It marks a first for Ankama, whose philosophy is to never tell the same story twice even across different media. It can be purchased separately digitally and in stores.Ī novel adaptation was released that reproduces the movie's story with some added details and extra scenes. It was composed by Guillaume Houzé and orchestrated by Laurent Juillet, who have both been involved with several of Ankama's projects in the past. The film's score was recorded by the Orchestre National de Lille (Lille National Orchestra). However, the two will make a truce there and develop a relationship as Joris questions him about his hatred for his brother Kerub. Atcham Crepin Kerub's brother Atcham, a Brakmarian assassin, is first hired by Julith to track down Joris in the Ecaflip dimension. She now returns to reclaim the Dofus and settle the score with her rival city. Quickly struck down, she was believed dead and her Dofus was left broken and powerless. However, ten years before the movie, they were betrayed and she turned against Bonta once again. Julith A Huppermage originally aligned with Brakmar and guardian of the Ebony Dofus, Julith eventually fell in love with the Bontarian Huppermage Jahash Jurgen and started a family with him in the City of Light. Khan Karkass Star Gobbowl player, the Iop Khan Karkass is Joris's idol and becomes involved in the struggle against Julith mostly through his interest in Joris (for his potential as a Gobbowl player) and Bakara (as a romantic interest) and for finding himself at the wrong place at the wrong time. As the little sister of the hero Jahash Jurgen, she has a personal grudge against her and is expected to live up to her family's reputation. Bakara Jurgen Bakara is a talented Huppermage apprentice, newly graduated, who also takes up the fight against Julith. Lilotte Previously living with Indie Delagrandaventure, Kerub's lifelong rival, the Ouginak Lilotte is now a street urchin and spends most of her time with Joris around Kerub's shop. As well as raising Joris, he looks after Lilotte, who now lives in the streets. Kerub Crepin After a few years of presumed travel following the end of Dofus: Kerub's Bazaar, Kerub has set up shop again in Bonta. After discovering his ties to the Jurgen family, he will be at the center of the struggle to stop Julith from laying waste to Bonta once again. Main cast Joris Now aged 10, Joris has become friends with the Ouginak Lilotte and lives in Bonta with Kerub, their Shushu house Luis and his pet flea Fleeflee. Along with his friends and new allies, Joris discovers his link to the Dofus and the Huppermage and attempts to save the city. Now living in Bonta with his adoptive father Kerub Crepin, Joris is at the center of events involving the Ebony Dofus and the Huppermage Julith, who has sworn to destroy the city. Set in Bonta in the year 400, the movie focuses on Joris around age 10. Watch Dofus - Book I: Julith ( 2016) Online FreeStreaming, Downloadmovie Dofus - Livre 1 : Julith (2016) Full Movie Streaming Dofus - Book I: Julith (2016) Original Title :Dofus - Livre 1 : Julith Release : Rating :7.4 by 61 users Runtime :108 min.
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It is useful to note that the speed of the computer processor and video card can affect the quality of video playback. The designer can also select on which video card or cards the video will play. Video files can be altered in real time in QLab, by integrating a Quartz Composer file. The video capability of the software in its most recent version allows a designer to add video files to their cue lists, allowing them to be time aligned with other cues, including audio files. Audio cues can also be placed into groups, so that multiple files can be triggered at one moment. Once the audio files are inserted into the cue list, the end-user can then manipulate it by looping it, changing the amplitude or volume, and adding fades in or out. QLab allows an end-user or designer to align audio files in a sequential order. The list of available cues in v4 is as follows: When triggered, a cue executes an operation. In QLab, a cue is a marker for an action to take place in the program. As of February, 2023, the most recent version of QLab is 5.1. As with Version 3, a new edition of the QLab book was released called QLab 4: Projects in Video, Audio, and Lighting Control, by Jeromy Hopgood. This new function allowed QLab to function as a lighting console. As with previous versions, this one added many new user functions, including the addition of lighting cues. In 2016, Figure 53 released the newest major version of QLab, version 4.0. 2013 also saw the publication of the first book dedicated to the use of the software, QLab 3 Show Control: Projects for Live Performances & Installations, by Jeromy Hopgood (not affiliated with Figure 53, LLC). 