Lorna writes:
At a ‘Your Future City’ showcase in the Mansion House [Dublin] today…this kid is a bit pessimistic about what’s due ahead!
Shat-Lit
at
Actually a (brilliantly) poorly-animated and appropriately unhinged video by Australian artist Isaac Moore illustrating the epic 8-minute proposed plot synopsis of the next Star Wars movie offered last month by Parks and Recreation actor Patton Oswalt.
(Top: a earlier tribute by Jef Castro)
Bryan writes:
“The running man, spotted just now in Ballsbridge, warmer than the last time we saw him, has shorts on thankfully!!”
Previously: The Hardiness Of A Long Distance Runner
William Binchy says there are a range of options. I find that strange for a man trying to limit options since 1983 – Catherine McGuinness <3
— Oireachtas Retort (@Oireachtas_RX) May 21, 2013
William Binchy (top with Senator Ronan Mullen in background)) and Catherine McGuinness (above) at the Oireachtas hearings on abortion legislation.
She’s 91.
(RTE)
But one comes away from the document feeling that there is much more that could be said about what Apple is up to in Cork.
Take, for example, this Catch 22, offered baldly as a statement of fact:
“AOI is incorporated in Ireland and based in Cork; thus, under US law, it is not tax resident in the US. AOI is also not tax resident in Ireland because it does not meet the fact-specific residency requirements of Irish law.”
Meet AOI, Apple’s mysterious Irish subsidiary (Fortune)
Dublin rejects Apple tax avoidance claims, (Jamie Smyth, Financial Times)
Previously: Anything Good Behind The FT Paywall?
Pic: T-Shock
Dublin within the last 30 minutes.
Thanks Andrew Jordan
Ballroom Luminoso – a series of six LED-lit chandeliers made from structural steel and ‘medallions’ recycled from bike sprockets. Designed by artists Joe O’Connell and Blessing Hancock, the chandeliers are currently installed, and lit by night, beneath an overpass in San Antonio, Texas. The artists say:
The medallions are a play on the iconography of La Loteria, which has become a touchstone of Hispanic culture. Utilizing traditional tropes like La Escalera (the Ladder), La Rosa (the Rose), and La Sandía (the Watermelon), the piece alludes to the neighborhood’s farming roots and horticultural achievements. Each character playfully rides a bike acting as a metaphor for the neighborhood’s environmental progress, its concurrent eco-restoration projects, and its developing cycling culture.