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The Podcast

Find out about the story and the people involved in making this project happen.

BOOM is available on Apple Podcasts, Stitcher Radio, Spotify and basically wherever you listen to podcasts.

Don't want to miss any updates? Maybe see some photos? Follow the show on multiple platforms.

A lot of people work to make this happen. If you like what you hear, please consider donating though Patreon or Flip Give.

Find tees, sweatshirts, stickers and more at our shop through TeeSpring.

The project is a completely different kind of endeavor for Observer Pictures. While the last two projects were short films, BOOM is going to be the first audio project as well as the first serialized one.

BOOM is a story about loss and recovery. Porter, a computer technician and outdoor enthusiast, must come to terms with the murder of his best friend--love of his life--Genevieve. It's far from an easy road. Porter suffers through a long physical recovery as well as a mental one. The lead detective on the case believes Porter is the killer, and his two best friends are trying their hardest to get him back to the guy he once was.

The first season plus two bonus episodes are available now. Season 2 will be available weekly beginning Friday, March 2 . For more character information, check us out on buy air jordan 6 black infrared ukutabs

Friday, March 2 Facebook

Garrett DeLozier as PorterCharity Spencer as GenevieveBrian Irwin as LukeAvalon Herron as DaxWendy Keeling as Detective HaileyMelinda Paul as MyraCourtney Holly as AlisonTheren Womack as Dr. AbbottStephanie Hall Wedan as Mrs. Owens Nurse CharliePeter Aylward as Mr. Owens DanPaige DeLozier as Connie AnnaDavid Hiller as Harry IsaacMark Schlicher as Dr. Dill Mr. HanoverDalila Ferrer as Detective Santos (Season One)Kristen James as Detective Santos (Season Two)Michael Ahr as the Narrator

Director/Writer - Faith McQuinnProduction Sound - Matthew L. Hankins (Season One)Production Sound - Karl Huber, Pod Studio 1 (Season Two)Assistant Director - Amanda Lorraine2nd Assistant Director - Van DonnellOriginal Music - Brian IrwinSound Design and Mix - Joshua SuhySound Editing - Faith McQuinnSound Mixing - Michael A. Bowers (Episodes 1-3)Foley - Joshua Shuy and Josh HastickCasting - Courtney EdwardsProduction Assistant - Ryan Allen

For as little as $1 a month, you can support the cast and crew. Plus there are rewards! (And everyone loves rewards.)

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I currently teach courses in the sociology of health and medicine, spatial analysis of social issues, environmental sociology, quantitative research methods, and social policy.

My scholarly interests are currently focused on two primary areas—the social determinants of health and the spatial analysis of social issues. With respect to the former, I am exploring racial and class disparities in blood lead levels in young children. Elevated lead levels have been linked to both cognitive and emotional outcomes in children, as well as related social outcomes throughout the life course, such as educational attainment. This research highlights the role of social factors in shaping health outcomes that ultimately inform long-standing questions about the mechanisms and processes behind the social reproduction of inequality across generations. A second body of research uses Geographic Information Systems (GIS) to map the distribution of community hazards, resources, and events to better inform our understanding of the spatial dimensions of inequality and poverty. This research is connected to my course on the spatial analysis of social issues and emerging opportunities for community-based research at Colorado College.

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and Getting Started on GIS

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SO130 -- Environmental Sociology

SO233 -- Spatial Analysis of Social Issues

SO246 --Sociology of Health and Medicine

SO290 -- Socio-Economic Development in Contemporary Cuba

SO290 -- Global Sustainable Development in Theory and Practice

SO301 -- Quantitative Research Methods

SO316 -- Development and Underdevelopment in Africa

SO318 -- Politics, Inequality, and Social Policy

SO451 -- Senior Seminar: "The Wire"

B.A., Minnesota State UniversityM.A., University of ArizonaPh.D., University of Arizona


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Henri Matisse (French,1869–1954). La Musique , 1939. Oil on canvas,45 3/8 x 45 3/8 inches (115.3x 115.3cm). Collection Albright-Knox Art Gallery, Buffalo, New York;Room of Contemporary Art Fund, 1940 (RCA1940:13).© Succession H. Matisse / Artists Rights Society (ARS), New York.

