Latest news with #Dingle
The 42
21 hours ago
- Sport
- The 42
Kerry name unchanged side for All-Ireland final as Diarmuid O'Connor makes squad
DIARMUID O'CONNOR RETURNS to the Kerry panel for Sunday's All-Ireland final against Donegal as Jack O'Connor has named an unchanged side from the semi-final win over Tyrone. O'Connor has been hit hard by injuries this year, damaging his shoulder in the league against Armagh and suffering a recurrence of that injury in the championship last month against Cavan. He has been included in the 28-man squad Kerry have announced tonight for the Croke Park clash, but they will have operate with a match-day panel of 26. Advertisement The starting fifteen Kerry have named is the same as that which won the semi-final as forward Paul Geaney is named as part of the substitutes. All-Star winning defender Tom O'Sullivan is not included, after being forced off with a calf injury in their quarter-final victory over Armagh. Kerry 1. Shane Ryan (Rathmore) 2. Paul Murphy (Rathmore) 3. Jason Foley (Ballydonoghue) 4. Dylan Casey (Austin Stacks) 5. Brian Ó Beaglaoich (An Ghaeltacht) 6. Mike Breen (Beaufort) 7. Gavin White (Dr Crokes) 8. Seán O'Brien (Beaufort), 9. Mark O'Shea (Dr Crokes) 10. Joe O'Connor (Austin Stacks), 11. Sean O'Shea (Kenmare), 12. Graham O'Sullivan (Dromid Pearses) 13. David Clifford (Fossa), 14. Paudie Clifford (Fossa). 15. Dylan Geaney (Dingle) Subs 16. Shane Murphy (Dr Crokes) 17. Killian Spillane (Templenoe) 18. Evan Looney (Dr Crokes) 19. Tom Leo O'Sullivan (Dingle) 20. Tadhg Morley (Templenoe) 21. Paul Geaney (Dingle) 22. Micheal Burns (Dr Crokes) 23. Tony Brosnan (Dr Crokes) 24. Armin Heinrich (Austin Stacks) 25. Tomás Kennedy (Kerins O'Rahillys) 26. Diarmuid O'Connor (Na Gaeil) 27. Conor Geaney (Dingle) 28. Dara Moynihan (Spa) ***** Check out the latest episode of The42′s GAA Weekly podcast here
Irish Examiner
a day ago
- Sport
- Irish Examiner
No changes for Kerry starting side as Diarmuid O'Connor included in squad
Diarmuid O'Connor is included in the Kerry longlist squad of 28 players for Sunday's All-Ireland SFC final against Donegal as Jack O'Connor has announced no changes to his starting team. The 15 who began the semi-final win over Tyrone are set to be in from the off but O'Connor could be available for the first time since the All-Ireland preliminary quarter-final win over Cavan in Killarney last month. Kerry have named 28 players but the match-day panel is limited to 26. The Na Gaeil man had to retire shortly after the start of that fixture when he aggravated the shoulder injury that has troubled him since the Division 1 win over Armagh in March. Paul Geaney, who scored a goal against Donegal in the 2014 All-Ireland final win, is again listed among the substitutes. However, there is no place for three-time All Star Tom O'Sullivan who had to retire with a calf injury in the first half of the All-Ireland quarter-final win against Armagh. Geaney and Paul Murphy are the two survivors in the squad from the final 11 years ago. From the team that exited the championship at the All-Ireland semi-final stage last year, nine of the team remain – Shane Ryan, Murphy, Jason Foley, Brian Ó Beaglaioch, Gavin White, Joe O'Connor, Paudie and David Clifford and Seán O'Shea. Five of the other six are on the bench – Tadhg Morley, Diarmuid O'Connor Tony Brosnan, Paul Geaney and Dara Moynihan. KERRY (SFC v Donegal): Shane Ryan (Rathmore); Paul Murphy (Rathmore), Jason Foley (Ballydonoghue), Dylan Casey (Austin Stacks); Brian Ó Beaglaoich (An Ghaeltacht), Mike Breen (Beaufort), Gavin White (c, Dr Crokes); Seán O'Brien (Beaufort), Mark O'Shea (Dr Crokes); Joe O'Connor (Austin Stacks), Seán O'Shea (Kenmare Shamrocks), Graham O'Sullivan (Dromid Pearses); David Clifford (Fossa), Paudie Clifford (Fossa), Dylan Geaney (Dingle). Subs (11 from 13): Shane Murphy (Dr Crokes), Killian Spillane (Templenoe), Evan Looney (Dr Crokes), Tom Leo O'Sullivan (Dingle), Tadhg Morley (Templenoe), Paul Geaney (Dingle), Micheál Burns (Dr Crokes), Tony Brosnan (Dr Crokes), Armin Heinrich (Austin Stacks), Tomás Kennedy (Kerins O'Rahillys), Diarmuid O'Connor (Na Gaeil), Conor Geaney (Dingle), Dara Moynihan (Spa).