2013 marked the release of QLab Version 3.0, with a wide range of new features, particularly in the realm of audio and video effects, Syphon video, the addition of microphone cues, and integration of OSC capabilities. In January 2009, Version 2.0 was released with a complete visual makeover of the interface and new control features. If the students learn to focus on their artistic intent, they will find ways to accomplish it, no matter the program in use.QLab 1.3.10 was the first version of the software and was released on May 25, 2007. Although these programs are the overwhelming industry standards, the principles of design are the same no matter what program is used. Of course, the bottom line is what is best for students. This was recommended to me by Professor Sean O'Skea (he has a youtube channel with tutorials and links to some of his free lance designs). If you are successful in getting a Mac lab for your students, I strongly recommend getting a mouse for each workstation that has multiple buttons. Vectorworks is a cross platform program and is common for CAD/CAM in many industries. As a personal Mac user already, it was easy for me to adopt. Rather that we haven't been able to find a program that includes audio, video and MIDI cuing (and now DMX lighting) in a single package. That isn't to say those programs don't exist. Some of my fellow students have been trying to find a windows program that has all the features of QLab, but haven't been completely successful. In the Puget Sound area and Ashland, Oregon, every professional theatre uses QLab. I've never had a Windows based computer system display that longevity of service. The community theatre where I am a board member uses a 9 year old Mac Mini to build sound cues in QLab. Unfortunately, as a retired person, I can't afford it, but if I was still teaching, I would be working hard to get it.ĭoes anyone know of a location that shows QLab and Vectorworks are the industry standard for sound/projection and lighting design respectively?Īdministration is wanting to help get this educational aspect going but needs some data to prove to the IT department Apple platform is worth the cost.Īs far as resources citing QLab and Vectorworks as standards, I can only provide course information from Southern Oregon University's Master of Theatre Studies program and personal observations. I had it when I was teaching and I miss it every time I approach a lighting project. (Way better than Vectorworks, in my opinion.) They offer education multi-seat licenses that make it only very expensive rather than astronomically expensive. It's very expensive, but it's an incredible tool. You might want to take a look at Wysiwyg for lighting design. I lied and told my parents that it was too cold downstairs. I spent the next couple of nights sleeping upstairs in the guest room. I didn't sleep for the rest of the night. She didn't open it, she just phased through the door and it moved slightly with her passing through it. When she reached the door, her hand extended towards the doorknob. She sat in that position for a few minutes before she got up and moved towards the door. The bed creaked as she moved into a sitting position. She rocked back and forth for a few minutes before getting up. I laid on the bed paralyzed and watched her. She was facing away from me and her long hair ran down her back. My heart leapt into my throat and my stomach sank. I had just heard the creaking sound and I rolled over to look across the bed, I was greeted with the image of another person right next to me. Eventually I began to get used to the sounds and they became background noise.Ī few days passed with the persistent sounds, I would have forgotten about it had I not opened my eyes late one night. I would always look over at the other side of the bed, but there wasn't anything there. I spent a few nights lying completely still, waiting for the sound of my bed shifting. Then it started happening even when I wasn't moving. At first I thought it was me turning in bed and making that sound. I held tight to that belief when the sound persisted even after shutting all the doors in the basement to cut down on flow-through.Īnother noise that was almost always happening at night was the sound of my bed creaking. I told myself that the next few nights it happened. At first I thought it was just a wind current generated by the heating system or pressure change pushing a door in the basement closed. Whenever I was settling down for the night, the sound of a door lightly bumping into the frame could be heard. It started with the most innocuous of things. My parents told me that it was just settling on its foundation, but I wasn't so sure. I accepted this drawback in exchange for the privacy that it afforded me and as a teenager, privacy was of the utmost importance. I slept with a heater in my room to combat this invasive cold. Every now and then, I would wake up to find my breath fogging in the air. It was freezing in the winter due to poor heating, particularly in the basement. The house had its fair share of problems. At what point of repairing and replacing parts does the house stop being the same house and become a completely new house? Did I live in a house that was from the 50’s or was it now a completely new building? I've been known to wax philosophic from time to time, sorry about that. It reminded me of the old “Ship of Theseus” conundrum. Asbestos was replaced by insulation, lead paint was removed, and copper tubing was put in. It was built sometime in the 1950’s and was refitted to be more modern. The basement had a wide-open area, my room, and a room with a water heater off to the side. It had a main floor with a kitchen, living room, and a bedroom/bathroom. Just a small note about my house in Kalamazoo. I