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650 results for “dashou”
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@dalhousie_university researchers:“Cannabinoids have the potential to be used as a preventive approach to limiting the susceptibility and severity of #COVID19 infections by preventing viral entry, mitigating oxidative stress, and alleviating the associated #cytokinestorm.”
study also found they could be used to treat patients with #LongCovid…“Post- #SarsCoV2 infection, #cannabinoids have shown promise in treating symptoms associated with post-acute long COVID-19…"
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@dalhousie_university researchers:“Cannabinoids have the potential to be used as a preventive approach to limiting the susceptibility and severity of #COVID19 infections by preventing viral entry, mitigating oxidative stress, and alleviating the associated #cytokinestorm.”
study also found they could be used to treat patients with #LongCovid…“Post- #SarsCoV2 infection, #cannabinoids have shown promise in treating symptoms associated with post-acute long COVID-19…"
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For the next Friends of OpenJDK (Foojay.io) @foojay :foojay: #Podcast, I talked with @marcushellberg (#Vaadin) and Martijn Dashorst (#ApacheWicket) about web development with #Java, including #Thymeleaf and #htmx. Do you really need a JavaScript framework? Why would you not just stick to Java and use one of its many great libraries?
https://www.youtube.com/watch?v=aaYs7zqaBO8
You can find all previous Foojay Podcasts here: https://foojay.io/today/category/podcast/
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For the next Friends of OpenJDK (Foojay.io) @foojay :foojay: #Podcast, I talked with @marcushellberg (#Vaadin) and Martijn Dashorst (#ApacheWicket) about web development with #Java, including #Thymeleaf and #htmx. Do you really need a JavaScript framework? Why would you not just stick to Java and use one of its many great libraries?
https://www.youtube.com/watch?v=aaYs7zqaBO8
You can find all previous Foojay Podcasts here: https://foojay.io/today/category/podcast/
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For the next Friends of OpenJDK (Foojay.io) @foojay :foojay: #Podcast, I talked with @marcushellberg (#Vaadin) and Martijn Dashorst (#ApacheWicket) about web development with #Java, including #Thymeleaf and #htmx. Do you really need a JavaScript framework? Why would you not just stick to Java and use one of its many great libraries?
https://www.youtube.com/watch?v=aaYs7zqaBO8
You can find all previous Foojay Podcasts here: https://foojay.io/today/category/podcast/
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For the next Friends of OpenJDK (Foojay.io) @foojay :foojay: #Podcast, I talked with @marcushellberg (#Vaadin) and Martijn Dashorst (#ApacheWicket) about web development with #Java, including #Thymeleaf and #htmx. Do you really need a JavaScript framework? Why would you not just stick to Java and use one of its many great libraries?
https://www.youtube.com/watch?v=aaYs7zqaBO8
You can find all previous Foojay Podcasts here: https://foojay.io/today/category/podcast/
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New #openaccess publication #SciPost #Physics
Symmetries and anomalies of Kitaev spin-S models: Identifying symmetry-enforced exotic quantum matter
Ruizhi Liu, Ho Tat Lam, Han Ma, Liujun Zou
SciPost Phys. 16, 100 (2024)
https://scipost.org/SciPostPhys.16.4.100#PI #DalhousieUniversity #MIT
#Ontario #InnovationScienceEconomicDevelopmentCanada #PerimeterInstitute #MCU -
New #openaccess publication #SciPost #Physics
Symmetries and anomalies of Kitaev spin-S models: Identifying symmetry-enforced exotic quantum matter
Ruizhi Liu, Ho Tat Lam, Han Ma, Liujun Zou
SciPost Phys. 16, 100 (2024)
https://scipost.org/SciPostPhys.16.4.100#PI #DalhousieUniversity #MIT
#Ontario #InnovationScienceEconomicDevelopmentCanada #PerimeterInstitute #MCU -
New #openaccess publication #SciPost #Physics
Symmetries and anomalies of Kitaev spin-S models: Identifying symmetry-enforced exotic quantum matter
Ruizhi Liu, Ho Tat Lam, Han Ma, Liujun Zou
SciPost Phys. 16, 100 (2024)
https://scipost.org/SciPostPhys.16.4.100#PI #DalhousieUniversity #MIT
#Ontario #InnovationScienceEconomicDevelopmentCanada #PerimeterInstitute #MCU -
New #openaccess publication #SciPost #Physics
Symmetries and anomalies of Kitaev spin-S models: Identifying symmetry-enforced exotic quantum matter
Ruizhi Liu, Ho Tat Lam, Han Ma, Liujun Zou
SciPost Phys. 16, 100 (2024)
https://scipost.org/SciPostPhys.16.4.100#PI #DalhousieUniversity #MIT
#Ontario #InnovationScienceEconomicDevelopmentCanada #PerimeterInstitute #MCU -
Die Harfenistin Kathrin Pechlof erhält den SWR Jazzpreis 2023. Das Preisträgerkonzert findet am 14.11.23 in dashaus in Ludwigshafen statt.
https://jazzpages.de/kathrin-pechlof-erhaelt-den-swr-jazzpreis-2023/
#jazz #jazzpreis #swrjazzpreis #kathrinpechlof #enjoyjazzfestival #dashaus #Ludwigshafen #Preisträgerkonzert #rheinneckar #metropolregionrheinneckar
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Die Harfenistin Kathrin Pechlof erhält den SWR Jazzpreis 2023. Das Preisträgerkonzert findet am 14.11.23 in dashaus in Ludwigshafen statt.
https://jazzpages.de/kathrin-pechlof-erhaelt-den-swr-jazzpreis-2023/
#jazz #jazzpreis #swrjazzpreis #kathrinpechlof #enjoyjazzfestival #dashaus #Ludwigshafen #Preisträgerkonzert #rheinneckar #metropolregionrheinneckar
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Die Harfenistin Kathrin Pechlof erhält den SWR Jazzpreis 2023. Das Preisträgerkonzert findet am 14.11.23 in dashaus in Ludwigshafen statt.
