text:
Nakhon Si Thammarat Travel Guide
Southern Thailand: the Gulf coast
NAKHON SI THAMMARAT, the south's second-largest town, occupies a blind spot in the eyes of most tourists, whose focus is fixed on Ko Samui, 100km to the north. Nakhon's neglect is unfortunate, for it's an absorbing place: the south's major pilgrimage site and home to a huge military base, it's relaxed, self-confident and sophisticated, well known for its excellent cuisine and traditional handicrafts. The stores on Thanon Thachang are especially good for local nielloware (kruang tom), household items and jewellery, elegantly patterned in gold or silver, often on black, and yan lipao, sturdy basketware made from intricately woven fern stems of different colours. Nakhon is also the best place in the country to see how Thai shadow plays work, at Suchart Subsin's workshop, and the main jumping-off point for towering Khao Luang National Park and its beautiful waterfall, Krung Ching.
Festivals in Nakhon
The town is recorded under the name of Ligor (or Lakhon), the capital of the kingdom of Lankasuka, as early as the second century, and classical dance-drama, lakhon, is supposed to have been developed here. Well placed for trade with China and southern India (via an overland route from the port of Trang, on the Andaman Sea), Nakhon was the point through which the Theravada form of Buddhism was imported from Sri Lanka and spread to Sukhothai, the capital of the new Thai state, in the thirteenth century.
Orientation in Nakhon is simple, though the layout of the town is puzzling at first sight: it runs in a straight line for 7km from north to south and is rarely more than a few hundred metres wide, a layout originally dictated by the availability of fresh water. The modern centre for businesses and shops sits at the north end around the landmark Tha Wang intersection, where Thanon Neramit meets Thanon Ratchadamnoen. To the south, centred on the elegant, traditional mosque on Thanon Karom, lies the old Muslim quarter; south again is the start of the old city walls, of which few remains can be seen, and the historic centre, with the town's main places of interest now set in a leafy residential area.
Known as muang phra, the "city of monks", Nakhon is still the religious capital of the south, and the main centre for festivals. The most important of these are the Tamboon Deuan Sip, held during the waning of the moon in the tenth lunar month (either Sept or Oct), and the Hae Pha Khun That, which is held several times a year, but most importantly on Makha Puja, the February full moon, and on Visakha Puja, the May full moon. The purpose of Tamboon Deuan Sip is to pay homage to dead relatives and friends; it is believed that during this fifteen-day period all pret – ancestors who have been damned to hell – are allowed out to visit the world, and so their relatives perform a merit-making ceremony in the temples, presenting offerings from the first harvest to ease their suffering. A huge ten-day fair takes place at Thung Talaat park on the north side of town at this time, as well as processions, shadow plays and other theatrical performances. The Hae Pha Khun That also attracts people from all over the south, to pay homage to the relics of the Buddha at Wat Mahathat. The centrepiece of this ceremony is the Pha Phra Bot, a strip of yellow cloth many hundreds of metres long, which is carried in a spectacular procession around the chedi.
Found throughout southern Asia, shadow puppets are one of the oldest forms of theatre, featuring in Buddhist literature as early as 400 BC. The art form seems to have come from India, via Java, to Thailand, where it's called nang, meaning "hide": the puppets are made from the skins of water buffalo or cows, which are softened in water, then pounded until almost transparent, before being carved and painted to represent the characters of the play. The puppets are then manipulated on bamboo rods in front of a bright light, to project their image onto a large white screen, while the story is narrated to the audience.
The grander version of the art, nang yai – "big hide", so called because the figures are life-size – deals only with the Ramayana story. It's known to have been part of the entertainment at official ceremonies in the Ayutthayan period, but has now almost died out. The more populist version, nang thalung – thalung is probably a shortening of the town name, Phatthalung (which is just down the road from Nakhon), where this version of the art form is said to have originated – is also in decline now: performances are generally limited to temple festivals, marriages, funerals and ordinations, lasting usually from 9pm to dawn. As well as working the 60cm-high nang thalung puppets, the puppet master narrates the story, impersonates the characters, chants and cracks jokes to the accompaniment of flutes, fiddles and percussion instruments. Not surprisingly, in view of this virtuoso semi-improvised display, puppet masters are esteemed as possessed geniuses by their public.
At big festivals, companies often perform the Ramayana, sometimes in competition with each other; at smaller events they put on more down-to-earth stories, with stock characters such as the jokers Yor Thong, an angry man with a pot belly and a sword, and Kaew Kop, a man with a frog's head. Yogi, a wizard and teacher, is thought to protect the puppet master and his company from evil spirits with his magic, so he is always the first puppet on at the beginning of every performance.
In an attempt to halt their decline as a form of popular entertainment, the puppet companies are now incorporating modern instruments and characters in modern dress into their shows, and are boosting the love element in their stories. They're fighting a battle they can't win against television and cinemas, although at least the debt owed to shadow puppets has been acknowledged – nang has become the Thai word for "movie".
Phetchaburichevron_right
Hua Hinchevron_right
Khao Sam Roi Yot National Parkchevron_right
Surat Thanichevron_right
Ko Samuichevron_right
Ko Pha Nganchevron_right
Ko Taochevron_right
Nakhon Si Thammaratchevron_right
Book Your Trip To Thailand
The Rough Guide to Thailand's Beaches & Islands
The Rough Guide to Bangkok
The Rough Guide to Southeast Asia on a Budget
The Rough Guide to Thailand
Thailand features
Where to stay in Bangkok
The 20 best islands in Thailand
Vietnam or Thailand – which one should you visit first?