Hamilton Spectator
5 days ago
- Entertainment
- Hamilton Spectator
How AI, robotics and late artist Morrisseau are helping fight art fraud
Famed Indigenous artist Norval Morrisseau was browsing a Vancouver gallery with his longtime friend Cory Dingle around 1993 when a painting stopped them in their tracks. The pair asked who created it. The answer? 'Norval Morrisseau.' The trouble? The artist had never seen the work, let alone painted it. 'We had a little chuckle and we left,' Dingle recalled. 'Then, I said, 'What do you want to do about this?' He said, 'You know, you can't police the world.'' Morrisseau, who died in 2007, was a self-taught, trailblazing artist known for his pictographic style and membership in the Indian Group of Seven. He was the first Indigenous artist to have his work shown in a contemporary gallery in Canada and now his paintings sell for millions. But the incident Dingle remembers proved to be an omen. At least 6,000 fake paintings have since been uncovered, costing Morrisseau's estate $100 million in losses. The phenomenon amounts to what police have called the biggest art fraud in world history. Finding fakes is time consuming work. It requires co-operation from galleries and private collectors, a trained, critical eye cast on anything purporting to be made by the late artist and the patience to keep pursuing justice through the court system. But now a new tool has emerged to help the battle: artificial intelligence. Bogged down by the enormity of the task at hand, Morrisseau's estate, which is run by Dingle, partnered with two art-loving professors to build software nicknamed 'Norval AI' about three years ago. It can analyze art pieces and determine the probability that they're a genuine Morrisseau. 'Because the fakes were so terrible ... we got to a point with our AI that it was so good at picking them out,' Dingle said. 'There was no problem.' Yet the estate knew fakes were still out there. They were just getting harder to detect because court hearings were revealing the tell-tale signs of a fake Morrisseau — thinner paint lines, for example — which allowed fraudsters to make their works even more convincing. Enter Chloë Ryan. The then-engineering student loved making large-scale abstract paintings. Even though such works could sell for a decent amount, they often take weeks or months to create, narrowing the odds that she could make artistry a viable career. She could make prints of her pieces, but they just weren't the same because they lacked the texture of a real painting. The conundrum became a source of inspiration for Ryan, leading her to start tinkering with robots and paint on her Montreal balcony. She eventually developed Acrylic Robotics, a company that uses technology to paint pieces at the behest of an artist. The process starts with an artist painting with a stylus on a drawing table, which acts like a massive tablet. Amazon Web Services software analyzes and logs every movement, detecting millions of details in the piece, including the strokes, brush pressure, pigment and speed. 'We like to think of AI as a powerful magnifying glass,' said Patricia Nielsen, AWS Canada's head of digital transformation and AI. 'It can detect those patterns and the anomalies that might be invisible to the human eye ... so art experts, historians, can dig in further.' With that data, Acrylic's robotic arm can then paint a replica so precise, Ryan says it's indistinguishable from an original — exactly what Dingle needed to put Norval AI to the test. A mutual connection put him in touch with Ryan last August. Shortly after, they got to work. Because Morrisseau isn't alive to paint images on Ryan's tablet, Acrylic's robot (Dingle affectionately calls it Dodo) had a more complicated feat to accomplish. Dingle would send Ryan a hi-resolution image of one of Morrisseau's works. Acrylic Robotics would then have an artist learn about eccentricities of his style and paint the piece before Acrylic's robot would give it a try. Everything the robot painted was analyzed by the estate and Norval AI. The two sides have been going back and forth for about a year, picking out errors in the robot's execution and poring over new works. Early editions had several spots where both the estate and Norval AI could tell the robot had stopped a long stroke to pick up more paint — something uncharacteristic of Morrisseau. 'If you look at one of our works randomly on the street, you wouldn't be able to say that's made by a robot, but we can't yet do all art under the sun because there's a lot of techniques that we haven't yet built in,' Ryan said. 'We can't use every tool in an artist's arsenal yet. If an artist is out here finger painting, obviously we can't do stuff like that.' Newer editions of the Morrisseaus are about 69 per cent accurate and expected to improve even more. But Dingle admits, 'I have kind of been holding back on getting to 100 per cent.' He's scared of developing anything too perfect before he and Acrylic Robotics have found a foolproof method for ensuring a Morrisseau recreation can't be passed off as the real thing. It's a concern Ryan shares. 'The worst thing that could happen is that we release this without consultation with groups that have been harmed by art forgery and this technology is used against artists,' she said. They're currently exploring markings or other features that can be embedded in pieces to denote they're not originals. Once they settle on an ideal method, they'll have an avenue to disseminate recreations of Morrisseau's work — responsibly. While some might think that's the last thing an estate plagued by forgeries would want to do, Dingle sees it as a way to bring Morrisseau's work to the people who would value it most. 'There's two schools named after Norval. There are healing institutions. There are academic institutions. There are remote Indigenous communities,' said Dingle, sitting in front of a rarely-shown Morrisseau. 'They could never afford to buy this painting, to hang it in their halls, to have the healing and the lessons of it, so we need to be able to produce high level reproductions that bring the life of that painting to these places.' This report by The Canadian Press was first published July 20, 2025.