https://jazzpages.de/kathrin-pechlof-erhaelt-den-swr-jazzpreis-2023/
#jazz #jazzpreis #swrjazzpreis #kathrinpechlof #enjoyjazzfestival #dashaus #Ludwigshafen #Preisträgerkonzert #rheinneckar #metropolregionrheinneckar
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Die Harfenistin Kathrin Pechlof erhält den SWR Jazzpreis 2023. Das Preisträgerkonzert findet am 14.11.23 in dashaus in Ludwigshafen statt.
https://jazzpages.de/kathrin-pechlof-erhaelt-den-swr-jazzpreis-2023/
#jazz #jazzpreis #swrjazzpreis #kathrinpechlof #enjoyjazzfestival #dashaus #Ludwigshafen #Preisträgerkonzert #rheinneckar #metropolregionrheinneckar
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Bassist Petter Eldh spielte mit Kit Downes und James Maddren im Trio sein SWR-Preisträgerkonzert in #Ludwigshafen beim
Enjoy Jazz Festival#pettereldh #kitdownes #jamesmaddren #swrjazzpreis #preisträgerkonzert #enjoyjazzfestival #dasHaus #jazzpages #Jazz #swr
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Die diesjährige Trägerin des SWR-Jazzpreises ist die Harfenistin Kathrin Pechlof.
Am 14. November findet das Preisträgerkonzert mit dem Kathrin Pechlof Trio im Kulturzentrum dasHaus Ludwigshafen statt (ein "Encore-Konzert" des Enjoy Jazz Festivals). Mit auf der Bühne stehen Saxophonist Christian Weidner und Robert Landfermann am Bass.
#jazz #kathrinpechlof #swr #swrjazzpreis #dashaus #ludwigshafen #enjoyjazzfestival #jazzfotografie #jazzpages #schindelbeck #rheinneckar #jazzpreis
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Die diesjährige Trägerin des SWR-Jazzpreises ist die Harfenistin Kathrin Pechlof.
Am 14. November findet das Preisträgerkonzert mit dem Kathrin Pechlof Trio im Kulturzentrum dasHaus Ludwigshafen statt (ein "Encore-Konzert" des Enjoy Jazz Festivals). Mit auf der Bühne stehen Saxophonist Christian Weidner und Robert Landfermann am Bass.
#jazz #kathrinpechlof #swr #swrjazzpreis #dashaus #ludwigshafen #enjoyjazzfestival #jazzfotografie #jazzpages #schindelbeck #rheinneckar #jazzpreis
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Die diesjährige Trägerin des SWR-Jazzpreises ist die Harfenistin Kathrin Pechlof.
Am 14. November findet das Preisträgerkonzert mit dem Kathrin Pechlof Trio im Kulturzentrum dasHaus Ludwigshafen statt (ein "Encore-Konzert" des Enjoy Jazz Festivals). Mit auf der Bühne stehen Saxophonist Christian Weidner und Robert Landfermann am Bass.
#jazz #kathrinpechlof #swr #swrjazzpreis #dashaus #ludwigshafen #enjoyjazzfestival #jazzfotografie #jazzpages #schindelbeck #rheinneckar #jazzpreis
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U.S. Blockade of Oil to Cuba Threatens Sovereignty of All Nations
Statement by Isaac Saney
https://world-outlook.com/2026/02/03/u-s-blockade-of-oil-to-cuba-threatens-sovereignty-of-all-nations/from #WorldOutlook
February 3, 2026#IsaacSaney is a Cuba specialist who coordinates the Black and African Diaspora Studies program at Dalhousie University in Halifax, Nova Scotia, Canada. With roots in the African Nova Scotia community and the #Caribbean, his teaching, research, and scholarship encompass Cuba, #Africa, the Caribbean, #BlackCanadian history, the global #BlackLiberation struggle, and reparations. A major area of his research is Cuba’s relationship with Africa.
In response to the latest escalation of Washington’s economic war on #Cuba, Saney issued a statement that first appeared on January 30 on his Facebook page. It was subsequently published by the Cuban #news service Radio Rebelde (Rebel Radio).
#EndTheBlockadeEmbargo
#CubaSolidarity
#LetCubaLive
#EndSanctionsAgainstCuba #OffTheList
#VivaCuba
#US #LatinAmerica #politics #USpol #BlackMastodon -
@Sir_Osis_of_Liver I've also heard good things about downtown Dartmouth these days, but it was a short visit, and we didn't have a chance to take the ferry across. We also didn't manage to explore the Quinpool District or the area around Dalhousie U (next time).
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Source: CBC #news #novascotia
N.S. patient partner helps to inform new ovarian cancer research project
In 2018, #halifax's Teresa Arthur was diagnosed with Stage 4 ovarian cancer. Now eight years into her journey, she is helping a #halifax lab research how to treat ovarian cancer with what's called natural killer cell immunotherapy.
https://www.cbc.ca/news/canada/nova-scotia/ovarian-cancer-research-natural-kill-cells-halifax-dalhousie-9.7192444?cmp=rss -
Trump’s May 1 Escalation Against Cuba Signals Danger of Military Aggression
https://world-outlook.com/2026/05/05/trumps-may-1-escalation-against-cuba-signals-danger-of-military-aggression/from #WorldOutlook
May 5, 2026While millions marched across #Cuba on International Workers’ Day, “the regime of Donald #Trump chose to intensify its economic war on the heroic island nation. This timing is not incidental. It is profoundly symbolic: an imperial declaration issued on the very day the Cuban people publicly reaffirm their revolutionary commitment before the world.”
