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Six iPhone 6 Cases

Sexy protective options for those who know better than to leave their device naked

by Graham Hiemstra in Tech on 19 September 2014

Apple, Tech Accessories, iPhone 6, iPhone 6 Plus, iPhone Cases

At long last, the iPhone 6 has been unveiled—along with the even more anticipated Apple Watch. As assumed, the phone sports a larger screen and therefore larger profile in general, meaning it's time to start thinking about what sort of cover will best protect your latest investment without putting a dampener on your style. From battery-imbedded to leather-wrapped and metal-forged, the following six cases offer a range of options for keeping your new iPhone 6 safe.

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Apple iPhone 6 Leather Case

It's no surprise one of the sleekest cases to debut alongside the new Apple phone comes from the Cupertino-based maker itself. A single piece of leather wraps the case while a microfiber lining protects the phone from inside. Plus the color is deep-dyed, ensuring it won't rub off after initial use. Find it from Apple for $45.

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Squair Dimple Bumper

The nearest thing to going without a case, is a bumper. And while we'd certainly prefer to keep our iPhone unsheathed, it's not the smartest option. Smart, The Dimple is. The immaculately crafted bumper is made of a single piece of "Extra Super Duralumin"—a superior grade, age-hardened aluminum—to ensure your phone stays safe for longer than you'll likely own it. The intricate diamond-like pattern is rather lovely too—though one would expect nothing less from a $500, Japanese-made case.

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Calypsocase Wallet

As we've seen before, CalypsoCase offers some extremely well-made options in the phone accessory world. And that certainly holds true for the simply named, limited edition Wallet—which is in fact more of a pouch than a case, but who's counting. As we'll soon see the need to carry multiple credit cards dwindle (thanks to the introduction of Apple Pay) this clever accessory is even more useful. The distinctive, handmade leather wallet sells for $149.

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Silk Pureview Slim Case

Designed for minimal aesthetic impact, the low profile Pureview Slim case covers nearly all sides of the device to ensure maximum protection, while leaving the back clear for viewing—or stashing a picture of your favorite pet like a picture frame. Two colorways compliment all phone iterations, and embellished corners help diffuse impact when dropped. For $12, it's one of the best (and most affordable) bets out there.

BuQu Tech PowerArmour

As we all have unfortunately found out before, phone batteries never last quite as long we'd like—though the new 6 does boast a better life. For drop-protection and battery extension, there's the PowerArmour from BuQu Tech. With just the right number of bells and whistles—on/off switch to conserve juice, LED lights to gauge the charge, secure fit—it's functional without looking like something MacGyver would carry. Plus it doubles your battery life—which is pretty great for $80.

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Native Union CLIC Wooden Case

There's something so attractive about organic materials juxtaposed against the cold steel and glass of an iPhone. As we've seen before, Native Union does this well, and their CLIC Wooden (now available for iPhone 6) is always a favorite. And, of course, a little pop of color never hurts. Available for pre-order now for $40, with delivery expected for early October.

Images courtesy of each respective brand

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The Influence of Furniture on Love

A 17th century farmhouse, where artists reside, is transformed into a living art gallery

by Cajsa Carlson in Culture on 19 September 2014

Contemporary Art, England, Installations, Wysing Arts Centre, Exhibitions, Exhibits

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Economist John Maynard Keynes isn’t necessarily the sort of person you think would inspire a contemporary art show—even if he did hang out with the Bloomsbury Group. But at the Wysing Arts Centre outside Keynes’ hometown of Cambridge, a new exhibition, "The Influence of Furniture on Love," draws on an unpublished essay of his to explore the relationship between living space and creativity. The 1909 handwritten essay, called “Can we consume our surplus or the influence of furniture on love?” discusses if it's possible for the rooms we inhabit to “suggest to us thoughts and feelings and occupations.”

At Wysing, those thoughts and feelings would naturally turn to art; the early 17th century farmhouse has been used as artists’ residences for more than two decades. Now, as Wysing celebrates its 25th anniversary, the house has been emptied of personal belongings and filled with works by some of the artists that have lived there over the past 25 years. “Wysing allows for an informal way to create and share ideas around the kitchen table,” says curator Lotte Juul. “This exhibition sees artists responding to the house and what their time here meant to them.”

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Among those who have contributed to “The Influence of Furniture on Love” is Elizabeth Price, who was in residence at Wysing in 2012. Her piece “G.U.N” (1993) is displayed on its own in a room on the upper floor, where the set of drawers with a gun on top creates a new narrative and provokes questions for the otherwise empty room: who left the gun here, and has it been used—will it be used? Some of the artworks included in the exhibition (including “G.U.N”) already existed and were chosen for their suitability, whereas others were made specifically for the exhibition, such as Ruth Beale’s wallpaper entitled “The press, which is a tongue to the eye.”

Seeing the artists’ work on display in a space where they once lived is an oddly immersive and intimate experience, creating a more personal connection between the artist and the viewer than perhaps a gallery show would. “Influence” also underlines the relationship between the artist and the space in which s/he creates. As Florian Roithmayr—who was in residence at Wysing in 2013—says: “The house was always a space of production.”

