Kanowna is a ghost town in the Goldfields region of Western Australia, about 20 kilometres east of Kalgoorlie. It is sited on Maduwongga tribal lands. At the 2016 census, Kanowna had a population of 10 people. After the discovery of gold in the area in 1893, the townsite was gazetted in 1894. and the population grew from 2,500 in 1897 to over 12,500 by 1899. However, the alluvial gold supply was exhausted and underground mines following the outcropping vein produced decreasing amounts of gold, resulting in a slow but steady decrease in the population; the railway station was closed during the Great Depression, by 1953 the town had been abandoned. The railway station platform, two cemeteries and mine workings are all, left of the original town of Kanowna. Signs erected by the Kalgoorlie Historical society mark the sites of significant buildings. Increasing gold prices in the late 1970s sparked renewed interest in exploring the geology of the area for new sources of gold; the discovery of a large amount of gold undiscovered because the vein did not reach the surface, made gold mining in the region economically viable again.
Mining recommenced in 1986 as open-cut mining, before moving to underground mines. As of 2002, the Kanowna Belle mine employed more than 300 people, it had its own local government: the Municipality of Kanowna represented the township proper and the North East Coolgardie Road District represented the surrounding area. The municipality merged into the road district in 1917, at which time the road district was renamed Kanowna. Electoral district of Kanowna Laurie, Kris Kanowna heritage trail: commemorating Kanowna's centenary, 1893–1993. Kalgoorlie, W. A: Kalgoorlie-Boulder Tourist Centre for Delta Gold N. L
Graeme Kirkpatrick is a scholar who writes about technology, computer games and aesthetics. For most of his career Kirkpatrick has been based at the University of Manchester but he has worked as professor in media arts and narration at the University of Skövde in Sweden, been a visiting professorial fellow of the Digital Cultures Research Programme at Flinders University in Adelaide. Kirkpatrick's early work focused on analytical Marxist theory, his first book, Critical Technology: a social theory of personal computing, won the 2005 Philip Abrams Memorial Prize from the British Sociological Association. It was a critical interrogation of the principles of ‘user friendly’ and ‘easy to use’ interface design; the main argument of the book was that friendly machines are still machines and that coming to terms with this tends to promote a cynical temperament in their human users, who soon see through the surface charms of coloured screens and seductive avatars. In his next book and Social Power, he developed a critical theory of interpretation that applies to technology design in social context, using examples from digital culture, including 3-D printers and video games.
Kirkpatrick has developed this approach further in video games. In his Aesthetic Theory and the Video Game he argues that the aesthetic appeal of games does not lie where we expect to find it – in sumptuous on-screen imagery – but in the physical sensations of gameplay; because most video game analysis is informed by conventional media theory it tends to interpret games in terms of their ‘content’, or message, viewing the game as a sign system. This overlooks the most important part of the experience of gameplay and the fact that we can enjoy a game without thinking about what it, or the activity of playing it, ‘means’. In his second book on games, Computer Games and the Social Imaginary, Kirkpatrick presents a history of digital games that links their rise to the spread of neo-liberalism, a version of capitalism that fosters and relies upon a playful disposition on the part of its subjects. In his most recent contributions to game studies, The Formation of Gaming Culture, Kirkpatrick has focused on the history of gameplay, looking at when the idea became the central term of game criticism in the 1980s.
He argues that this corresponds to the period when games played on computers and arcade machines became ‘video games’ in the sense we give that phrase today. As a social group formed in connection with the activity of playing the games,'gamers' produced their own lexicon of game evaluation and appraisal, their expectations and preferences shaped the subsequent development of gaming as a cultural practice. Kirkpatrick has argued that the distinctive properties of computer games are not only important to understanding them and their culture but have been instrumental in wider social changes; this is related to his theory of digital culture, according to which it is more playful than previous phases in history but not, for all that, an inherently nicer or fairer place to be. Kirkpatrick, Graeme Critical Technology: A social theory of personal computing. Ashgate. ISBN 9780754640097 Kirkpatrick, Graeme Technology and Social Power. Palgrave Macmillan. ISBN 9781403947307 Kirkpatrick, Graeme Aesthetic Theory and the Video Game.
