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Various perspectives and theoretical points of departure are brought to the fore. Europe is perceived as a continent, a fortress, an imagined political community, a discourse, a cultural process promoted by various societal actors, and a lived everyday space.
This panel will discuss different ways to explore vari- ous facets of the history of Europe and the overarching purpose is to offer new insights about a continuously evolving historiography.
Magnus Rodell Bosnian Crossroads: Early , Levy and a ilm team went to Bosnia to try to understand what was happening and why the European and the International Community remained passive despite all the atrocities that had been committed since the outbreak of the war two years earlier.
To make this point Levy formulates a certain European historiography. In my paper I will bring this historiography to the fore and discuss it as one example on how a very distinct way of formulat- ing the history of Europe is produced in a very speciic s context.
I will also use this example to generally relect upon the enterprise of writing the history of Europe. One response to these dificulties is to undertake an intellectual-historical examination of the category itself.
That examination re- veals that efforts to forge the concept of European culture have themselves been stimulated by a perceived need to respond to the increasingly luid nature of cul- tural transfers in the modern world.
Understanding this process helps to highlight the sometimes unspoken tensions that surround efforts to deine Euro- pean culture today, as well.
Symbols of Nations and Na- tionalism This paper will explore national symbols and national ceremonies as markers of nation building by means of a systematic investigation of national symbolism in Europe.
The complexity of the nation building process can be traced alongside the establishment of national lags and national days — as two main images of nationhood - as they are adopted, altered, modiied, abolished, re-established to relect signiicant events in the re making of nations.
These patterns may, in turn, be linked to lag types, national day design and style, the socio-political context and age. Whereas some nations are represent- ed by pre-modern religious or monarchical imagery others reproduce symbolic codes of the modern and republican age.
However, historical material is not always useful and points to the potentially divisive nature of symbolism as with the post-historical or counter-nationalist symbolism that has emerged in Bosnia-Hercegovina and Kosovo.
Man har hävdat att det alltmer blivit upp till var och en att skapa sina egna arbetstillfällen och själv staka ut sin karriär. Vilka betydelser har olika former av rörlighet för de verksammas vardag, yrkes identitet och livsstil?
Under the re- form every region, works with local and regional cultural administrators, cultural politicians, artists and representatives of civil society to produce a three-year plan for regional cultural activities.
We discuss whether the reform might lead to a broader recognition of artistic work as the work now is anchored in the broader society, or if the cultural reform means that the artistic work skills primarily are deined outside the group of artistic profes- sionals.
Vi är alla mer eller mindre tvingade att agera i diskursens värderingar. Grundteser är enkel, kapitalet ska maximeras. Det inns en öppen politisk samstämmighet i detta.
Konsthögskolan, the norm of artistic freedom has been implemented as a logical consequence of the condi- tions in the art world.
This was also one of the most pressing issues raised by former students in an alumni report. According to the alumni, the freedom im- plemented at the Institute was deemed as both the best and the worst concerning their education.
In this paper, I would like to discuss what kind of freedom has been imple- mented by the Institute, and how this has been done, as well as how the former students handled the freedom during their years at the Institute.
My indings indi- cate that the students who expected to receive an education in a more traditional sense were more likely to experience the reign of freedom as a burden.
In con- trast, students who rather viewed the Institute as a platform, did not. This leads me to the questions: Konsthögskolan, if it is not primarily to be understood as an educational institution?
What is education, and in contrast: What is a student, and in contrast, what is an arts student? In investigating these issues, this paper seeks to broaden the perspective of the freedom at arts education just being a consequence of the freedom in the art world, and to raise the issue of the future of the arts education at Kungl.
Despite perhaps because of the existence of multiple guilds and organization organizing ilm workers, and the success of unions at the lower level in the Danish case FAF , professional status has not been attained.
Despite the fact that those at the high end i. Likewise, though occupational specialization and knowledge and skill is high in ilm occupations, collegial control and inluence over practice is moderate at best inter-personal dialogue and consultation and in places like the US, guild-based awards , with the evaluations of other groups — producers, col- leagues in other occupational specialties and especially critics and to a certain extent general audiences weighing heavily.
While there are no formal certiication or educational requirements for entry into ilm occupations there are formal and informal factors such as recognition, celebration, reputation and accumulation of credits that potentially could be used in a professionalization process, but also might be the very elements that mitigate professionalization.
In essence, this article explores why ilm work and workers, who share some central similarities, but also basic differences with occupations organized as professions are organized under an al- ternative institutional regime.
Det handlar om resandets, lanerandets och stillsamhetens betydelse för konstnärskapet, och om författarens relation till politiken, vetenskapen och sam- hällets värdenormer.
Den centrala metaforen om det egna rummet — enligt Woolf en nödvändig förutsättning för kvinnans skapande — kan peka mot föreställningen om författaren som stilla- sittande, en distanserad iakttagare av sin omgivning.
Denna bild växelverkar emel- lertid med en motsatt bild: Ett centralt problem som de här författarna ställs inför är hur man kan använda vetenskapen utan att hamna i en steril determinism.