This is what #IsaacSaney wrote in an essay on his Facebook page on May 1.. Saney is a Cuba specialist and a professor of Black African Diaspora Studies at the Dalhousie University in Halifax, Canada. He is also a member of the executive board of the Canadian Network on Cuba.
We are publishing below Saney’s essay for the information of our readers because it accurately draws out the implications for Cuba, and the Cuba solidarity movement, of Trump’s May 1 executive order.
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Jan Fride (auch #Schlagzeuger von #Kraan) hat gerade eben ein solo #Ambient Album bei Bandcamp herausgebracht:
https://lambadalabor.bandcamp.com/album/zero-gravity
Ich freue mich schon, ihn und Kraan live wieder beim ersten #Krautrock #Festival in #Ludwigshafen im Januar 2026 zu hören. Das dann aber wieder ganz andere Musik...
#janfride #janfridewolbrandt #kraan #krautrockfestival #rheinneckar #music #musik #ambient_music #odenwald #musicrules #heidelberg #mannheim #ludwigshafen #dashausludwigshafen
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Mardi Spaghetti: Camila Nebbia trio + Eduardo Cossio + Yakamovich/Nesbitt
Casa Del Popolo, Tuesday, October 7 at 07:30 PM EDT
Festival FLUX
Mardi Spaghetti, Small Scale Music, Québec musiques parallèles, Arts aux Marges, Innovations en concert et le Réseau canadien pour les musiques nouvelles présentent:La jeune musicienne d’origine argentine est une saxophoniste incontournable de notre temps. Entre Berlin et New York, elle fréquente les plus grands improvisateurs et se démarque par une virtuosité vertigineuse, une énergie brute et une invention mélodique intarissable. Un concert rencontre avec deux improvisateurs exceptionnels : le bassiste Pablo Jiménez et le multi-instrumentiste Antoine Létourneau-Berger. Deux performances improvisées en solo et en duo précéderont la performance du trio
Camila Nebbia (Buenos Aires/Berlin/New York): saxophone ténor
Pablo Jiménez: contrebasse
Antoine Létourneau-Berger (Rimouski): percussions, claviers, électroniques
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Eduardo Cossio (Perth/Boorloo): cithares préparées et électronique
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Jen Yakamovich (Vancouver): batterie
Roxanne Nesbitt: instruments en céramique7 Octobre
Casa del Popolo
19h30: Portes / Doors
20h00: Concert / Show
10$ en avance / in advance
15$-20$ suggéré à la porte / at the door (NOTAFLOF)La présence de Camila Nebbia est possible grâce au soutien du Geothe Institute.
Bios:
Camila Nebbia, originaire de Buenos Aires et installée à Berlin, est saxophoniste, compositrice, improvisatrice, artiste visuelle et commissaire d'exposition. Décrite par le magazine Jazz PT comme « une saxophoniste essentielle de notre époque ». L'artiste pluridisciplinaire fonde sa pratique sur la création et la destruction de la mémoire archivistique, explorant les concepts d'identité, de migration et de mémoire à travers son travail. Son dernier album solo - « una ofrenda a la ausencia » (une offrande à l'absence) sur Relative Pitch Records - a été décrit par le NYC Jazz Record comme un « album intrinsèquement humain et personnel, qui surprend les auditeurs par son approche passionnée du jazz ».https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez est contrebassiste et compositeur né à Bogota et établi à Montréal. Utilisant l'improvisation comme moteur créatif profond, son travail cherche à établir un langage musical rigoureux basé sur le mouvement. Il collabore souvent avec des ensembles et des musiciens de la scène des musiques actuelles et contemporaines au Québec et au Canada, dont l'Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman et Scott Thomson. Il s'est produit et a participé à des festivals tels que le Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, et les Darmstädter Ferienkurse, où il a étudié avec Anthony Braxton et interprété sa musique.
https://tourdebras.bandcamp.com/album/objeto
Antoine Létourneau-Berger est un compositeur multi-instrumentiste originaire du Bas-Saint-Laurent. Percussionniste classique de formation, il poursuit ses études en composition de musique de film et développe un intérêt marqué pour la production sonore. Il porte selon l'occasion les chapeaux de réalisateur d'album, compositeur, concepteur et mixeur sonore autant que celui de musicien professionnel et improvisateur. Antoine est un touche à tout qui est aussi à l'aise avec les musiques expérimentales d'avant-garde que la chanson folk, le rock, le jazz ou encore les musiques électroniques. Il fait notamment partie des formations Talfast, Equse, Bascaille, Manta et GGRIL, en plus d'avoir produit 6 albums solo sous le nom de L'Oeil et le Monocle. De retour à Rimouski depuis 2014, il compose régulièrement pour le théâtre, le cinéma, la télévision, le cirque et la radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (né en 1982) est un musicien et artiste visuel péruvien-australien basé à Boorloo (Perth, Australie occidentale). Sa musique s'inspire de la composition électroacoustique et expérimentale, et il se produit généralement avec des cithares, des harmonicas et des instruments électroniques. Eduardo s'est produit dans toute l'Australie, en Europe et à Taïwan. Il a collaboré étroitement avec Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang et Jim Denley. Il est également un organisateur prolifique, animateur de radio et écrivain. Son travail en art visuel a fait l'objet de trois expositions individuelles.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich est une batteuse et improvisatrice basée à Vancouver qui travaille dans plusieurs disciplines en tant qu'interprète, compositrice, chercheuse et éducatrice. Elle considère sa relation avec la batterie, un système de sons et de parties interdépendantes, comme une exploration des relations entre son propre système interne et des réseaux socio-écologiques plus larges. Son approche de l'improvisation et de la composition spontanée trouve ses racines dans le Creative Music Workshop de Halifax, en Nouvelle-Écosse, où Yakamovich a grandi. De 2024 à 2025, Yakamovich a étudié avec la percussionniste, compositrice et preneuse de son Susie Ibarra (New York/Berlin).