Manchester University Press. ISBN 9780719077180 Kirkpatrick, Graeme Computer Games and the Social Imaginary. Polity. ISBN 9780745641119 Kirkpatrick, Graeme The Formation of Gaming Culture. Palgrave. ISBN 9781137305091 2015 ‘Game studies and active objects: an interview’ in Platform: Journal of Media and Communication 6 pp108–118
John Altenburgh is an American jazz and blues pianist, composer and producer who has made his home in Mosinee, Wisconsin. Altenburgh studied music at the University of Wisconsin–Oshkosh, he is the founder of Altenburgh Records distributed by The Orchard a division of Sony Entertainment and has recorded numerous albums as a solo artist and with his blues group, Johnny & The MoTones. Altenburgh started playing rock music as a teenager in the late 1970s to early 1980s, most notably with the Wisconsin rock band, Bad Habit. During this time, he had an opportunity to sign with Geffen Records, a record label that had just signed John Lennon for his comeback. Altenburgh was writing and recording in the style of the New Wave Rock sound, just gaining popularity at that time. After sending Geffen a demo of recent songs he had recorded, the A&R Director at Geffen asked Altenburgh for more music; as Altenburgh stated, "I took the next six months writing new material. What I didn't realize, at that time, is they wanted more music not in six months.
When I contacted them with my new recordings, they said I was too late, that that type of music was predominate in the pop/rock industry. So they didn't sign me." Altenburgh, discouraged over missed opportunity, left the rock world completely. In 1981 Altenburgh enrolled at the University of Wisconsin-Oshkosh and studied music/recording technology. Altenburgh performed a double senior recital, performing classical guitar. In 1985, after college, Altenburgh returned to his hometown of Mosinee, bought the Karl Mathie House and built RiverSide Productions Recording Studio. In the 1980s, Altenburgh wrote production music for such national companies as Ski Doo, JI Case and US Cellular. By the late 1980s, Altenburgh recorded his first jazz album entitled Old City. With that first release in 1989, Altenburgh Records was formed. Early distributors of Altenburgh Records included. Altenburgh recorded numerous groups/musicians throughout the United States including. Altenburgh followed up Old City with Volume 2 in 1991 garnering much radio airplay and the song "Jim & Ellys Summer Vacation" appeared in The Italian Jazz Charts Altenburgh followed that up with the 1993 release of Generations, the first of Altenburgh's albums to land in the Jazz Charts at CMJ.
The 1995 release Heartland'95 and the'97 release, Legends of Keelerville both landed in the CMJ Jazz Chart as well as The Gavin Report Jazz Chart. Altenburgh produced three videos under the direction of Chris Seehafer, that were aired on such National shows as BET's Bet on Jazz. Altenburgh began touring to support his albums performing at such venues as the Black Hill Blues & Jazz Festival, The Jazz in June Festival, The Elkhart Jazz Festival, The Miller Heritage Jazz Festival and numerous others throughout the United States, including The Big Top Chautauqua where they were recorded live and aired nationally on Tent Shore Radio. Altenburgh continued including; also included. In 2003, Altenburgh recorded the Latin Jazz album, Far From River Road, where Altenburgh abandoned the piano and returned to the Classical Guitar, he recorded and featured himself on classical/Latin guitar for an entire album. Altenburgh's jazz career has been written about in the books. In 2004, Altenburgh loaned Sun Studios, Memphis TN some antique recording devices for their museum and in appreciation, John Schorr, President of Sun Studios, offered Altenburgh to come and do a roots type of recording at the famous studio.
Altenburgh agreed and the result was the 2005 release, Two Hits for The Kitty "The Sun Studio Sessions." The album was in the World's blues chart at Roots Music Report for 18 weeks and the beginning of Altenburgh's blues group, Johnny & The MoTones was established. To date, the group has recorded five albums, all having spent significant time in the blues charts at Cashbox, Roots Music Report, iTunes and others; the group has made many videos and documentaries about their time at Sun Studios and Fame Studios, Muscle Shoals, AL where they recorded their second album entitled, Get Gone "The Muscle Shoals Sessions." Subsequent releases Nothin' To Lose and Shake It followed in 2013 respectively. Both albums spent significant time in every major blues chart and the track, "Maybe Baby" landed in the Roadhouse Blues and Boogie Top 40 Chart as compiled by Cashbox and beachshag.com. The 2013 release Shake, it marked the first time that the group, not only appeared in Blues Charts but Americana Music Charts as well.