The position is in the finance area as an assistant to the company's controller. The position will include several accounting aspects like financial reports (monthly and quarterly), cash flow, fixed asset, tax, productivity projects, and any additional projects as needed. There is a great benefit since we are working with both Strauss and Pepsico on the financial reports and we learn a lot from both sides.
Strauss Frito Lay is a JV of both Pepsico inc. and Strauss Group (50%-50%), It's a food company establish in 1997, working in the core salty category producing Tapuchips (Lays), Doritos, Cheetos, Quaker, peanuts,and has its own factory and sales division in Israel. This is a great company with good environment and kind people, there are a lot of accomplishments through the years and future challenges. As a JV we are expose to both Strauss group company ( an international food and beverage company ) and to Pepsico inc a global food and beverage company.


Gambling takes place in different settings, which can vary depending on the location and type of venue. People often feel safe and comfortable in land-based venues like casinos and hotels, which may lead people to spend more time gambling than they may have planned. These venues can also influence a person's exposure to gambling in many ways. For instance, exposure can be limited by age restrictions, but it is enhanced by having easy access to money through ATMs, an attractive layout, and food and alcohol being readily available. These factors may encourage people to continue gambling. Land-based venues do, however, try to promote responsible gambling by using practices such as self-exclusion programs, behaviour tracking, policies against cash or credit advances, instituting time limits, and making clocks available so people know how much time they are spending at the venue. The extent to which these practices are applied, however, varies by jurisdiction.
Another setting that has grown rapidly in recent years is Internet gambling. This type of gambling is easy to access 24 hours a day from any location and allows the player to pay with credit. There is no clear evidence at present to determine if Internet gambling places people at greater risk of exposure to harm than land-based gambling.


Seeking the best silver red apple pendant with good quality and affordable prices from DHgate Australia site. We provide a variety of white freshwater pearl pendant silver online supplied by reliable sellers around the world. Helping you step by step of finding cheap sterling silver cage pendants is what we aim for. Enjoy exploring our range of quartz pendant charms silver shop and find the vintage silver heart pendants for sale from au.dhgate.com with free delivery to Australia.


text:
Suarez Is A Liar, We Made No Promise To Him – Brendan Rodgers
Brendan Rodgers has hit out at Luis Suarez's comments in The Guardian and the Telegraph.
Brendan Rodgers was understandably furious with Suarez in his post match press conference after the match against Valerenga, where he said, "There were no promises made – categorically none – and no promises broken,"
"The club and his representatives had several conversations and he knew exactly where he was at.
"I think Luis knows the support he's had at the football club and that's something that's been unswerving throughout the whole of last season."
"Obviously the remarks I've read are bitterly disappointing – but my job is bigger than that. My job is to fight and protect the club. The conversations I've had with him, he knows I've had and they will remain private."
"I will take strong, decisive action, absolutely. There has been total disrespect of the club – this is a lack of respect of a club that has given him everything. Absolutely everything."
Suarez has been the subject of two bids from Arsenal, the latter one designed to activate a certain clause, which as it is now known only requires the Reds to start listening to offers that start from £40m and the clause does not state that Suarez will have to be allowed to leave if a bid of over £40m is made, which surely puts the Gunners in a mess.
Ryan Giggs delivers latest verdict on Alexis Sanchez Man United transfer
Is Szczesny Overrated Or Just Lacking Competition?
Leaked: Like Wenger, Arsenal Defender Reacts To Handball Winner