Winnipeg Free Press
5 days ago
- Entertainment
- Winnipeg Free Press
How AI, robotics and late artist Morrisseau are helping fight art fraud
Famed Indigenous artist Norval Morrisseau was browsing a Vancouver gallery with his longtime friend Cory Dingle around 1993 when a painting stopped them in their tracks. The pair asked who created it. The answer? 'Norval Morrisseau.' The trouble? The artist had never seen the work, let alone painted it. 'We had a little chuckle and we left,' Dingle recalled. 'Then, I said, 'What do you want to do about this?' He said, 'You know, you can't police the world.'' Morrisseau, who died in 2007, was a self-taught, trailblazing artist known for his pictographic style and membership in the Indian Group of Seven. He was the first Indigenous artist to have his work shown in a contemporary gallery in Canada and now his paintings sell for millions. But the incident Dingle remembers proved to be an omen. At least 6,000 fake paintings have since been uncovered, costing Morrisseau's estate $100 million in losses. The phenomenon amounts to what police have called the biggest art fraud in world history. Finding fakes is time consuming work. It requires co-operation from galleries and private collectors, a trained, critical eye cast on anything purporting to be made by the late artist and the patience to keep pursuing justice through the court system. But now a new tool has emerged to help the battle: artificial intelligence. Bogged down by the enormity of the task at hand, Morrisseau's estate, which is run by Dingle, partnered with two art-loving professors to build software nicknamed 'Norval AI' about three years ago. It can analyze art pieces and determine the probability that they're a genuine Morrisseau. 'Because the fakes were so terrible … we got to a point with our AI that it was so good at picking them out,' Dingle said. 'There was no problem.' Yet the estate knew fakes were still out there. They were just getting harder to detect because court hearings were revealing the tell-tale signs of a fake Morrisseau — thinner paint lines, for example — which allowed fraudsters to make their works even more convincing. Enter Chloë Ryan. The then-engineering student loved making large-scale abstract paintings. Even though such works could sell for a decent amount, they often take weeks or months to create, narrowing the odds that she could make artistry a viable career. She could make prints of her pieces, but they just weren't the same because they lacked the texture of a real painting. The conundrum became a source of inspiration for Ryan, leading her to start tinkering with robots and paint on her Montreal balcony. She eventually developed Acrylic Robotics, a company that uses technology to paint pieces at the behest of an artist. The process starts with an artist painting with a stylus on a drawing table, which acts like a massive tablet. Amazon Web Services software analyzes and logs every movement, detecting millions of details in the piece, including the strokes, brush pressure, pigment and speed. 'We like to think of AI as a powerful magnifying glass,' said Patricia Nielsen, AWS Canada's head of digital transformation and AI. 'It can detect those patterns and the anomalies that might be invisible to the human eye … so art experts, historians, can dig in further.' With that data, Acrylic's robotic arm can then paint a replica so precise, Ryan says it's indistinguishable from an original — exactly what Dingle needed to put Norval AI to the test. A mutual connection put him in touch with Ryan last August. Shortly after, they got to work. Because Morrisseau isn't alive to paint images on Ryan's tablet, Acrylic's robot (Dingle affectionately calls it Dodo) had a more complicated feat to accomplish. Dingle would send Ryan a hi-resolution image of one of Morrisseau's works. Acrylic Robotics would then have an artist learn about eccentricities of his style and paint the piece before Acrylic's robot would give it a try. Everything the robot painted was analyzed by the estate and Norval AI. The two sides have been going back and forth for about a year, picking out errors in the robot's execution and poring over new works. Early editions had several spots where both the estate and Norval AI could tell the robot had stopped a long stroke to pick up more paint — something uncharacteristic of Morrisseau. 'If you look at one of our works randomly on the street, you wouldn't be able to say that's made by a robot, but we can't yet do all art under the sun because there's a lot of techniques that we haven't yet built in,' Ryan said. 