was a big fan of Resident Evil and was slowly getting into Silent Hill around that time. I spent most of my time in my room, which was in the basement, playing games and talking to the friends I had left behind when I moved. I’m an avid gamer and love survival horror games. My neighborhood was built for younger couples so there weren't too many kids to hang out with during this time and the cold weather forced me inside most of this time. We moved there midway through the school year so I found that I had about five or six months of free time before I could attend school and meet the other kids. The town, Kalamazoo, was a quaint and quiet community. He was lucky enough to find work in a small town in Michigan. My family had just moved to a new city after my father lost his job. It all started in early 2001 when I was thirteen years old. My encounter with the afterlife wasn't very typical and I doubt that after listening to my story that you’ll be able to see yours as ordinary either. I ask this question because I want you to have your spiritual encounter on your mind while I tell you my story. Have you ever seen a ghost? I don’t usually ask that question because everyone will typically start telling their typical bullshit story of seeing an old woman in their peripheral vision one late night, hearing voices that aren't there, or maybe even picking up a phantom hitchhiker on a late night after driving for too long. "Ad Nauseam, Ad Mortem, Ad Infinitum" by EmpyrealInvective Ad Nauseam In this example we used “Distribute left edges,” but any of the three horizontal choices will accomplish the same thing. In the Layers palette, Command/Ctrl-click on all the other Smart Object layers to target them also and in the Options bar choose a horizontal distribu-tion to complete the row of labels. Choose the Move tool (V), hold down the Shift key, and drag to the right, using the template as a guide to position the last copy in the top right-hand label frame. Now duplicate your new Smart Object layer (Command/Ctrl-J) as many times as you need to fill one row of your template (we made two copies). Inside the Layers palette, Com-mand/Ctrl-click the appropriate thumbnails (in this case the type, logotype, and photo), and choose Layer > Smart Objects > Group Into New Smart Object. To make it easy to repeat the label, use a Smart Object. Choose a font, style, and size, and then type “Lavender,” Press the Enter key to finish the type and Com-mand/Ctrl-drag to put the word where you want it. To add the name of the fragrance to the label design, choose the Type tool (T), click the color swatch in the Options bar and click on the photo to sample a purple. For a soft, even “dark glow” all around the edges, in the Layer Style dialog, lower the Opacity of the shadow to 60% and set the Distance to 0, then click “OK.” In the Layers palette, reduce the Fill Opacity of the layer to let a little of the back-ground color show through. To integrate the type with the photo, click the “Add a layer style” button at the bottom of the Layers palette, and then choose Drop Shadow. Next, open a file that has the logotype for the brand name (In our example: One Candle™, stored as a Shape layer), then drag-and-drop this layer into the file. Press the Enter key to finish the transform. Then use Free Transform (Cmd/Ctrl-T) to scale the imported photo (by Shift-dragging on a corner) and to position it (by dragging inside the Transform box). Use the Move tool (V key) to drag-and-drop the photo into the la-bel template file. We are using a file with a cropped, tinted, soft-edged photo. Fill the new layer with white (type D for default colors and then press Command-Delete on a Mac or Ctrl-Backspace on a PC).ĭesign a label in the top left corner of the template. To see the developing artwork better, add a new layer below the label template (Mac: Command-click the “Create a new layer” button at the bottom of the Layers palette Ctrl-click it on a PC). We downloaded the PDF lay-out, opened it and set the resolution we wanted for the labels We picked the standard white WL-OL225WX stock, originally designed for labeling computer diskettes, which could be printed on either a laser printer or an inkjet. (Tip: When we went looking for a label format for the 4.25-inch square face of a box for a boutique candle company, we went browsing at They provide free design templates in PDF format which can be opened directly in Photoshop. Open a label template to use as a guide for sizing and positioning the label artwork. Photoshop’s Smart Objects, align-and-distribute options, and layer groups make it easy to repeat your label design to fit the label stock.īy Linnea Dayton & Cristen Gillespie, authors of The Photoshop CS/ CS2 Wow! Book (Peachpit Press). Here’s a way to design labels that you can then quickly modify for related products. Typically the fill valve is secured by a ballcock shank washer, which prevents leakage from the supply line. Although this does not stop the wastage of water, it avoids the flooding that would otherwise occur after a single-point valve failure. Should the float or valve fail and allow the water level to exceed the fill line, the water will pour into the overflow tube and out to the bowl (in the flapper valve type) or to an outside drain (in the siphon type). Toward the end of the discharge process, the ballcock responds to the drop in water level and refills the tank. When the column of water passes over the siphon bend and starts to fall down the exit pipe, the siphon action continues to empty the tank until the water in the tank falls below the siphon intake. The rod or chain lifts a piston that pulls an initial charge of water up into the siphon. Īnother discharge mechanism, common in the United Kingdom, is a siphon (or syphon). Note: These diagrams represent a configuration typical in the USA, mechanisms may vary in other countries. The flapper has closed, and the tank refills within seconds.