Au cours de l'année écoulée, Yakamovich a travaillé avec le programme DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature, Now Society's 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal et grunt gallery. Elle a récemment contribué à des projets avec le percussionniste Adrian Avendaño (Vancouver), les artistes Roxanne Nesbitt et Ben Brown (Montréal), le guitariste Sam Wilson (Halifax), l'artiste psychédélique persan Niloo (Victoria), le groupe d'art rock Heaven For Real (Montréal), le producteur Miguel Maravilla (Vancouver), les improvisateurs Mustafa Rafiq (Edmonton) et Jairus Sharif (Calgary) pour Active Passive, et le groupe folk balkanique Fetele Din Balkani (Vancouver). Elle se produit régulièrement avec l'artiste pop expérimental Wallgrin (Vancouver) et a récemment formé le duo d'improvisation Notice Flower avec la pianiste Bahar Khazei. Elle mène également un projet folk expérimental en solo intitulé Troll Dolly.
Yakamovich souffre d'une dégénérescence visuelle progressive appelée rétinite pigmentaire. Elle est titulaire d'une maîtrise en études environnementales de l'université Dalhousie.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt est designer, compositrice et artiste sonore. Après des études en contrebasse classique et en architecture, Roxanne travaille entre les domaines de la musique et du design. Ses recherches explorent la conception d'instruments, le point de rencontre entre la composition et l'improvisation, la céramique sculpturale et les installations sonores participatives. Roxanne collabore avec des concepteur.ice.s d'instruments, des musicien.ne.s, des compositeur.ice.s et des chorégraphes pour créer ses œuvres.
Sa musique a été jouée à travers l'Europe et l'Amérique du Nord, notamment lors de performances au Gaudeamus Muziekweek à Utrecht, au November Music à Den Bosch, au Bauchhund à Berlin, au Western Front à Vancouver et au Center for New Music à San Francisco. Son processus de création célèbre l’intimité, la curiosité et l’exploration.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/
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(ENG)Camila Nebbia from Buenos Aires, based in Berlin, is a saxophone player, composer, improviser, visual artist and curator. Described by Jazz PT magazine as “an essential saxophonist of our time”. The multidisciplinary artist layers her practice through the creation and destruction of archival memory, exploring the concepts of identity, migration, and memory. Her work includes improvised and composed music, film creation, and audiovisual performances, forming a constellation of interconnected practices. Her most recent solo album –'una ofrenda a la ausencia' (an offering to absence) with Relative Pitch Records– was described by the NYC Jazz Record as an 'innately human and personal album, surprising listeners with a passionate approach to jazz'.
https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez is a double bassist and composer born in Bogota and based in Montreal. Using improvisation as a profound creative force, his work seeks to establish a rigorous musical language based on movement. He often collaborates with ensembles and musicians from the contemporary music scene in Quebec and Canada, including Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman, and Scott Thomson. He has performed and participated in festivals such as the Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, and the Darmstädter Ferienkurse, where he studied with Anthony Braxton and performed his music.
https://tourdebras.bandcamp.com/album/objetoAntoine Létourneau-Berger is a multi-instrumentalist composer from the Bas-Saint-Laurent region. Trained as a classical percussionist, he continued his studies in film music composition and developed a keen interest in sound production. Depending on the occasion, he wears the hats of album producer, composer, sound designer, and mixer, as well as professional musician and improviser. Antoine is a jack of all trades who is equally comfortable with avant-garde experimental music, folk, rock, jazz, and electronic music. He is a member of the bands Talfast, Equse, Bascaille, Manta, and GGRIL, and has produced six solo albums under the name L'Oeil et le Monocle. Back in Rimouski since 2014, he regularly composes for theater, film, television, circus, and radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (b.1982) is a Peruvian-Australian musician and visual artist based in
Boorloo (Perth, Western Australia). His music draws from electro-acoustic and
experimental composition, usually performing with zithers, harmonica and electronics.
Eduardo has performed widely across Australia, Europe, and Taiwan. He has collaborated
closely with Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang, and Jim
Denley. He is also prolific organiser, radio broadcaster, and writer. His visual art has been
the subject of three solo exhibitions.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich is a Vancouver-based drummer and improviser who works across disciplines as a performer, composer, researcher, and educator. She sees her relationship with the drum set—a system of interrelating sounds and parts— as an inquiry into relationships with both her own internal system and wider socioecological webs. Her approach to improvisation and spontaneous composition is rooted in the Creative Music Workshop in Halifax, NS, where Yakamovich grew up. From 2024-2025 Yakamovich studied with drummer, composer & field recordist Susie Ibarra (New York/Berlin).
Over the past year Yakamovich has worked with the DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature program, Now Society’s 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal, and grunt gallery. She has recently contributed to projects with percussionist Adrian Avendaño (Vancouver), artists Roxanne Nesbitt & Ben Brown (Montréal), guitarist Sam Wilson (Halifax), Persian psych artist Niloo (Victoria), art rock group Heaven For Real (Montréal), producer Miguel Maravilla (Vancouver), improvisers Mustafa Rafiq (Edmonton) & Jairus Sharif (Calgary) for Active Passive, and Balkan folk group Fetele Din Balkani (Vancouver). She regularly performs with experimental pop artist Wallgrin (Vancouver), and recently formed the improvisation duo Notice Flower with pianist Bahar Khazei. She has a solo experimental folk project called Troll Dolly.
Yakamovich has a progressive vision impairment called retinitis pigmentosa. She holds a Master’s degree in Environmental Studies from Dalhousie University.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt is a designer, composer, and sound artist. Following formal studies in classical double bass and architecture, Roxanne works between the fields of music and design. Her research explores radical instrument design, the meeting place of composition and improvisation, sculptural ceramics and participatory sound installation. Roxanne collaborates with instrument designers, musicians, composers, and choreographers to create work.
