Jacksonville, Florida Arlington, Georgia Arlington, Illinois Arlington, Monroe County, Indiana Arlington, Rush County, Indiana Arlington, Iowa Arlington, Kansas Arlington, Kentucky Arlington, Maryland Arlington, Massachusetts, a town in Middlesex County Arlington Station, on the Green Line Arlington Township, Michigan Arlington, Minnesota Arlington, Missouri Arlington, Nebraska Arlington, New Jersey Arlington, New York Arlington, Staten Island, New York, a neighborhood Arlington, North Carolina Arlington, Ohio, a village in Hancock County Arlington, Montgomery County, Ohio, an unincorporated community Arlington, Oregon Arlington, Pennsylvania Arlington, South Dakota Arlington, Tennessee Arlington, Texas Arlington, Vermont Arlington County, Virginia Arlington, Northampton County, Virginia Arlington, Washington Arlington, Harrison County, West Virginia Arlington, Upshur County, West Virginia Arlington, Wisconsin Arlington, Wisconsin, a village Arlington light rail station on the Dulwich Hill Line in Sydney.

Arlington, a historic plantation Arlington, a historic home Arlington, a historic house Arlington Antebellum Home & Gardens in Birmingham, Alabama Arlington House, The Robert E. Lee Memorial in Arlington County, Virginia SS Arlington, a steamship that sank in Lake Superior in 1940 USS Arlington, a Haskell-class attack transport USS Arlington, a command ship USS Arlington, a San Antonio-class amphibious transport dock Arlington, an American rock group from Southern California "Arlington", by Trace Adkins, 2005 The Arlington, a mixed-use skyscraper in Charlotte, North Carolina, U. S. Baron Arlington, a title Arlington Archeological Site in Northampton County, Virginia Arlington Fleet Group, rail maintenance and repair company based in Eastleigh Works, United Kingdom Arlington Heights Arlington High School Arlington Hotel Arlington National Cemetery Arlington Plantation Arlington Stadium, former home of Major League Baseball's Texas Rangers Arlington station, railway stations and other places with similar names Arlington Theater, Santa Barbara, California Darlington Harlington USS Arlington, a list of U.

S. naval ships

The 2015 Birmingham Bowl was a college football bowl game played on January 3, 2015 at Legion Field in Birmingham, Alabama in the United States. The ninth annual Birmingham Bowl saw the Florida Gators of the Southeastern Conference defeat the East Carolina Pirates of the American Athletic Conference by a score of 28–20; the game started at 11:00 a.m. CST and aired on ESPN, it was one of the 2014 -- 15 bowl games. This was the second overall meeting between these two teams; the last time these two teams met was in 1983, a game Florida won by a score of 24–17. The teams would meet again on September 12, 2015 at Florida's Ben Hill Griffin Stadium, a game Florida won 31-24. After finishing their regular season with an 8–4 record, the Pirates accepted their invitation to play in the game; this was East Carolina's second Birmingham Bowl. They played in the 2006 PapaJohns.com Bowl, losing to the South Florida Bulls by a score of 24–7. After finishing their regular season with a 6–5 record, the Gators accepted their invitation to play in the game.

Florida was led by interim head coach D. J. Durkin. Durkin was the Gators defensive coordinator until former head coach Will Muschamp was released at the conclusion of the 2014 regular season. Muschamp's replacement is former Colorado State head coach Jim McElwain; this was Florida's first Birmingham Bowl. Source

The Dennis RS series was a fire engine built by Dennis, produced from 1978 until the early 1990s. Its new all-steel cab, designed by Ogle of London, replaced the older fibreglass and wood construction of the previous appliances it succeeded, such as the Dennis D and Dennis R; the cab design was part of a collaboration between Dennis and Shelvoke and Drewry, to produce a common cab architecture for both companies' ranges of fire engines and dustcarts, which could be economically produced at low production volumes. The first of the Dennis RS, referring to the cab, fixed and had access panels inside to access the engine) fire appliances were fitted with Perkins V8 diesel engines, either the V8-540 or the V8-640, with or without turbochargers; the all-welded steel cab provided the maximum protection possible to the crew, had an edge over other commercial trucks, as the RS was a purpose built fire appliance and was not used for any other application. The Dennis RS could be fitted with a variety of bodies by Dennis/JDC, Fulton Wylie, etc.