ġ. The handle is pressed and the flush cycle begins. Once the flapper valve closes, the water flow from the fill valve continues until the tank level again reaches the fill line. Water is fed to the tank to replenish its supply, and a smaller flow is directed into the overflow tube to refill the bowl. As the tank water level drops, the float descends and actuates the fill valve. The mechanism may be a flapper valve, which is designed to sink more slowly than the water, which will exit to the toilet bowl below, so that the tank may empty. When the handle of a flush toilet with a tank is turned, a discharge mechanism is activated by means of a rod or chain. This is an example of negative feedback and of proportional control. When the water level rises, the float rises with it once it rises to a pre-set level, the mechanism forces the lever to close the valve and shut off the water flow. The valve is connected to the incoming water supply, and is opened and closed by the lever which has the float mounted on the end. The float is often ball-shaped, hence the name ballcock. It consists of a valve connected to a hollow, sealed float by means of a lever mounted near the top of the tank. The ballcock device was patented in 1797 for use in steam engines by Edmund Cartwright. The modern ballcock was invented by José Antonio de Alzate y Ramírez, a Mexican priest and scientist, who described the device in 1790 in the Gaceta de Literatura Méxicana. ( Learn how and when to remove this template message)Ī ballcock (also balltap or float valve) is a mechanism or machine for filling water tanks, such as those found in flush toilets, while avoiding overflow and (in the event of low water pressure) backflow. JSTOR ( June 2013) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This article needs additional citations for verification. In the film, Watts plays simply “Mother,” a woman living alone in an isolated house that has all of the warmth and charm of a mausoleum. It’s unsettling and off-putting… and that’s the point. She’s a marathon runner herself and she was said I must have run the equivalent of two marathons in those two weeks of production.(Photo by Stephane Cardinale - Corbis/Getty Images)įor most of the run time of Goodnight Mommy – an English language remake of the 2014 Austrian film of the same name – Naomi Watts is unrecognizable, as her head is completely swathed in a bandage-like covering that resembles a stark white ski mask. She was there on my body the whole time, after the end of the day or even at the lunch break. “I have a bit of a fitness background and I consider myself quite agile,” she says, “but I needed to train to get my body back to a place where I could handle that much running…Luckily they had a physical therapist on set who was an absolute genius woman. The experience took its toll on the two-time Oscar nominee. I literally had to be on my toes because I’d trip up in the woods, or we’d lose cell service, the connection to the actors on the other line who were performing the scenes live with me.” “I don’t think I could have done it differently. “I’d been running and running in character and after 10 takes the physical emotion would just kick in, I’d be living the experience of this character,” says Watts. Instead of shooting short takes of every scene, Noyce had Watts copy the experience of her character, running full tilt through the woods, gasping for breath as she tries to call the police, the school, and anyone who can help her. We got in and out without anyone getting sick.” “We were the first project to start production in North American under COVID and the first to finish,” says Schiller. The isolated location and the relatively small crew make it an ideal project to shoot during COVID. Lakewood shot in Northern Ontario, in 6 square miles of woods near North Bay, about 4.5 hours north of Toronto. Because I also live with the same dread and fear that most people have around this subject matter.” “I thought it was an approach worth unpacking. “I’d worked with Chris on Sea of Trees (2015), which he wrote and I knew he had written another film, Buried (2010) with Ryan Reynolds, which was also a contained story, told from one person’s perspective,” says Watts. The contained nature of the story was one of the primary appeals for Watts, who came to the project via Lakewood screenwriter Chris Sparling. “to not take the easy or lazy approach but to tell this story entirely from the perspective of Naomi’s character.” “We fully supported Phillip’s vision not to glamourize any aspect of the violence or the shooter,” says Zack Schiller, one of the producers of Lakewood. Instead, in an approach similar