© Succession H. Matisse / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

French, 1869-1954

oil on canvas

support: 45 3/8 x 45 3/8 inches (115.25 x 115.25 cm); framed: 55 x 55 x 4 inches (139.7 x 139.7 x 10.16 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

Room of Contemporary Art Fund, 1940


This information may change due to ongoing research. Glossary of Terms

Audio Stop for Picasso: The Artist and His Models

Verbal Description Audio

Henri Matisse

La Musique

Oil on canvas, made in 1939

This painting is four and a half feet tall by four and a half feet wide, a perfect square. The viewer’s gaze is met by two women seated on brightly pattered cushions on what may be a patio. A combination of interior and exterior space is suggested by a bold red background covered with a bright yellow grid, comprised of roughly 1 inch squares that fills the bottom two thirds of the painting. The top third implies an exterior space as this strip of space has a solid black background on top of which are large flat green tropical plant leaves. The woman on the right side of the painting holds a guitar, on a table top set at the bottom of the work in between both is an open music book.

This work is painted in strong, bold colors. The figures and objects are flattened and linear. While the colors feel very solid, portions of the painting reveal the artists fluid brushstrokes which often move in a systematic direction within the given shape that they fill.

This description will start with the woman holding the guitar. The top of her head rests roughly five inches from the top of the canvas just to the right of center. Her navy blue long sleeve, ankle length pant suit has a sharp v-neck which reveals a cool peach flesh tone. She has chin length, wavy black hair. A few simple black lines create her angled open eyes, thin high arching eyebrows, slender nose and closed lips. Her gaze seems to be focused on the viewer and the corners of her lips curve slightly upward. She has broad shoulders. Her oversized left hand cradles the neck of the guitar and her equally oversized right hand is cupped with her palm facing upward just below the open sound hole of the guitar as though she is strumming the strings. Her torso faces the viewer while she is seated in a bright red lawn chair with a vine and leaf pattern lightly defined by a thin white line. The back of the chair is evident behind her right arm. Her left leg is bent and her left foot rest on-top of the lawn chair, her nose and edge of her pants are out of the picture frame. Her right leg is slightly bent and her large arched foot touches the bottom edge of the canvas. The bottom edge of both pant legs are patterned with upward facing bright yellow triangles.

Max for Live

Aimed at electronic musicians, sound designers and installation artists, Iota is a Max For Live granular looping instrument that wrings endless creative potential out of even the simplest samples, via an inspiring graphically-driven interface.


Conceived and developed by Los Angeles musician, artist and programmer Dillon Bastan, Iota enables spectral regions within samples to be ‘windowed’, looped, layered and processed for the creation of all kinds of tones, soundscapes, glitches and rhythms.

You start by dragging a source sample into Iota from Live or your operating system – a beat, a vocal, a pad, a found sound–and selecting a region within it to be rendered as a continuous stream of tiny slices. Familiar graphical editing tools are then used to draw, move and resize ‘boxes’ in the spectrogram, each one defining the length and frequency content of a band-pass filtered loop in a clear and immediately representative visual manner.By arranging and overlapping multiple boxes, you can deconstruct, fragment and dice the original sample to as coarse or fine a degree as you like. Create lots of small loops to atomise and reimagine a percussion clip, for example, or a few larger ones to carve an orchestral string section up into a scintillating multi-dimensional ambience.

Loops can play back free-running or snapped to grid, and each one has its own bank of granular and mix controls, including direction, speed, panning, volume fade and curve, filter type (FFT or resonant) and a feedback delay effect. Changes made to these parameters, as well as movement of loop boxes, can be recorded and replayed by the onboard automation system, making it easy to apply intricately evolving timbral changes.

Three playback modes let you lock Iota to Live’s transport for synced playback, unlock it to play back autonomously and endlessly – ideal for unattended sound installations –or control individual loops using Push or a MIDI keyboard.

From evocative ambiences and sinuous textures to finely-sculpted FX and polyrhythmic soundbeds, Iota offers a unique and powerful new approach to granular sound design, with no upper or lower limit in terms of sonic complexity.

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Tronix combines the cinematic depth of animated atmospheres, morphed instruments and electrified percussion with cutting leads, growling basses, and tempo-synced audio loops that forward-thinking producers will appreciate.

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