'We can't use every tool in an artist's arsenal yet. If an artist is out here finger painting, obviously we can't do stuff like that.' Newer editions of the Morrisseaus are about 69 per cent accurate and expected to improve even more. But Dingle admits, 'I have kind of been holding back on getting to 100 per cent.' He's scared of developing anything too perfect before he and Acrylic Robotics have found a foolproof method for ensuring a Morrisseau recreation can't be passed off as the real thing. It's a concern Ryan shares. 'The worst thing that could happen is that we release this without consultation with groups that have been harmed by art forgery and this technology is used against artists,' she said. They're currently exploring markings or other features that can be embedded in pieces to denote they're not originals. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. Once they settle on an ideal method, they'll have an avenue to disseminate recreations of Morrisseau's work — responsibly. While some might think that's the last thing an estate plagued by forgeries would want to do, Dingle sees it as a way to bring Morrisseau's work to the people who would value it most. 'There's two schools named after Norval. There are healing institutions. There are academic institutions. There are remote Indigenous communities,' said Dingle, sitting in front of a rarely-shown Morrisseau. 'They could never afford to buy this painting, to hang it in their halls, to have the healing and the lessons of it, so we need to be able to produce high level reproductions that bring the life of that painting to these places.' This report by The Canadian Press was first published July 20, 2025.
Irish Times
6 days ago
- Irish Times
Kerry's secrets: I thought I knew everything the Kingdom had to offer. I was wrong
For much of my early childhood, my family had a little caravan that got hitched to the back of our car for holidays across the length and breadth of Co Kerry . Killarney was a favourite at Easter, Glenbeigh and Caherdaniel beckoned in the summer and Ventry was squeezed in before school reopened in September. Spending my formative years immersed in the extraordinary beauty of the southwest corner of Ireland has left me with a lifelong love of mountains, seas and wild places. Kerry still features very much in my downtime and there's barely a beach or a peak left in the Kingdom I haven't explored. Or so I thought. Recently I came across images on Instagram of towering Cathedral Rocks on Inishnabro, one of the Blasket Islands off the Dingle peninsula. I couldn't believe I'd never heard of this awe-inducing feat of nature. My grasp of geology isn't strong enough to understand how hundreds of shards of sandstone could coagulate to form this soaring edifice, rising from the sea to rival Barcelona's Sagrada Família. I immediately began making plans to see this natural wonder for myself on a family trip. At the base of the Sliabh Mish Mountains, Ballygarry Estate just outside Tralee has worked hard to green its operations in recent years, with a 98 per cent drop in their emissions since 2017. It was the first hotel in Ireland to install Tesla Superchargers, and all four are in use as we pull in to the car park. READ MORE I try to keep up with owner Pádraig McGillicuddy as he leads me on a brisk walk through the 80-acre farm the hotel purchased in 2020, pointing out the rewilding process under way. Thirty-thousand native trees have already taken root, wild flower meadows have been sown and integrated wetlands have been created to treat the hotel and spa's wastewater. I ask McGillicuddy what he does in his free time. Given his surname, I'm not surprised to hear he has climbed some of the world's highest peaks. Another peak looms in the distance and we follow the road west below majestic Caherconree leading us to our 1pm booking with Dingle Sea Safari and a face-to-face date with Cathedral Rocks. After decades of experience in the local fishing industry, the Flannery family pivoted in 2018 to begin sharing their passion for the stretch of coast between Dingle and the Blasket islands with adventurous visitors. Bridget, the matriarch of the Flannery family, helps us into waterproof layers and her son Colm welcomes us aboard one of the company's high powered RIBs. The two engines are fired up and within seconds we've left the harbour and rounded the bend for the open sea. Eask Tower looms above us, and Colm explains that the mound was built as a Famine-relief measure to mark the entrance to the harbour. We soon pull into Thundercove, with vertiginous cliffs surrounding us. It was here that Fungie the dolphin first appeared in 1983. Dingle Sea Safari The engines roar again and they are a given a proper chance to show off as we glide above the swell and speed towards Slea Head. Within minutes the hilly contour of Great Blasket Island fills the skyline. As we draw closer, we spot dozens of grey seals sunbathing