redpajama_set_name: RedPajamaCommonCrawl


El rooftop esta totalmente cubierto y hay parking gratuito en el hotel durante todo el evento.
IMPORTANTE – Para estar en LISTA y poder entrar gratuitamente: hay que dar a ASISTIRÉ al evento y haber dado like a la pagina de Deeplomatic Recordings. Si vienes con acompañantes escríbelo en el muro! La lista se cierra el Sabado 28 de Enero a las 18:00, entrada gratis o 2 copas x 16€ hasta medianoche, después de las 00:00 se cobrará una consumición con la entrada.
Saturday 28th of January! Deeplomatic is back with an awesome Rooftop Party at Hotel Silken Puerta América Madrid, the tallest rooftop in Madrid, with some incredible views from the capital! Come and enjoy one of the best sunsets in Madrid, with a great crowd and even better music!
IMPORTANT – To be on the guest LIST and get in for free: click attend to the event and like the Deeplomatic Recordings page. If you come with guests add them on the wall too! The list closes on Saturday the 28th at 18:00. Free entrance or 2 drinks for 16€ until midnight, after 00:00 one drink must be purchased at the door to enter.


text:
Premier League launches legal action against Chinese broadcaster
The Premier League has launched legal action against Chinese broadcaster PPLive Sports International Ltd - the Suning-owned company which pulled out of screening its live games in September.
The league subsequently signed a one-year streaming deal with Tencent, and has now brought a reported £170 million lawsuit against its former broadcast partner.
In court papers, first reported by Bloomberg, the league has accused PPLive Sports of defaulting on a £163 million payment for live matches as well as highlights packages.
According to The Telegraph, the league's new deal with Tencent is reported to be worth £20 million up front, while the league has also reassured its clubs they will not lose out as a result of the loss of PPLive Sports.
The Premier League pulled out of its three-year agreement with the Suning company, however the broadcaster had already paid half of its previous agreement.
The news comes as the league, together with The FA and the EFL, sent an open letter to fans in which it laid out measures it hopes will bring spectators back into stadiums in the coming months.
In September, Premier League CEO Richard Masters said it was 'absolutely critical' to get fans back into stadiums, and indicated that clubs could face a £700 million shortfall across the 2020/21 season if no spectators were to be admitted.
Vitality becomes Women's FA Cup sponsor
City Football Group adds 10th club to network
PepsiCo agree five-year sponsorship of UEFA women's competitions