The album not only jumped into many other musical styles. Blues Blast Magazine said, " Johnny & The MoTones come out swingin' long and strong with their self-produced collection of soul-based swing, jump swamp and gospel blues, they want you to "Shake It," and deliver on all counts. Johnny & The MoTones have received international attention as Vincente Zumel producer of La Hora Del Blues Show in Spain wrote: "Johnny & The MoTones come back again
The 2016–17 season is the 60th season in RK Zamet’s history. It is their 9th successive season in the Dukat Premier League, 39th successive top tier season. Source: eurohandball.com Dario Pešić LW Viktor StipčićLB David Miličević Petar Jelušić President: Vedran Devčić Sports director: Vedran Babić Head Coach: Marin Mišković Head Coach: Igor Marijanović Assistant Coach: Valter Matošević Assistant Coach: Vedran Babić Goalkeeper Coach: Valter Matošević Fitness Coach: Dragan Marijanović Tehniko: Williams Černeka Last updated: 3 June 2017. Updated to match played on 26 November 2016. Source: eurohandball.com Updated to match played on 2 April 2017. Source: Premier league Reultati.com Updated to match played on 1 April 2017. Source: Premier league SportCom.hr This table contains statistics combined with the regular part of the Dukat Premier League. Source: SportCom.hr Updated to match played on 3 June 2017. Source: SportCom.hr Updated to match played on 5 March 2017. Source: sportcom.hr Updated to match played on 5 March 2017.
Source: sportcom.hr Updated to match played on 5 March 2017. Source: sportcom.hr Updated to match played on 5 March 2017. Source: sportcom.hr Updated to match played on 4 June 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 1 April 2017. Source: Premier league Rukometstat.com Updated to match played on 26 March 2017. Source: Premier league Rukometstat.com Updated to match played on 5 March 2017. Source: SportCom.hr Updated to match played on 10 February 2017. Source: Stats Updated to match played on 10 February 2017.
The Nymphs was composed by Leigh Hunt and published in Foliage, his 1818 collection of poems. The work describes the spirits of a rural landscape; the images serve to discuss aspects of British life along with promoting the freedom of conscience for the British people. The collection as a whole received many attacks by contemporary critics, but commentators viewed the poem favourably. During the end of 1816, Hunt began to put together his ideas for a poem that would become The Nymphs. While working on the poem in 1817, Hunt was staying at the Albion House in Marlow and spent much of his time in the garden or walking through the countryside. During this time, he heard stories of Francis Dashwood and his Hell-Fire Club, which its members spent their time drinking and pursuing women; the poem was included in Hunt's collection of poems called Foliage, published in early 1818. The Nymphs was the first poem in the book; when Hunt republished The Nymphs in his collected works, he did not republish portions of the poem because of the themes not matching those found in his other works.
The poem begins with a discussion on health and philosophy: The poem describes the nymphs that were part of the landscape: The poem ends with a command that the reader should spread the message of the poem: Although located in Thessaly, the description used in the poem is based on the landscape surrounding Marlow and the Thames river valley. In addition to the landscape, elements of the Hell-Fire Club enter into the poem; these British based subjects are combined with Greek mythology along with creatures that Hunt made up on his own. All of the creatures are related to Pan and natural religion, based in liberty. In doing so, the poem how to fix the problems in the world. In particular, Hunt attacked problems related to the religion. While working on the poem, Hunt defended John Wright against claims that the Unitarian minister was promoting blasphemy; the poem serves to defend the freedom of conscience while attacking the intolerant people. The work as a whole was a parallel to John Keats's Endymion written at the same time, both Keats and Hunt were influenced in their understanding of paganism by Samuel Taylor Coleridge's Wallenstein.
The poem, along with the collection Foliage, was attacked by critics. In particular, the Literary Gazette claimed that the work fell short of the sublime aspects that were part of what they labelled "true poetry". In the only review, accepting of the collection, the Eclectic Review claimed that the poem described the "demonology of Paganism" as a possible reality. However, Percy Bysshe Shelley, Hunt's friend and fellow poet, claimed that the work was "truly poetical, in the intense and emphatic sense of the word."In 1930, Edmund Blunden stated that the poem was "finer than any of Hunt's previous poetry, though free and easy in form yet sustained by a strong philosophical design. Ann Blainey, in 1985, argued that the poem "may well be one of Hunt's best poems The poem has a sensitive joy in nature which owed much to Shelley's vigorous poetical and sexual outlook, a sensuousness more open and genuine than Hunt would express again." Blainey, Ann. Immortal Boy. New York: St. Martin's Press, 1985.
