The Buchanan Highway, Northern Territory, Australia runs west from Birdum on the Stuart Highway crossing the Buntine Highway at Top Springs and connecting with the Victoria Highway near Timber Creek. It is unsealed at 393 kilometres. Funding for maintenance is provided by the Northern Territory government; the only major intersection on this road is with the Buntine Highway at Top Springs. Australian Roads portal Highways in Australia List of highways in the Northern Territory The Readers Digest Great World Atlas, 1975 Times Atlas of the World, Concise Edition, 8th Edition 2002. ISBN 0-00-766185-1
John Higton was an English animal painter, who exhibited at the Royal Academy of Arts. He was a friend of Edward Dayes and Thomas Campbell, his patrons included Lord Sedley and George Greville, 2nd Earl of Warwick John Higton was born in Virginia in 1775, the son of John Higton, Sr, his father was Loyalist, who served in Cornwallis' Central Division. John Higton, Sr. was granted land in Godmanchester, but returned to Britain with Charles Cornwallis, 1st Marquess Cornwallis, became a cotton merchant, establishing John Higton & Co in London and Manchester. While Higton considered himself an Englishman, he looked back on his boyhood in North America with fondness, he would recount his earliest memories were as a Hammerman assisting the Blacksmiths of the Division's Ordnance Corps tend the forge and horses. Higton was educated, was encouraged to paint from an early age by his father, who he succeeded in business, he was a follower of Edward Dayes, however it is thought he was given support to develop his own style and exhibit his paintings by Mr. Wheble, the editor of The Sporting Magazine, who said of him in 1813, whilst commenting on J. M. W. Turner and John Constable, that: "Portraits of Dogs at Ampthill Park - Both of these performances have merit.
The last is to us, who have watched the improving style of Mr. Higton, a proof that perseverance and study will always be sure to succeed." John fell in love with Mary Sheldon, the cousin of John Sheldon, at that time Professor of Anatomy at the Royal Academy, they were married in 1794. They lived in Southwark and attended Church at St Mary's, being acquainted with William Blake. Higton was well known to a number of publishers including his friend John Nichols. John and Mary had seven children, their oldest son John was born in 1795, he was raised with the expectation. Of their other sons only William Higton lived to old age, whilst Richard died in his mid thirties. In life John and Mary are known to have been friends of Thomas Campbell, whose father had lived in Virginia and may have been a family friend, his biographer William Beattie for whom Turner executed the plates. By 1819 Mr. Brewster, Higton's business partner, had run up personal debts of £74,000. Brewster filed for bankruptcy, his creditors turned to Higton to satisfy the debt.
Higton contested joint liability, but was forced to sell his house on Cornhill, family home and offices in Blackfriars and the Cotton Mill on Ancoats Lane, Manchester. This was detrimental to Higton's activity as an artist, his health, he died on 23 December 1827, being buried in the family plot at Newington. Higton's patrons included Lord Sedley, for whom he executed a number of paintings relating to dogs, George Greville, 2nd Earl of Warwick, it had been speculated that John FitzPatrick, 2nd Earl of Upper Ossory was a Patron given Higton's painting of Dogs at Ampthill Park. It was thought that Higton was introduced to George Greville by Lord Sedley, a friend of Charles Francis Greville; however it is now understood that Greville's wife, Henrietta Vernon, was a cousin of Lord Sedley via her father Richard Vernon, the half sister of John FitzPatrick, Lord Gowran via the first marriage of her Mother. Therefore, Higton's portraits of Warwick Castle, combined with those of Dogs belonging to George Greville, Lord Sedley, John Fitzpatrick reflect a more intimate relationship with the family, their circle, than was understood.
The Greville's were acquainted to John Sheldon and Nichols who were Fellows of the Society of Antiquaries of London. Horses going to water -At Mr Stokes', Newington Causeway View of Warwick Castle -Crown Court, Blackfriars Portrait of a Dog, the property of Lord Sedley -No 1 London Street Portrait of a Dog, the property of the Earl of Warwick -No 1 London Street Crab, A favourite terrier -No 1 London Street Portraits of dogs at Ampthill park -No 1 London Street Interior of a country publichouse - a sketch - engraved by W. Ward -No 1 London Street Landscape and cattle -No 1 London Street
Rita McKeough is a Canadian interdisciplinary artist and educator who works in installation and performance. McKeough was born in 1951 in Nova Scotia. McKeough completed her BFA at the University of Calgary in 1975 and her MFA at the Nova Scotia College of Art and Design in 1979, she teaches at Alberta University of the Arts and resides in Calgary, Alberta. McKeough was the winner of a 2009 Governor General's Award in Visual and Media Arts and received the 2014 Canada Council for the Art International Residency at Artspace Sydney in Australia. McKeough's practice uses a variety of analog and digital technology to create performance and sound works, her pieces engage with feminist narratives using objects to perform sound. McKeough has stated the imperative for taking action and fostering a situation for activating agency through her practice: "In my work, it’s not about speaking for anybody, but wanting to create or imagine situations or a society where everyone has a voice and speaks from his or her own position."
Much of her work is a call for action by creating a space for introspection, curiosity and awareness. McKeough brings to attention various spectrum of social issues, including the oil industry and its impact on the ecosystem, meat production, human-animal relations, violence against women, silenced female voices within private and public institutions. Veins is an interactive environmental installation presented at TRUCK Contemporary Art in Calgary, Alberta in 2016. Veins follows and builds on issues explored in her most recent works, Alternator, The Lion’s Share and H; this work is motivated by McKeough’s sense of unease as it relates to the ongoing planning and construction of the oil and gas pipelines being built across a fragile and vulnerable landscape. This work will look broadly at the sheer complications and furtherance of the risks we take; the questioning of these processes will have an opening, another layer of understanding of the vulnerability and complexities of the natural landscape.