text:
Octopus Press is a publishing platform of PLATO, a city gallery for contemporary art.
csen
Ⅰ.
Łukasz Gorczyca
Who is Afraid of Ruins?
1,300 words
↓ PDF
Text: Łukasz Gorczyca
English translation: Christopher Smith
I'm travelling to Ostrava to talk about ruins. I'm travelling from Warsaw, where ruins are not a metaphor, but an image permanently etched in memory. They are a figure of history, but also a state of ceaseless negotiation with the surrounding matter. We understand the notion of ruins first and foremost literally, as structures sinking into the soil, deprived of even the romantic staffage of wild vegetation. But today we will discuss rhetorical figures. From the window of the train our Central European landscape looks at first like a ruin—seen already in so many ways that it gives the impression of being thoroughly exhausted, woven from visual clichés, swept by the winds of history and art, like a vacant building missing all its glazing. Worn out by all of the perspectives of 20th-century photographers and artists contemporary to ourselves documenting the barrenness of "the land, this land"—as the pope from Poland put it.
The atmosphere of exhaustion spreads like fog, but it does not disperse. As I write these words, the state of pandemic suspension continues. Museums, galleries, theatres, cinemas, restaurants and bars remain closed. They pursue only a more or less secret inner life, revealed in the form of takeout orders and less and less enthusiastic online exhibitions, shows and projects. Travel is discouraged, even leaving your own home. But I find an eatery that is not only open, but is operating entirely legally. The waiter nods invitingly. It is the dining car on the international train between Warsaw and Vienna, which I am taking to the meeting in Ostrava. Here I am the only guest. There is the waiter, the cook, and from time the conductors and the cleaner look in. The atmosphere unequivocally evokes Josef Dabernig's unforgettable film Wars (2001). It could have been shot on this very same Central European route. Unrepeatable and inimitable combinations of apathy and boredom, waiting, and languid attempts to chase away thoughts about the barrenness of this route. This life's journey. From nowhere to nowhere.
This day carries an added charge of nostalgia. Yesterday the death of Papcio Chmiel (Henryk Jerzy Chmielewski) was announced. He had shaped the linguistic imagination and sarcastic sense of humour of two generations of Polish youth growing up during the era of late socialism. His cult work is a series of comics about Tytus, a chimp who was born from a splotch of ink spilled by the draughtsman and taken into the care of a pair of boy scouts. Their shared adventures are a daring blend of the political correctness of that time with a sense of humour that deconstructed the system. In the 11th volume of these adventures, the boys come to the rescue of landmarks. They seek a historic structure they can restore and adapt to serve as the headquarters of their own scout troop. Under the realities of our transformation, when art could officially provide a release for its emancipatory and causative force, it revealed a similar scout-like enthusiasm. Starting from the 1980s, artists took over desolate ruins or unfinished development projects, transforming them into more or less professional art spaces, art fortresses, and several similar artistic institutions. In Warsaw, the Centre for Contemporary Art took up residence in the historic (but rebuilt from the foundations) Ujazdowski Castle. A number of other institutions began in a similar fashion—by wresting half-ruined structures from local government authorities. Only art (and maybe scouts?) has the strength and enthusiasm to successfully operate in ruins and restore them to life. This approach is global in nature. The model was set by the operation of New York's Institute for Art and Urban Resources Inc., founded in 1971 by Alanna Heiss, later known as the P.S. 1 Contemporary Art Center and since 2000 as MoMA PS1. This ultimately gave rise to a kind of unwritten social consensus: if art cannot be conceived in any other way, let it serve as a midwife for processes of revitalization and gentrification.
A similar story is playing out now in Ostrava, only softened by the characteristic Central European sense of humour. This is PLATO, a nomadic public art institution which moves from one temporary home to another. According to the plan, in 2022 it should settle for good. But here we are faced with the captivating figure of a double oxymoron. The institution's current home is the vast pavilion of a former construction market from the 1990s, now slated for demolition. The intended permanent home is a former slaughterhouse, a stylish ruin from the late 19th century which, after reconstruction, will maintain its historical shape but will be filled with a new "vegetarian" content, flatly contrary to the original. Where the devil fears to tread, send art. The history of modernity is familiar with various types of ruins, both symbolic, in philosophical debate, and physically tangible. We recognize the tragic nature of wartime ruins, but also their expiational, cleansing power. Post-war ruins meant a farewell to the old order, a reincarnation, a transubstantiation and herald of the new order: they created a contrast for new construction and the new political system. In the urban plan, ruins were deemed a necessary sacrifice for the recovery of spatial policy and rebuilding urban organisms—as in the rebuilt Warsaw. No one then could have anticipated how quickly the icons of the new, modernist architecture would themselves become living ruins. At the start of the 21st century, images of that architecture ploughed through the mass imagination of art. This didn't necessarily have to do with the ruined structures themselves, but rather with the promise encoded in their rigorous, modernist forms of a better future, a promise that burned out before it was fulfilled. Thus these were images from a recent but nonetheless politically and socially remote past. Deactivated structures like the Palast der Republik in Berlin, a phenomenon portrayed by Tacita Dean in her film Palast (2004). The collapse of the Soviet bloc, visualized in the form of the ruins of the Berlin Wall, was the key inspiration here: it marked a historic change of epochs, played out before our very eyes.
The main problem with these artistic visions, or rather afterimages, was their omnipresent nostalgia. As the curators of Documenta 12 queried, "Is modernity our antiquity?" From this perspective, images of modernism have undergone romanticization, much as ancient ruins did during the Enlightenment. At the same time they have become another stage of a universalist narrative. This time, as a post-transformation Central European society, we seek our own ruins. Modernity, inflected through all declensions and photographed from all sides in the mannerism of "post-Soviet porn," is no longer our antiquity. Now the history of the post-communist transformation is becoming our antiquity.
A ruin is a building bereft of people. A material structure created by the hands of man but then vacated by him. It is a picture of wasted effort, a signal that our interests and emotions have moved on, somewhere else. But the order of this concept can be reversed. If a process is carried out in discursive or virtual space, then a material confirmation of the process is particularly needed, some trace, some ruin as an image of the change in hierarchy. Something, some concept, action, or accumulated energy, supersedes the existing configuration. A ruin may thus serve as something anticipated, as the hope accompanying an approaching change.
In this endless need for ruins, the quest for a new founding myth, a new past, is also inscribed the ideological context of rewriting history and the political danger of populism. An ambition of 20th-century totalitarianisms was to build cities whose ruins could rival the ancient ones. In this perspective the ruins of our transformation seem pretty unspectacular. Why is PLATO calling on us today to discuss ruins? Is it a sense of the importance of the approaching change, a return to our familiar rituals? The ruin as a state of passage from one order to another, or rather the art institution as a metaphor for a ruin—a body in transformation, in a process of ceaseless change, uprooting, fulfilled unfulfillment? The train stops in Ostrava. The station is nearly empty, like the square in front of it. It is a Saturday afternoon, the city is holding its breath, and even if it's just a coincidence of the pandemic, it is happening at the best possible moment. Our world is frozen in anticipation.
Łukasz Gorczyca is a writer on art and curator. He lives and works in Warsaw.
Octopus Press is a publishig platform of PLATO, a city gallery for contemporary art.
City Gallery for Contemporary Art
plato-ostrava.cz
The Ministry of Culture of the Czech Republic
The Moravian-Silesian Region
ostrava_logo
PLATO Ostrava is a city-funded organisation of the City of Ostrava.
This page was last updated on Mon 17/5/2021