to contained thrillers The Guilty and Locke, Lakewood focuses entirely on Watts’ character as she runs through the woods (she was on her morning jog when she got the news about the shooting) trying desperately to find out what has happened and if her child is safe. The other radical choice made by Noyce is not to show any images of the violence itself. Naomi Watts plays Amy Carr, a woman whose son is caught up in a school shooting, though it is not clear - not until near the end of this taut thriller from Australian director Phillip Noyce ( Rabbit-Proof Fence) - whether he is a victim or the shooter himself. With Lakewood, which premieres at the Toronto Film Festival on September 12, the focus is back on the mother. The Captioning Conundrum: Why Hollywood Film Fests Still Struggle to Serve Deaf Audience Members If high, RESn is a CMOS input with Schmitt Trigger. If low, RESn becomes a weak output (~5 KΩ) for monitoring purposes but can be driven low to cause reset.
There are so many ways to gain nitro, yet some track areas are intentionally left bare, leaving the player to wonder, Should I use my nitro, or see what's around the next turn? A cautionary mention should be made to players who think they can simply plow through anything and everything to gain nitro-this is not the case. Plow through fences smash through a mall food court, leaving store displays and tables in utter devastation skid through stacks of tires that spill out onto the road, tripping up competing drivers collide with a gas pump and set off a massive explosion. Because of the Xbox 360's better graphics capabilities, more destructible objects are present on all of the game's tracks. Nitro, fuel given to players for performing stunts and hitting debris, is somewhat easier to gain in Ultimate Carnage than it was in FlatOut 2. as are the environments and minute details. This is a high point, because as mentioned, players will have to think more about what they want to do: Use nitro now or wait until I can hit a high jump and get even more nitro? Overtake the guy in front of me, or wait until I can ram him into the building near an upcoming turn and earn money for doing so. Ultimate Carnage tends to rely on longer tracks that, although typically three to four laps in duration, result in racing sessions of close to five or six minutes, which is definitely atypical of the pure arcade genre. Most arcade racers such as Burnout feature tracks that are relatively short in length, emphasizing speed and stunts rather than a back and forth battle that sees players constantly moving up and down in placement rankings. Also in the vein of a simulation racer are the track lengths and types. While cars can get smashed up and perform outrageous stunts the likes of which are rarely seen in simulation games, but each car features very tight controls that require players to exercise precision and timing to win cups, which results in more money to upgrade and purchase vehicles. This is due to Ultimate Carnage being more of an arcade/simulation hybrid. FlatOut Mode, in which a player starts racing with scrap cars and eventually moves up to race and street cars, is still a blast to play and features a bit more strategy than most arcade racing games. Everything still moved at a rapid pace, and I certainly wouldn't go back and say that playing Ultimate Carnage rendered FlatOut 2 unplayable, but aesthetically, the old version is almost painful to watch. FlatOut 2's graphics were grainy, distorted, and contained startling amounts of pop-up. In preparation for this review, I loaded the original FallOut 2 for a last-gen-vs-current-gen comparison, and the results were staggering. Scenery is less jaggy and more defined, cars are smoother and feature more detail, and some of the rural areas-especially farmland tracks-are simply gorgeous, featuring beautiful fall colors and sunsets that almost-almost!-made me want to screech to a halt and stare. Immediately noticeable is the marked improvement of Ultimate Carnage's visuals. Car detail is much improved over the Xbox original. “Their clothes and accessories are a fit for teens through moms and even grandmas, so shopping in person at Lauriebelles is something you can do with your family and your friends, and now you’ll save every time.” “Lauriebelles offers something for every woman,” she said. The partnership is a big win for GreatLIFE members, said Krista Youngberg, GreatLIFE’s experience director. We want to infuse business locally, and that’s why we focus so deeply on it.” “I’m a big believer in health and wellness, and if you’re taking the initiative to better yourself on the health and wellness side, we want to give you an incentive to come in and shop with us. The partnership with GreatLIFE was a natural fit, she added. “It’s so cool to interact with the staff and get that shopping experience that we really want to encourage customers to come into Lauriebelles for the experience you can’t get online.” “We want people to shop bricks and mortar locally,” Karlson said. They receive 15 percent off all in-store purchases at all locations. Part of that is a new member benefit offered to GreatLIFE Golf & Fitness members. “It’s just all about reaching new clients and getting our name out there,” she said. Just as she reached new customers downtown, she