on the beach. This is one of the largest colonies in Ireland, with seals travelling all the way from Scotland to seek out the gleaming white sands and breed here during the summer. Crossing the sound to adjacent Inishnabro, Colm powers down the engine as a pod of dolphins appears. They lead us west in a straight line to Cathedral Rocks, the reason for my visit. It does not disappoint. Two spires reach for the heavens, framing a perfectly sculpted doorway at sea level, surely one of the top feats of nature along the west coast of Ireland. No organist is needed, instead the lapping waves provide the musical score with the soft-hum of several thousand nesting puffins creating the melodic line. Heaven has competition. Charlie Haughey bought neighbouring Inishvickillane in 1974. His legacy lives on in the red deer he introduced to this tiny island that are just about visible from our boat. I'm fascinated to spot the former taoiseach's summer house at the summit given the amount of airtime this island received in the media when I was growing up. On the return journey, Colm continues his masterclass in oceanography, geology and local history. I feel grateful to have been in his learned company for the past 3½ hours and he leaves me with an even greater appreciation of our natural wonders. His parting wisdom is to make a beeline for nearby Solas restaurant to see if they can squeeze us in for a late lunch. Chef Nicky Foley welcomes us at the door and before long a dizzying array of small plates appears, many of them featuring seafood from the waters we've just traversed. Réalt na Mara rock oysters, queen scallop ceviche and Dingle Bay crab tartlet all dazzle before a whole turbot doused in chicken butter sauce and peas graces the table. Murphy's Ice Cream has a cafe across the road, and we finish off our time at Ireland's most westerly town with a scoop of their famed vanilla and Dingle sea salt flavour. Bed in Estate Cabin in Ballygarry The Brasserie on Ballygarry Estate Back at Ballygarry we find a remote control but there's no TV to be seen anywhere in our room. A random button summons a huge screen to rise theatrically from the end of our bed. Our 16-year-old son may have been impressed by the high-speed boat trip and the Michelin standard lunch but these wonders pale in comparison with this technological wizardry. We decide that this may be the time and the place to rewatch one of the recent Star Wars movies. Colm had pointed out Ceann Sibéal earlier, the headland where the beehive huts of Skellig Michael were reconstructed for scenes in the film. All the movie watching in bed has us famished so we make our way downstairs to the Brasserie for a gourmet burger. Fifty-eight per cent of the food served in the hotel is sourced in Kerry, and a composting system returns food waste to the gardens. Our dormer window looks out on the mountains: the next morning they are criss-crossed by multiple rainbows.. By the time we make it downstairs to the hotel spa, the rainbows have given way to blistering sun and we spend a happy hour moving between the outdoor hot-tubs, the glass-fronted sauna and a spruce-clad relaxation cabin. We pick out several more of these designer cabins hiding among the trees. The spa manager explains that these self-catering cabins are a recent addition and she suggests taking the complimentary bikes from reception for a closer look. We cycle down a lane edged with reintroduced hedgerows and press our noses against the curved windows of the cabins. The hotel's grounds border Ballyseedy Woods, and a bridge over the river Lee leads us to 80 more acres of native woodland. Returning to the hotel, we're stopped in our tracks by a glamorous wedding party making its way across the gardens. A parade of jewel-coloured outfits files past and we stop ourselves from following them into the on-site chapel modelled on a New England barn. Fergal and Dash McCarthy Before leaving, we drive into nearby Tralee to pick up a coffee at highly recommended Maddens and then some delicious pasties from the Cheese Shop. A new greenway has recently been completed linking the town with Fenit, and in driving rain we follow Google Maps to the section at the Lock Gates where the Tralee canal meets the sea. It's too wet to use the newly installed picnic area, but as the clouds pass, the panorama of the Dingle Peninsula is revealed across the bay in all its multihued glory. I've been to Tralee countless times ever since those first childhood caravan holidays but this stunning location is another first for me. I'm grateful to Kerry for inspiring a lifetime of wanderlust and awe of natural places, and I'm happy to find out that there's still so much more left to explore in the Kingdom. Fergal McCarthy was a guest of Ballygarry Estate