Oh, Canada: Contemporary Art from North North America, organized by the Massachusetts Museum of Contemporary Art, is the largest survey of contemporary Canadian art produced outside Canada. Comprising more than 100 artworks by 62 artists and collectives from across the country, Oh, Canada is huge in both scale and scope; this unique collaboration will encourage dialogue, a deeper understanding of local and national contemporary practice. "H" was a performance that took place in an old barber shop in Sackville, New Brunswick from July 24 to August 2, 2014. Residents of Sackville were requested to bring their "sick" cell phones to the temporary emergency hospital set up in the barber shop, where, in tiny hospital beds, they were attended by a larger-than-life squirrel and a tree that used a variety of techniques to help the cell phones recover; the public could visit recovering cell phones or watch the process. University of Lethbridge Art Gallery, 2012. Art Gallery of Alberta, Timeland: Alberta Biennial of Contemporary Art, 2010.
Massachusetts Museum of Contemporary Art, Boston. Inspired by French feminist writers Hélène Cixous and Luce Irigaray and the punk icon Patty Smith, McKeough created a ninety-minute operatic performance/installation with a six piece choir, two solo vocalists, three musicians, six dancers, a prerecorded audio tape and slide and video projections. Audience and performers were engulfed by a large wooden figure; the work was created to foster a tangible voice to women's anger. This work, created with her collaborator Cheryl L'Hirondelle, was an installation and performance at the Glenbow Museum in 1993. Here McKeough and L'Hirondelle chewed through the museum walls to expose eight concealed audio tapes; the work poignantly created a dynamic between domestic abuse and empowered the female agency that recovers silenced voice. McKeough's work is included in many public and private collections including Canada Council Art Bank, Ottawa, she has played drums/percussion for a number of bands including Sleepy Panther, The Permuters, Sit Com, Mode d'Emploi, Almost Even, Demi Monde, Confidence Band, Books All Over the Bed.
Wark, Jayne. Tanya Mars and Johanna Householder. Caught in the Act: Canadian Women in Performance. Toronto: YYZ Books. Pp. 344–51. Hurtig, Annette. Rita McKeough: An Excavation. Glenbow. P. 12. ISBN 1895379148. Beaumont, Hillary. "Industrial Feast". Visual Arts News. 35: 14–16. Anderson, Heather. Wilderness Acts. Halifax: Eyelevel Art Gallery. Pp. 11–12. ISBN 978-0-9682601-4-2. Markonish, Denis. Oh, Canada: contemporary art from north North America. MIT Press. P. 399. ISBN 9780262018357. Laviolette, Mary-Beth. Alberta art chronicle: adventures in recent & contemporary art. Altitude Publishing. Pp. 544. ISBN 9781551539409. Mars, Tanya. Caught in the act: an anthology of performance art by Canadian women. YYZ Books. P. 428. ISBN 0920397840. Kjorlien, Melanie. Made in Calgary: An Exploration of Art from the 1960s to the 2000s. Calgary, Alberta: Glenbow Museum. P. 375. ISBN
Arthur Trystan Edwards was a Welsh architectural critic, town planner and amateur cartographer. He was a noted critic of the garden city movement. Born in Merthyr Tydfil, he was educated at Clifton College and Hertford College, Oxford, he studied under the architect Sir Reginald Blomfield as an articled pupil from 1907 and was enrolled at the Liverpool School of Architecture's department of civic design from 1911 to 1913. In 1913 he worked for the firm of Richardson and Gill, he served in the Royal Navy from 1915 to 1918 and continued his involvement with the Navy into peacetime, serving for twelve years in the Royal Naval Volunteer Reserve. At the close of World War I Edwards joined the Ministry of Health and resumed his architectural criticism; the Things which are Seen: a Revaluation of the Visual Arts was published in 1921 and Good and Bad Manners in Architecture, considered to be his best work, in 1924. John Betjeman noted that the latter work was "the first book to draw attention after the Great War to Regency architecture and to deplore the destruction of Nash's Regent Street."
In 1933 Edwards founded the Hundred New Towns Association, unsuccessful in its aims. In 1953 he published A New Map of the World. "Edwards, Trystan". Who's Who. Ukwhoswho.com. A & C Black, an imprint of Bloomsbury Publishing plc. Retrieved 9 January 2015
Might and Magic Mobile is a role-playing video game developed and released in 2004 by Gameloft Beijing for mobile phones. For centuries, the world of Erathia has been devastated by a war between demons. To make matters worse, the king is being held prisoner by the demon armies; the hero, Ewan, is sent to rescue the king by a mysterious nobleman. His quest will result in encounters with an elf archer, a captain of mercenaries and other friends and foes; the kidnappers will try to set traps in these hostile environments. Might and Magic Mobile II is a role-playing video game developed and released by Gameloft Beijing for mobile phones in October 2007. A sequel to the original Might and Magic Mobile, it acts as a prequel to that game. Like its predecessor, it does not follow the continuity of Magic series; this game is based on a castle storm. The game was released in February 2010 on the Nintendo DSi under the name Legends of Exidia. Legends of Exidia at Nintendo.com Legends of Exidia at Metacritic Might and Magic Mobile review at Target PC Might and Magic Mobile review at IGN