Her music has been played across Europe and North America including performances at Gaudeamus Muziekweek in Utrecht, November Music in Den Bosch, Bauchhund in Berlin, Western Front in Vancouver, and the Center for New Music in San Francisco. She celebrates process making work that is intimate, inquisitive, and exploratory.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/ -
Well that was an excellent performance from #BVB against a Köln team who didn't play badly at all even though the 6-1 scoreline sad otherwise and Dortmund looked worth it.
Reus and Haller both doubling up, and playing very in the process, I'd say that was as sharp as Haller has looked since his come back from cancer.
Malen, Wolf and Dahoud put in really good performances as well, and then Guerreiro in midfield is turning into a bit of a revelation #BVBKOE #Bundesliga
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It was just me and Celestine again this week, so caring for her took up a lot of my attention, but I was able to boost some podcast episodes on the fediverse and share some little highlights from my life.
Today we visited the Beaty Centre for Marine Biodiversity at Dalhousie University for the first time. It’s a modest space but Celestine loved seeing the aquariums, whale skeleton, and other displays. Seeing hermit crabs swapping shells was a highlight. It was fun walking around campus and showing her where I lived during my first year studying there.
Posted at https://cozymech.com/@apollo/115917167310792272Post by @[email protected] View on Mastodon
I was given Sushi Go! years ago but today I finally sat down to play with Celestine. The cute cards and simple mechanics are big plusses. She bounced off the scoring and strategy, but I think it will eventually be a game we return to often.
Posted at https://cozymech.com/@apollo/115918272844481202The latest episode of Literate Machine, “Superman and the Case for Open Borders“, is a coherent takedown on anti-immigrant politics framed by the most recent Superman film.
Posted at https://cozymech.com/@apollo/115928606493567005I picked up One-Shot Dungeon this week and got around to playing it today. It’s a dungeon crawling RPG built with 1d6 for all rolls and uses tables heavily to build and populate a dungeon. The simple mechanics make for a tough but fun game. Coldbrew Thunderhammer barely made it out alive after defeating a Chaos Warrior, but he’ll live to delve again.
Posted at https://cozymech.com/@apollo/115939560065623851Post by @[email protected] View on Mastodon
Post by @[email protected] View on Mastodon
https://apollolemmon.com/2026/01/25/social-digest-2026-01-18-2026-01-24/ #aquarium #OneShotDungeon #SushiGo -
An Elephant called Murdoch: the thread about the travails of Edinburgh’s first Zoo
This thread was originally written and published in February 2024.
It’s almost exactly a year since I tweeted about the intriguing map labels on the 1849 Ordnance Survey Town Plan of Edinburgh, and I’ve been meaning to write up more about them ever since. And so here we are, this is a thread about the (first) Edinburgh Zoological Gardens, the city’s (and Scotland’s) first zoo, which existed from 1840 to 1861. It’s a story about which almost nothing has been written (except in scraps of Victorian newspaper)… Until now that is! So read on and find out more about this pioneering but ultimately unsuccessful venture.
Intriguing labels on the 1849 OS Town Plan of Edinburgh. Reproduced with the permission of the National Library of ScotlandJames IV of Scotland had built a menagerie at Holyrood in 1512 where lions, tigers are lynx reputed to have been kept. James V had an ape and James VI a camel. But it was not until the London Zoo began in 1828 that desire for a public collection in the city began to grow. The two driving figures behind a Zoo for the city were Dr Patrick Neill of Canonmills, a naturalist and botanist with a huge personal botanic garden, and Mr John Douglas, a wire-worker at 61 Princes Street and “experienced collector of foreign and British birds and quadripeds“. Travelling menageries were nothing new, they were big entertainment business in Victorian Britain – we see one here on the Mound around 1840 (we can date it from what’s on at the Panorama, a display of Jerusalem to be followed by the Battle of Waterloo in coming weeks), which is Wombwell’s Menagerie. The elephants were always a big draw and we can see one here, serving as a mobile advertising board.
Princes Street from the Mound, Edinburgh. Charles Halkerston, 1843. Museums & Galleries Edinburgh via ArtUKBut the city saw itself as having a status above that of a mere travelling circus and so something more highbrow than a menagerie was desired. Something like London had at Regents Park, with lofty, scientific ideals. So rather than form a private company to pursue the scheme, a committee of learned and interested men in the city was formed under “the control and superintendence of gentlemen in whom the public could safely confide“. The committee appointed the Duke of Buccleuch as its president and the Marquis of Lothian and Earl of Roseberry as his deputies; three of the wealthiest and most influential noblemen in the county if not the country. With this backing, John Douglas got to work.
A View in the (London) Zoological Gardens about the year 1838. Tate Gallery, S.270-199In September 1838, he began soliciting donations of animals to form the core of the new zoological collection. James Boswell bt. sent a red deer; Mr Scales of Swanston Cottage sent a buffalo; Dr Gardner in Lothian Street gave a green monkey; others supplied a Grivet and a Ring-tailed Lemur. Six Spanish partridges were sent from Ipswich by a Mr Cobbold (more on him later); J. S. Lyon esq. of Kirkmichael provided a Golden Eagle; the Misses Gibson-Craig a Macaw; a “tortoise from the plains of Troy” came from J. B. Knight esq. of Brabdon Street and Captain Turner of the Leith Smack sent a “curious variety” of gannet (perhaps this was the closely related booby, as the 3 species of gannet all look fairly similar).