Blunden, Edmund. Leigh Hunt and His Circle. London: Harper & Brothers Publishers, 1930. Edgecombe, Rodney. Leigh Hunt and the Poetry of Fancy. Madison: Fairleigh Dickinson University Press, 1994. Holden, Anthony; the Wit in the Dungeon. New York: Little and Company, 2005. Roe, Nicholas. Fiery Heart. London: Pimlico, 2005
Zhao Feiyan, formally Empress Xiaocheng, was an empress during the Han Dynasty. Her husband was Emperor Cheng, she was known in the Chinese popular mindset more for her beauty than for the palace intrigue that she and her sister, the beautiful Consort Zhao Hede engaged in, but unlike most of the famous beauties in Chinese history, she was vilified by her own sisters. She was compared and contrasted with Yang Guifei, the beautiful concubine of Emperor Xuanzong of Tang, because she was known for her slender build while Yang was known for her full build; this led to the Chinese idiom huanfei yanshou, which describes the range of the types of beauties also used as a figurative expression on literary styles that can be either verbose or sparse but both effective. The actual birth date of Zhao Feiyan is not known but it is assumed to be 45 BC. According to historical accounts, her personal name might be Yi Zhu. According to historical accounts, she was a daughter of two hereditary servants of imperial princes or princesses.
Those accounts say that when she was born, her parents were so poor that they abandoned her, but they saw that she was still alive after three days, so they took her back in and raised her. After her father died she and her sister were adopted by a housekeeper to a rich family, their adoptive father's name was Zhao Lin and they took his surname. When she grew up, she was assigned to the household of the sister of Emperor Cheng, she became a dancing girl there, she received the name that she would become known for—Feiyan because she was so slender and so agile in dance that she was like a flying swallow. Circa 19 BC, Emperor Cheng was visiting Princess Yang'a when he saw both her and her sister Hede, he became enamored with them, he had both of them sent to his palace, they became favored imperial consorts, they took his affection away from Empress Xu and Consort Ban. In 18 BC, they falsely accused Empress Consort Ban of witchcraft; the Zhao sisters now dominated the palace. Emperor Cheng wanted to make Feiyan the new empress, but Empress Dowager Wang complained about her low birth and prior occupation as a dance girl.
In 16 BC, she capitulated to her son's wishes, in preparation, Emperor Cheng first created Feiyan's father Zhao Lin the Marquess of Chengyang, so that she would no longer be viewed as coming from low birth. In the summer of that year, she was created empress. After Feiyan was made empress, she began to lose favor from Emperor Cheng, while her sister Hede received the nearly exclusive affection of Emperor Cheng. While the sisters were jealous of each other, they reconciled, continued to dominate the palace together. However, neither of them would produce any children who could serve as imperial heir—something troubling to Emperor Cheng, it was alleged that Empress Zhao, with her sister covering for her engaged in adulterous acts with men who were known to have fathered many children, in hopes of becoming pregnant. Empress Zhao and her sister Hede would be alleged to have been involved in something more sinister around this period. Based on an investigative report authored in 6 BC, Emperor Cheng had two sons—one born to Consort Cao in 12 BC and one born to Consort Xu in 11 BC.
However, both of the sons were murdered in their infancy by orders of Consort Zhao Hede, with at least tacit agreement from Emperor Cheng. The report further alleged that the Zhao sisters engaged in many tactics, such as forced abortions and poisonings, to make sure that no other concubine would bear an imperial heir. In 9 BC, still heirless, Emperor Cheng appeared to come to the resolution of making either his younger brother Prince Liu Xing of Zhongshan or his nephew Prince Liu Xin of Dingtao his heir. Emperor Cheng became convinced that Prince Xin was more capable, at the same time, Prince Xin's grandmother Consort Fu was endearing herself to Empress Zhao, her sister Hede, Emperor Cheng's uncle Wang Gen with lavish gifts, so the Zhaos and Wang Gen both praised Prince Xin as well. Emperor Cheng made Prince Xin crown prince in 8 BC. Emperor Cheng died in 7 BC from a stroke. There were many rumors that he had in fact had concubines who bore him sons, but that those sons and their mothers were murdered by Consort Zhao Hede and Emperor Cheng himself.
Grieving her husband and fearful of appraisals, Consort Zhao Hede killed herself. Crown Prince Xin ascended the throne as Emperor Ai; because the rumors centered around Hede and because of her role in Emperor Ai's becoming Emperor Cheng's heir, Empress Zhao was unscathed, Emperor Ai honored her with the title of empress dowager. However, she would have no political influence during the reign of Emperor Ai. After the investigative report commissioned by Grand Empress Dowager Wang was published in 6 BC, accusing Consort Zhao Hede of the atrocities against the other imperial consorts and their children (and implicitly, al