expects The Empire Mall store to introduce new clientele who haven’t ventured to Phillips Avenue or Tea. “And we just did some updating in the store.” “We opened that right before the pandemic, and now it’s going really well, and we’re excited that things are back to normal downtown,” Karlson said. In 2019, Lauriebelles added a downtown Sioux Falls store on Phillips Avenue. She then moved into her first storefront in Tea the following year, outgrew it and expanded to a new and bigger space in 2017. She saw an opportunity to offer shopping that felt more boutiquelike and began selling online and out of her house in 2013. “I had just finished a master’s in special education and was looking to get back into the work field after staying home with my kids, and I just felt a pull to do something different and on my own terms.” “I didn’t have any retail or fashion experience,” she said. It’s the next chapter in a business success story that has created a national customer base and global relationships for the entrepreneur who began her professional life as a teacher. “We have quick timelines, and I’ll be really happy when it’s done.” “It’s going to be exciting,” Karlson said. Lauriebelles will be moving into a former boutique space at the mall, not far from the Sanford Children’s play area. They are bringing in so many new businesses and have amazing new ones on the docket, and they’re trying to infuse more local businesses, so we think what they’re doing is awesome, and we’re excited about the opportunity.” “And the mall is an iconic place in Sioux Falls. This time, though, “I feel like brick-and-mortar shopping is coming back full force, and people are excited to be out again,” she said. Laurie Karlson had been approached about bringing her boutique, Lauriebelles, to The Empire Mall before, but the stars hadn’t aligned. , money, salary, income, and assets.This paid piece is sponsored by GreatLIFE Golf & Fitness. So, how much is Molly Tuttle worth at the age of 30 years old? Molly Tuttle’s income source is mostly from being a successful. Her net worth has been growing significantly in 2022-2023. According to our Database, She has no children. We don't have much information about She's past relationship and any previous engaged. We will update Molly Tuttle's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible. Molly Tuttle Height, Weight & MeasurementsĪt 30 years old, Molly Tuttle height not available right now. She is a member of famous with the age 30 years old group. We recommend you to check the complete list of Famous People born on. Santa Clara County, California, United States Learn How rich is She in this year and how She spends money? Also learn how She earned most of networth at the age of 30 years old? Popular As Discover Molly Tuttle's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Molly Tuttle was born on 1993 in Santa Clara County, California, United States. Received: AugAccepted: DecemPublished: January 6, 2021Ĭopyright: © 2021 Tejedor-Rodríguez et al. Biehl, University at Buffalo - The State University of New York, UNITED STATES (2021) Investigating Neolithic caprine husbandry in the Central Pyrenees: Insights from a multi-proxy study at Els Trocs cave (Bisaurri, Spain). In sum, our work provides substantial arguments to conclude that the advanced herding management skills of the Early Neolithic communities arriving in Iberia facilitated the anthropisation process of the subalpine areas of the Central Pyrenees.Ĭitation: Tejedor-Rodríguez C, Moreno-García M, Tornero C, Hoffmann A, García-Martínez de Lagrán Í, Arcusa-Magallón H, et al. Palaeoparasitological analyses of sediment samples document also the growing reliance on herding activities of the human groups visiting the Els Trocs cave throughout the Neolithic sequence. This trend alongside the ‘off-season’ lambing signal at the implementation of husbandry techniques over time, probably aiming to increase the size of the flocks and their productivity. Age-at-death distributions illustrate the progressive decline in caprine perinatal mortality together with the rising survival rate of individuals older than six months of age and the larger frequency of adults. Autumn births are recorded from the second half of the fifth millennium cal. For the first time, δ 18O and δ 13C stable isotope analyses offer direct evidence on both the regular practice of altitudinal movements of sheep flocks and the extended breeding season of sheep. The multi-proxy analytical approach here presented has allowed us to offer new data elaborating on vertical mobility practices and herd management dynamics as has not been attempted up until now within Neolithic high-mountain sites in the Iberian Peninsula. BC) and more than 4000 caprine remains were recovered inside. Cova de Els Trocs (Bisaurri, Huesca, Spain), a cave located at 1564 m a.s.l on the southern slopes of the Central Pyrenees, is an excellent case study since it was seasonally occupied throughout the Neolithic (ca. Sheep remains constitute the main archaeozoological evidence for the presence of Early Neolithic human groups in the highlands of the Southern Pyrenees but understanding the role of herding activities in the Neolithisation process of this mountain ecosystem calls for the analysis of large and well-dated faunal assemblages. |