The Edinburgh Zoological Garden green monkey, a plate from “The Naturalist’s Library ” by Sir William Jardine Bt.Douglas appears to have accommodated this varied and growing collection at his premises at 61 Princes Street. On October 13th 1838 he issued a prospectus for the Edinburgh Zoological Gardens, placing himself as manager of it, and began soliciting financial donors and subscribers to the scheme. The Scotsman said of the scheme that “the higher classes would hail it as a fertile and most interesting source of amusement and recreation… Every citizen who has the good of the city at heart ought cordially to help forward the establishment of so beneficial an institution.“
Advert for prospectus issued by Douglas. Caledonian Mercury, October 1838For the rest of the year, more animals continued to arrive. In December, a pair of Egyptian geese from R. J. Pringle esq. of Clifton, a raccoon from Dr Munro of the famous Leith steamship Sirius, a “Prehensile-tail” (i.e. Spider) monkey from Mr Murray at the Observer Office; Russian rabbits, a deer…
The Edinburgh Zoological Garden spider monkey. A plate from “The Naturalist’s Library ” by Sir William Jardine Bt.But money was also needed; in January 1839, the Duke of Buccleuch as President of the Committee made it publicly known he had contributed 50 Guineas, in an effort to try and solicit further donations. To keep interest in the scheme up, and pay for its upkeep, the collection of some 200 animals was put on display by the Panorama on the Mound. At a general meeting held on May 6th at the Royal Hotel, chaired by the Lord Provost, it was noted that £924 1s had been donated so far, £83 3/3d taken on the gate at the Mound and running costs were £1 a day. There was as yet no site agreed and Dr Neill of Canonmills was one of the many ordinary directors elected.
30th March 1839, Scotsman, advert for the MenagerieThe Committee had a problem however over where to locate the collection and agreed to petition the Council to extend its stay on the Mound while they tried to find a permanent home; all the temporary structures on its western edge were due to be cleared in an agreement with the “Board of Trustees for Encouraging Manufactures and Arts“, proprietors of the Royal Institution (now the Royal Scottish Academy building of the National Galleries of Scotland). But the Board of Trustees was having none of it; they were having the Mound back and the Panorama and the animals had to go. You see, there’s nothing new under the sun in Edinburgh and the age-old argument between use of the city centre for highbrow vs. lowbrow culture and temporary vs. permanent city centre structures was going on even 185 years ago.
“Royal Institution, or School of Arts, Edinburgh”, engraving of Thomas Hosmer Shepherd illustration of 1829 © Edinburgh City LibrariesMessrs. Cleghorn, the proprietors of East Princes Street gardens (whose planting had been carried out by Dr Neill of Canonmills) tried to entice the Zoo to settle there, but there was no rights to erect any structures there apart from a Church, monument or public building. Cleghorn was chancing his arm; he was in trouble. His erection of a dwelling house and greenhouses in the gardens, on which he had a lease, was contrary to the Act of Parliament but had been overlooked. But he had now begun erecting a warehouse and the proprietors of Princes Street, from whom he leased the ground, finally took action. He was facing financial ruin. It was as well the Zoo ignored his overtures as just a few years later the railway cutting through the Gardens would have obliged it to move anyway.
On January 18th 1840, the Scotsman announced that the Zoo had found a permanent home; it had taken out the lease on the grounds of Broughton Park, home of the late Sir James Donaldson (he of Donaldson Hospital). Its location, between Edinburgh and Leith, was perfect. It was located between what is now East Claremont Street, Bellevue Road and West Annandale Street.
Broughton Park on Kirkwood’s Town Plan of 1817. Reproduced with the permission of the National Library of ScotlandIn February 1840 the Edinburgh Journal of Natural History published an inventory of the principal animals in the collection then:
“The Edinburgh journal of natural history, and of the physical sciences” February 1840Work now proceeded quickly at Broughton Park. By March, the Caledonian Mercury described it was substantially complete. It described a park, entered by a gateway with refreshment rooms, a bear pit 18ft deep and 26ft across, with a pole in the middle where the bears were enticed to climb for food and the amusement of the crowds.
Detail of the Regent’s Park print, showing the bear pit and pole with a top-hatted man offering it food from a stickThere was a large aviary in the centre, a house for “rare and more delicate class of birds”, one for the carnivores and one for bears. These are the labels we can see these on that 1849 town plan. There were also stalls and paddocks for animals like deer, a pond for waterfowl and various other cages around the walls.
OS 1849 Town plan of the Edinburgh Zoological Gardens. Reproduced with the permission of the National Library of ScotlandMore animals arrived – Bengal tigers, a polar bear, a spotted hyena – as did more money from the Duke of Buccleuch. In April a prized exhibit arrived; the skeleton of a Blue Whale which had been found floating in the Forth and brought ashore by North Berwick fishermen back in October 1831. It had been dissected in situ by Dr. Knox (he of Burke & Hare infamy) who had presented its cleaned skeleton to the city.
The Edinburgh blue whale, engraving in “The Natural History of the Ordinary Cetacea Or Whales” by Robert Hamilton, 1837By June 1840, things were almost ready and so Mr Douglas headed to London to spend the last of his funds on acquiring more animals; a lioness; a dromedary; a llama (the only one in the country); two Norwegian wolves; a brown bear; three peccaries from South America, a jaguar from Surinam; two spotted deer from the banks of the Ganges; a civet, a raccoon etc. These were sent back to Edinburgh on the steamship Royal Adelaide. With this final expense, the project had now run out of money and was finished only on loans and the goodwill of its directors. But it had made it! On July 7th 1840 there was a “Grand Opening Parade” with the band of the 78th (Ross-shire Buffs) Highlanders providing the music.
Newspaper Advert from July 1840 announcing the opening of the Gardens.The 78th brought their mascot, a young elephant they had acquired on campaign in Ceylon on account of their regimental badge featuring an elephant. This was Murdoch and he had been living in Edinburgh Castle with the soldiers. It had rained all morning and the previous day, but the sun came out at 1PM for opening and “the [Zoo] entrance was literally besieged with an eager and fashionable assemblage“. Just arrived for the occasion was a Nile crocodile, a pair of swans from the Provost of Linlithgow and a king vulture (a type of condor). The day (and the Zoo) was a smash-hit success, with 6,000 people attending the opening. The below image is the only one I know of that shows it; looking across the waterfowl pond towards the animal houses and aviary. We see Murdoch the elephant and Broughton Park house in the left distance.