text:
Fitzgerald exhibition opens at Monterey Museum of Art
He discovered Monterey by luck and made it home for 15 years. Now, Monterey re-discovers James Fitzgerald. Monterey County Weekly | Agata Popeda | January 22, 2022
"Seeking Eden: James Fitzgerald in Monterey" on display from January 13, 2022 through April 23, 2022 at the Monterey Museum of Art in Monterey, California.
>>READ MORE
Key figure in development of Monhegan Museum retires
Robert Stahl has been involved in various capacities for many years, including promoting the legacy of painter James Fitzgerald.
Portland Press Herald | Bob Keyes | August 5, 2021
Robert Stahl, the longtime director of the James Fitzgerald Legacy and past associate and co-director of the Monhegan Museum of Art & History, is retiring from his volunteer leadership position with the Maine island museum. Stahl, who lives in Portland and on Monhegan, also served as museum treasurer for many years.
James Fitzgerald: Monhegan Modernist
A master painter inspired by Maine
Maine Boats, Homes, & Harbors | Carl Little | July/August 2018
Over the years, painters' reactions to Monhegan Island have been enthusiastic. In a letter to his wife Emma in 1911, George Bellows expressed his awe in this simple testimonial: "[Monhegan] is possessed of enough beauty to supply a continent." Writing about the island in his 1955 autobiography It's Me, O Lord, Rockwell Kent echoed that thought. Monhegan, he wrote, "was enough for me, for all my fellow artists, for all of us who sought 'material' for art.
Rockwell Kent's Monhegan home, studio added to national historic trust
Also receiving recognition was the childhood home of Edward Hopper in Nyack, New York.
Portland Press Herald | Bob Keyes | February 12, 2018
The modest home and functional studio that the painter Rockwell Kent built on Monhegan Island, and which were later owned by the painter James Fitzgerald, have been accepted into the Historic Artists' Homes and Studios program of the National Trust for Historic Preservation.
Preserving the Legacy of James Fitzgerald
A new book draws a complete picture of Monhegan's most famous painter.
Portland Press Herald | Bob Keyes | January 7, 2018
Nearly a half-century since Fitzgerald died, his legacy is receiving renewed attention. The James Fitzgerald Legacy, a volunteer nonprofit organization that operates in coordination with the Monhegan Museum atop Lighthouse Hill on the island, has published a massive catalog of the artist's work, "James Fitzgerald: The Drawings and Sketches," that's based on the artist's sketchbooks.
The James Fitzgerald – Rockwell Kent Historic Artist Home and Studio is open to the public from
Tuesday: 12:00pm – 2:00pm Thursday:12:00pm – 2:00pm


Venus Statue (ヴィーナス・スタチュー, Vīnasu Sutachū?) is an obstacle encountered in Fate/Extra CCC with the Sentinels stuck in a wall with floral design, representing their connection to BB . The strongest form of firewall and "the border of the world", the statues are the true form of the sentinels and impervious to physical attack, which even BB is incapable of destroying them. Representing the wall of a heart, they can only be vanquished by entering the core through a special technique developed by Kiara Sessyoin, defeating the Sentinel inside, cleaning their heart of contamination, and freeing them from BB's control.
The statue of the servants also made appearance in Pure Mental Territory: Word of Logos, represents their locked memories after being thrown into Imaginary Number Space.
Also known as A Challenge to Morals, is special form of Venus Statue, the relief features clothless Sakura/BB inside it and representing their hearts. It is the last obstacle that prevents the protagonist from entering the Mooncell's core. Unlike the others, it cannot be entered due to not having the sentinel inside it.
According to Kinoko Nasu, they were originally called "Chocolate Veil" in the development stage, while Sakura Veil Grande was originally known as Sakura Veil Diva, playing on the word Goddess and Diva and possibly referring to Lady Godiva, given the statue's naked form cover only by long hair.