Though the cab design of the RS dates from 1978, they are seen to this day in fire brigades all over the world, with many still in front-line use to this day. In the years the RS and SS series appliances were dogged with door corrosion, aptly known as "Dennis Disease" as every single RS appliance suffered from rotten cab doors at some stage in their lives. RS130 - Perkins V8-540 engine with Turner T5.400 manual gearbox RS131 - Perkins V8-540 engine with Allison MT643 automatic gearbox RS132 - Perkins V8-540 engine with ZF S6.65 manual gearbox RS133 - Perkins V8-640 engine with Allison MT643 automatic gearbox RS134 - Perkins TV8-540 engine with ZF S6.65 manual gearbox RS135 - Perkins TV8-540 engine with Allison MT643 automatic gearbox RS137 - Perkins V8-540 engine with Allison MT643 automatic gearboxMost appliances had Kirkstall and Eaton axles fitted and rear and some with limited-slip differentials, all chassis came with a choice of a 500gpm or 1,000gpm two-stage Godiva UMPX fire pump, depending on application.

Hong Kong Fire Service, HK Greater Manchester Fire and Rescue Service, UK Merseyside Fire and Rescue Service, UK Dublin Fire Brigade, Ireland Northern Ireland Fire Brigade, Northern Ireland Staffordshire Fire and Rescue Service UK West Midlands Fire Service, UK Essex County Fire and Rescue Service, UK Cheshire Fire Brigade, UK Civil Defence Ireland Dennis SS series

The Hitra Tunnel is an undersea tunnel in Hitra Municipality in Trøndelag county, Norway. The tunnel connects the island of Hitra to the mainland; the tunnel is 5,645 metres long and reaches a depth of 264 metres below sea level, making it the deepest tunnel in the world when it was built. The tunnel begins on the island of Jøsnøya, just south of the village of Sandstad; the tunnel runs under the Trondheimsleia to the island of Hemnskjela. There is a small bridge connecting Hemnskjela to the mainland; the tunnel was built as part of a large project called "Fastlandsforbindelsen Hitra–Frøya". The project included the construction of the Frøya Tunnel and the construction of a road and bridge network connecting the islands of Fjellværøy and Frøya; the tunnel has three lanes. Nearly 2,500 cars pass through it every day. Electronics and pumps handle over 38,000 litres of water per hour

"Portrait of Tracy" is a composition by bassist Jaco Pastorius. It was named after Tracy Sexton, it appears on his landmark 1976 self-titled debut album, has been covered by bassists such as Joe Ferry, Marcus Miller, Victor Wooten, John Myung, Brian Bromberg. It is considered by many a bass guitar standard; the song is played exclusively with natural harmonics, giving it a dreamy, unfamiliar tone for the bass, common in Pastorius's style. "Portrait of Tracy" has been sampled in several songs, including SWV's "Rain", Rick Ross's "Bel Air", Cannibal Ox's "Pigeon", Amon Tobin's "Daytrip", Master P "Ghetto Love", Chingy and Tyrese's "Pullin' Me Back", Wagon Christ's "Mr. Mukatsuku", Steve Spacek's "Hey There". Whilst it was not sampled in Childish Gambino’s Redbone, its melody has been said to pay homage to Pastorius's original bassline

Mark Napier is an early adopter of the web and a pioneer of digital and Internet art in the United States, known for creating interactive online artwork that challenges traditional definitions of art. He uses code as an expressive form, the Internet as his exhibition space and laboratory. Napier developed his first web-based applications for financial data in 1996, he is the author of his own website,potatoland.org, his online studio where many of his net artworks can be found, such as Shredder 1.0, net.flag, etc. Mark Napier was born in 1961 in New Jersey. Napier works in New York city, he is a consultant for a new personal finance company. Mark Napier graduated in 1984 with a bachelor's degree in Fine Arts from Syracuse University. Trained as a painter, Napier worked as a self-taught programmer in New York's financial markets until 1995, when a friend introduced him to the web. With Levi Asher, Napier collaborated on his first website and began several experiments with hypertext in which he explored juxtaposing meanings and pop culture symbols.