The only known illustration of the Edinburgh Zoological Garden, an engraving reproduced in “The Story of Edinburgh Zoo” by T. H. GillespieThroughout the summer, there were weekly promenade concerts with the bands of the 78th, or the 2nd Dragoon Guards or the 29th (Worcestershire) Regiment providing the accompaniment. This mixture of popular entertainment and zoology was a common feature of Zoos at that time, despite their ambitions to be more than just menageries. The last prom of the season was 3rd October. At a delayed AGM on March 25th 1841, the outgoings to date were recorded as £3,358 and the total income was £3,309, meaning a slight running loss. But as this had included the entire startup costs, the Directors were encouraged. To Mr Douglas, to whom “not only this city but the whole of Scotland were so deeply indebted” a £400 award was made to cover his costs to date. He was voted an £80 salary, plus 4% of gross gate takings plus one “free day” a year to organise an event and keep the whole profits.
“Popular Gardens – Tom, Jerry and Logic laughing at the bustle and alarm occasioned amongst the Visitors by the escape of a Kangaroo. “, print satirising London Zoo by Robert Cruickshank, 1830. V&A S.1677-2014In May the next year, the Directors announced the first prom of the season and the rates for next years subscriptions. These ranged from £21 to give the subscriber and seven family members perpetual admission to a donation of £10 10/- and subscription of £1 1/- to give them and six members access so long as they subscribed down to a £1 1/- subscription for the year for them and two family members. John Douglas chose to hold his annual “free day” benefit on July 3rd and arranged for a spectacular fireworks concert, however the weather was terrible and it was rained off; he had to refund disgruntled customers and it’s not clear whether he was allowed to hold another. I suspect he wasn’t, on 6th December 1841, he was sacked by the Directors, accused of mismanagement. He had tried to get them to let him take the Zoo over in its entirety and so perhaps this had triggered the fall out. The secretary, Mr Cobbold, was made honourary manager in his place. Douglas didn’t go quietly – he would turn up at the next AGM with his supporters to try and get it minuted in the annual report that he was not let go for mismanagement. He took out newspaper adverts to this effect and put on “evening entertainments” to explain how much personal effort and money he had put into the project and put his case to the public. When a rival Zoo was started in Glasgow two years later, who should they hire as General Manager but John Douglas!
In April 1842 we get an example of the difficulty early zoos had in caring for their charges, particularly big predators. One of the tigers got an ingrown claw which got infected and she was going lame. They tried, and failed, to cut the claw, so ended up devising an iron hook to pull it out from a very safe distance, using the enraged animal’s own strength to wrench it free. Dr Knox, who had provided the whale skeleton, recalled he had treated one of the lions that had an abscess in its paw by having a very long, sharp prod made and lancing it through the bars at the opportune moment. The AGM that year noted a surplus for the year of £152, but requested more public support. At this time the 78th Highlanders, late of the Castle garrison, were leaving from service in Ireland for India and they offered their mascot to the Zoo. He was readily accepted and arrived by train from Glasgow on March 24th, the directors of the railway waiving the transport costs. And so it was that Murdoch the elephant came to call the Zoo home. He would occasionally be used to carry advertising posters and leaflets into town to drum up business.
Murdoch the elephant, from a Will’s cigarette card.New acquisitions that year included a sun bear sent from Dr. Montgomery of Singapore; a pair of Egyptian geese from Lord Lurgan; three Indian monkeys from D. J. Grant esq. of Eastfield; six puffins by Miss Dalyell of Binns; a tortoise from Mr Ball of Falkirk and another from Mr Goodsir. The directors purchased a 6-banded Armadillo. But not all was well; at a public dinner of thanks for the honorary manager, Mr Cobbold, it was noted in the speeches that £1,000 of debts were outstanding and that the directors would have to cover these.
German engraving of a 6-banded armadilloThe AGM the following year, 1843, was reported in great detail in the papers. £21 8/6d had been subscribed for an elephant house; £12 10/6d had been made selling manure; £267 13/1d went on wages and £80 8/5d was spent on hiring the bands. The annual surplus was now a healthy £618 17/2½d. In September, the Leopard had three cubs (it was noted she had two cubs 2 years previously) but in October the Illustrated London News reported that a pair of Napu musk deer from Java had died during the passage of the tea clipper Monarch from Hong Kong to Leith. New Years Day events were always big business for the Zoo, when it offered half price admission. In 1844, 15,000 people passed through the gates that day. At the 1844 AGM a £100 operating surplus was declared and the collection now extended to 500 animals and as many birds. But subscriptions were falling off, it was found people were sharing season tickets and by now a total of £1,600 in loans had been taken out to cover various running costs. This growing debt would be an unshakeable millstone around the neck of the institution. But the year ended on a high with Lord Aberdeen letting the Lord Provost of Edinburgh, Adam Black, know that Queen Victoria had agreed to extend royal patronage; thus the institution became the Royal Edinburgh Zoological Garden.
In March 1845, at a sale of animals from the circus of American showman Isaac A. Van Amburgh in Manchester, Mr Cobbold purchased a male lion cub for £10 10/- for the Zoo. It would be named Wallace.
Isaac van Amburgh (1808–1865) by T. C. Wilson 1838 in National Portrait Gallery, London.In 1847 one of the oddest exhibits arrived; several swarms of Egyptian locusts had blown over from the Sahara and were found in Perthsire. One was captured, kept alive, and put on exhibit at the Zoo. The German travel writer Johann Georg Kohl visited the Zoo in 1849. He wrote it had the “largest, strongest and finest American bison” anywhere in Great Britain, and that it was kept with a “courageous but comparatively powerless” goat that butted it fearlessly and relentlessly. In 1852 the Russian brown bear gave birth to three cubs. In 1854 the directors complained of “the indifference of their fellow-citizens and the small number of shillings and sixpences that find their way into the park“.