"The Influence of Furniture on Love" is on view until 2 November 2014 at Wysing Arts Centre, located at Fox Road, Bourn, Cambridge, CB23 2TX.

Gil Leung, Monumentality (2013) photo by Plastiques photography, courtesy the artist and Wysing Arts Centre; Florian Roithmayr, The Y (2013) photo Guillaume Breton, courtesy the artist, Rowing Projects, MOTInternational, London & Brussels and Wysing Arts Centre; Elizabeth Price, G.U.N. (1993) courtesy of the artist and MOT international, London & Brussels; Lisa Wilkens, Prevented portrait myself (2011) courtesy the artist and Wysing Arts Centre

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Tullamore D.E.W.'s New State-of-the-Art Distillery

The first new "from the ground up" distillery in Ireland in over 100 years

by David Graver in Food + Drink on 18 September 2014

Distilleries, Dublin, Irish Whiskey, Tullamore, Tullamore DEW, Whiskey, William Grant & Sons

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Back in 1954, the distillery for Tullamore D.E.W. Irish whiskey shuttered its doors in midland Ireland's town of Tullamore. Production didn't cease, but rather shifted to the famed Midleton Distillery, home of many other Irish whiskies. When the family-run independent distilling organization William Grant & Sons purchased the brand in 2010, they knew it deserved its own home—in its origin city. Some €35 million later, the new state-of-the-art Tullamore D.E.W. pot still and malt distillery opened yesterday on a sprawling 58 acre site, awash with green grass and surrounded by forests of evergreens. And so, production commenced in a new home for one of Ireland's most popular global products.

The facility represents a marriage of the brand's 185-year-old history and an increasing demand for product. While the copper stills are sparkling and new, each is a replica of the original models used to produce the spirit. In fact, all technological advances incorporated into the new location are designed to preserve the taste the brand has become known for, as the latest computer technology simply oversees balance and consistency (first and foremost) across what will become over 1.84 million liters—equivalent to 1.5 million cases—annually.

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Tullamore D.E.W.'s Master Blender Brian Kinsman—the nose behind the consistency and the imagination behind product development—offered plenty of insight into the value of a new distillery, from the ability to master consistency to the opportunity to explore the next great flavor profile for their roster. Balance is what's most important to Kinsman, "We've built this facility to make the spirit quality we need in order to produce the best Tullamore D.E.W., but over the next few months we are going to have to spend a lot of time on each stage making sure everything is just right. By December, we can say 'This is how we will run the distillery.'"

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Longevity, he tells CH, is the end game. "All the new distillate, some of it will be kept for 10, 12, 20 or 30 years. So we need to be doing the right thing today. It's quality control, but with an eye for what we'll need to use it for: interesting things that we think someday someone will want to buy." He further notes that there was a great impetus for having their own distillery for true exploration in flavor—outside the limitations of producing in someone else's location.

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Sometimes the chemical analysis says it's a pass, but sense tells us it's a fail. Sometimes sense tells us it's a fail but the chemical analysis says it's a pass. Sense always wins.

Despite all advances though, Kinsman makes something very clear: "We do a lot of analysis on the whiskey before bottling. Sometimes the chemical analysis says it's a pass, but sense tells us it's a fail. Sometimes sense tells us it's a fail but the chemical analysis says it's a pass. Sense always wins," he shares. As for their offerings, Tullamore D.E.W.'s core expressions are the only in Ireland to be triple distilled, triple blends. The latter means that most of their core expressions are combinations of three types of whiskey: a very fruity malt whiskey, a sweet and oaky grain whiskey, and the spice of pot still whiskey. (Each of which has been aged for at least four years in either an American oak bourbon cask or a Spanish Sherry cask.) He explains the process behind blending as "thinking of each flavor as a spike, when you want to build a ball. You place them opposite one another and then you fill in the gaps and build on that."

Tullamore D.E.W. produces six expressions: four core offerings, one available only in their Bonded Warehouse visitors' center and one limited release accompanying the distillery launch. Of their four widely available offerings, bothTullamore D.E.W. Original and Tullamore D.E.W. 12-Year-Old Special Reserve most closely embody the true spirit of traditional Irish blended whiskey—spicy with citrus notes, complex yet smooth. Last year's warm, rich release Tullamore D.E.W. Phoenix, one of our eight favorite fall expressions of 2013, clocks in at a much higher proof, but doesn't sacrifice any of the complexity. The fourth, the Tullamore D.E.W. 10-Year-Old Single Malt, foregoes the other two base spirits and impresses with a remarkable four cask aging process.

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Irish whiskey is not Scotch. Ireland's offerings are generally lighter, leafier and fruitier, with greater notes of green apple and cream. As worldwide interest in Irish whiskey continues to revitalize, Tullamore D.E.W. has invested in their longterm future with an eye for production, innovation and quality. That's something whiskey drinkers can raise a glass to all around the globe.

Images by David Graver

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