In The Distorted Barbie site, Napier created a family of Photoshopped Barbie also-rans that riffed on the "sacred cash-cow" status of the capitalist icon. Mattel was not amused and threatened Napier with a cease-and-desist letter, which prompted a wholesale copying of the site by enraged fans. In 1997, shortly after the Distorted Barbie episode, Napier opened potatoland.org, an online studio for interactive work where he explored software as an art medium with such pieces as Digital Landfill and Internet shredder 1.0. Both pieces were included in the seminal "net_condition" show at ZKM in Karlsruhe and attracted critical attention: Shredder was shown at Ars Electronica and Digital Landfill was written up in the Village Voice. Over the next five years Napier explored the networked software environment, creating work that challenged the definition of the art object; the salient features of these pieces: 1) The artwork can be altered by the viewer/visitor, 2) it responds to actions from the viewer/visitor and 3) relies on viewer/visitor actions to enact the work.

The work can change unpredictably, over time, appropriates other network property to use as raw material, e.g. websites, images. The art is "massively public": it is accessible to and can be altered by anybody with access to the network; these pieces exist in part as performances, in part as places that a viewer visits, in part as compositions, like music, that unfold differently when played under different circumstances. The overriding experience is that the art object is disembodied, existing in many places at once, with many authors contributing to the piece, with many appearances, over time, with no clear end point; the artwork is in the algorithm, the process, which manifests itself in an unending series of appearances on the screen. During this time Napier produced Riot, an alternative browser shown in the 2002 Whitney Biennial, commissioned by SFMOMA and shown in the "010101" show at SFMOMA, net.flag, commissioned by the Guggenheim Museum. In 2002 net.flag and John Simon's Unfolding Object became the first network-based artworks to be acquired by a major museum.

These pieces turn the structure of the software/network environment inside out, hacking the inner workings of virtual space, collide physical metaphors with the insolidity of the net environment, i.e. shredding, breaking down neighborhoods, creating a flag. By hacking the http protocol he turns the web into an abstract expressionist painting or a meditative color field. Matt Mirapaul writing in the New York Times described Feed as "a digital action painting, albeit with actual action." Napier has said, he is influenced by Jackson Pollock, he admires how he used the material, the way "he explored paint in its most raw form, without disguising it." In Shredder he wanted to use the web as raw material, so the code, HTML, text and colors, would become a visual aesthetic in their own right. Cy Twombly has influenced him as well, for the "chaotic, accidental unplanned quality of his work." This repurposing of the matter of the web continues in Black and White, a transitional piece in which Napier reads the text of the Old Testament, New Testament and Koran, as a stream of zeroes and ones treats the stream of binary data as two forces that drive a black and white line on the screen.

The lines are propelled by the 0 and 1 values from the data, are mutually attracted to one another, creating a swirling, orbiting dance as the black and white points seek equilibrium. The Black and White algorithm translates writing from a form, meaningful to human beings into a form, precise, but that can only be understood as a gestalt: a moment of insight that points to experiences that cannot be transcribed into text. In the period following 2003, Napier explored a more private side of software, making meditative pieces and drawing on the history of painting for inspiration. In three solo shows at bitforms gallery in Manhattan, Napier leaves the browser and moves towards a more tactile interactivity, showing work, graphically rich and minimally interactive. Still addressing the expression of power in the global network, Napier turns to the Empire State Building as a symbol of nationalism and economic might. By transliterating the monument into software, Napier creates a contradiction: a soft, bouncing skyscraper.

Flexible where the original is rigid, small where the original is huge, at once delicate and unbreakable, Napier's skyscraper collides the worlds of steel with the world of software, reveals the anxiety of transitional ti