But donations still came in; the Marquis of Dalhousie, who had been Governor-General in India, sent it two more Bengal tigers. One wonders if these repeated donations of big cats were just to cover those that had died in the Zoo’s primitive and restrictive veterinary conditions. In August 1855 a second elephant arrived, a gift from the 25th Light Dragoons, whose regimental colours had the animal at their centre. Sadly in January the following year, Murdoch died after a very short illness. But once again, all was not well at the Zoo. In July that year an advert in the Scottish Press paper had noted new management; this I think was a man called Mr Carroll, a showman and fireworks organiser. Increasingly the Zoo was used as a leisure and concert ground to try and find a way, any way, to make it profitable. The newspapers are now stuffed with adverts for fireworks concerts at the Gardens. The animals do not ever seem to be mentioned. These changes culminated in December 1857 with the opening of a very large wooden concert hall in the grounds, the “Victoria Hall“, where all kinds of entertainment, exhibitions and variety were put on.
Advert for the Victoria Hall, 28th December 1857The Victoria Hall was a financial disaster; its construction costs of £2,200 were more than 10 years of the Gardens profits; profits already required to service the existing debt. In December 1858 the park was sold to John Jennison Junior of the Belle Vue Gardens in Manchester. But Jennison couldn’t make the place pay either. In October 1861, the Town Council found out that he had put the whale skeleton – their whale skeleton – up for sale and resolved to recover it. It was sent to the Museum in Chambers Street, where it hung until 2011, a childhood favourite of myself and countless others.
Official guidebook for the Manchester Belle Vue GardensEven though military music concerts were still running at the Zoo on October 12th 1861, just a week later it was announced all the movable property had been auctioned off. The £2,200, four year old Victoria Hall fetched only £500 and was broken down on site. On November 1st, the Governors of Donaldson’s Hospital (who still owned the superiority to Broughton Park) let it be known that the lease would not be renewed when it came to expire that year and advertised the ground for feuing (breaking up into plots for development). Bits of the collection were found new homes. The eagles went to Canaan Lodge in Morningside, where John Gregory, an advocate, had a large aviary in his garden. I believe the toe bones of the late Murdoch the elephant can still be found in one of the museums in Edinburgh Castle.
1849 OS Town Plan showing Canaan Lodge, and the aviary and eagle cage in the garden. Reproduced with the permission of the National Library of ScotlandBut most of the animals wound end their days in the travelling menagerie of Mr Edmond, who had inherited Wombwell’s Menagerie that had toured Edinburgh back in the 1840s. Edmond bought them in Edinburgh in June 1862 when his tour left the city, taking them with him. Ultimately the Zoo could not be made to pay either its way or its debts. As it got ever more commercialised it descended into a “meager menagerie“, with the animals a backdrop to ever more desperate and cynical attempts to make money. The relentless fireworks concerts must have been awful for the inmates. It wouldn’t be until 1913 that the City would get a proper Zoo, one run on a scientific basis.
The gates to Edinburgh Zoo in 1914, Francis Caird Inglis photograph. © Edinburgh City LibrariesNote to readers: unfortunately in April 2026, a third-party plug-in more than exceeded its authority and broke many of the image links on this site. No images were lost but I will have to restore them page-by-page, which may take some time. In the meantime please bear with me while I go about rectifying this issue.
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Hi, all. I'm a writer and educator, currently working as a Postdoctoral Fellow of Embedded EthiCS in the Department of Philosophy at Harvard University.
In my day job, I’m currently writing about moral responsibility, epistemic injustice, and the ethics of computing and artificial intelligence. I'm also interested in the philosophy of education, feminist philosophy, queer theory, and scholarship of teaching and learning. I also help develop and teach ethics modules that are embedded into computer science courses at Harvard, and in the spring I’ll be teaching an ethics of computing course for Harvard College. Before this, I worked with Ethically Aligned AI, Inc. and Athabasca University to create an AI ethics micro-credential certificate; held a Banting Postdoctoral Fellowship at Dalhousie University in Halifax, NS; and studied at Waterloo, York, Toronto, Sheffield, and (briefly) The Graduate Center, CUNY.
When I'm not on the clock, I'm pretty much always thinking about, writing, or playing tabletop roleplaying games. For that side of my life, follow @[email protected]
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Hi, all. I'm a writer and educator, currently working as a Postdoctoral Fellow of Embedded EthiCS in the Department of Philosophy at Harvard University.
In my day job, I’m currently writing about moral responsibility, epistemic injustice, and the ethics of computing and artificial intelligence. I'm also interested in the philosophy of education, feminist philosophy, queer theory, and scholarship of teaching and learning. I also help develop and teach ethics modules that are embedded into computer science courses at Harvard, and in the spring I’ll be teaching an ethics of computing course for Harvard College. Before this, I worked with Ethically Aligned AI, Inc. and Athabasca University to create an AI ethics micro-credential certificate; held a Banting Postdoctoral Fellowship at Dalhousie University in Halifax, NS; and studied at Waterloo, York, Toronto, Sheffield, and (briefly) The Graduate Center, CUNY.
When I'm not on the clock, I'm pretty much always thinking about, writing, or playing tabletop roleplaying games. For that side of my life, follow @[email protected]
A heap of hashtags for visibility because searching Mastodon for people to follow is hard:
#introduction #twitterMigration #mastodonMigration #philosophy #AIethics #ethicsOfComputing #appliedEthics #epistemology #epistemicInjustice #ethics #moralResponsibility #responsibleComputing #SoTL #scholarshipOfTeachingAndLearning #queerTheory #feministPhilosophy #feministTheory #feminism #philosophyOfEducation #ttrpg #writing #teaching