Ansökningsbreven till Sveriges författarfond har stadigt ökat sedan starten I dessa brev beskriver författarna sin livssituation och argumenterar för var- för just de bör tilldelas ett stipendium.
När man studerar ansökningarna över tid framträder en intressant utveckling: Martin Kylhammar Bryt upp! Författare borde ta ställning, delta i moderniseringen och demokratiseringen av samhället.
The city of Bar- celona, eminently touristic, is an ideal place to observe interactions and tensions between tourists, natives and immigrants. Ethnographic observation allows us to focus on the coexistence of the different sectors in communal spaces: This is to inquire into the representations of the bodies as shapers of spaces and environments.
From individual manifestations to street art, from the static to motion, from mi- cro to macro perspectives, from everyday life to the global, we analyse the adjust- ments and inferences of social networks and electronic media in the new ways of understanding mobility.
Erika Andersson Cederholm Balancing contrasting mobilities in rural lifestyle businesses The paper discusses experiences and values of geographical mobility among busi- ness owners in the tourism and recreational industry in rural Sweden.
Some of the themes identi- ied are: Finally, the paper discusses the relationship between values of autonomy embedded in running a lifestyle ori- ented business, and values of geographical mobility and the spatial and temporal constraints of everyday farm-based service work.
The key is to improve our understanding of the spatial behaviour of tourists and determining visitor use at set destinations. We present a study that investigates the spatial behavioural patterns of interna- tional tourists travelling to the City of Melbourne in Australia.
We demonstrate that behavioural patterns are inluenced by the differing cultural backgrounds of visitors. Participants were selected using a random intercept method.
Surveys were completed at eight key tourist attractions. Data was analysed using independent sampled t-tests, one way analysis of variance ANOVA and Pearson correlate analyses.
The results showed marked differences in spatial behaviour between tourists from differing cultural backgrounds in terms of accommodation location, mode of transport to travel, length, direction, type and pattern of movement.
This study highlights how the needs of tourists from different countries vary, and must be considered when ca- tering and designing tourism products Alma Raissova Mobility of visually impaired guests in hospitality servicescapes The paper sets out to examine physical mobility of visually impaired persons VIPs in hospitality servicescapes three stations: Generalized aim is critically assess hospitality servicescapes which seems to offer unequal opportunities for different groups of customers.
The research project merges three brands of theories: The focus is on mobility in servicescapes since this have been shown to be essential to service provision and to service consumers.
Mobility of VIPs in servicescapes remains imperfectly studied, though, since current research on mobility in servicescapes tends to ignore major advances in the understanding of space as something social.
This gap is addressed through the spe- ciic case of how blind people practice hospitality servicescapes. To address the research goal, the data collection and processing has followed a qualitative methodology based on individual interviews, group interviews, and observations.
It was found that: In Nkolokotho it is dificult to make a living while Durban offers migrant workers opportunities to earn some money.
However, when migrant workers fall ill they wish to return to their rural homestead. Although the health care offered in rural areas is not eficient, people wish to connect to their family and ancestors.
My aim in this paper is to explore acts of returning, what they say about agency and the circumstances under which people live. Six months of ethnographic ield work make up the material for my analysis.
A person returning home tells her story through her actions. Returning means weaving oneself within a web of relation- ships that is located in material things and places.
The act may seem unproductive at irst but in fact people produce space and relationships over time.
The role of ethnic afiliation in mobile coping strategies In the university of Antwerp published regional data about the alarming poverty rates amongst Italian, Moroccan and Turkish minorities in consecutive immigrant generations living in Flanders, Belgium.
Emerging research has aimed largely to analyze the issue in an urban context; a consequence of the greater spa- tial concentration and measurability of both poverty and immigrant prevalence in Belgian cities.
Studies on rural poverty in which ethnic minorities are overseen as well as studies on migration to rural areas in which poverty is usually not the topic dealt with , indicate however that there are relevant contradictions in urban- based indings as opposed to the rural context.
The role of the Flemish rural area in the lifeworld and survival strategies of this diverse group of individuals is being examined through multi-sited qualitative ieldwork in the province of Antwerp.
In a preliminary analysis of 24 in-depth interviews and participant observations we look at the choices in daily life trajectories and space use that are mentioned during the ieldwork.
Noticing the spatial seclusion from ethnic peers that is be- ing experienced, the importance of ethnic afinity as an instigator for strategic im mobility is remarkable.
The paper draws from social and cultural anthropol- ogy, social geography and migration and poverty research to discuss the relation between these daily life mobilities and integration - and identiication processes.
Ajay Saini Post-tsunami changes among the Nicobarese: The Tsunami of has been the biggest natural disaster in the history of the Andaman and Nicobar archipelago.
It subjected the Nicobarese to several hardships and disabilities including the de- struction of property, lives, livelihoods and ecology.
The Tsunami of caused large scale interventions in the area that involved relief drives and the initiation of various welfare and development activities.
Apart from shelter, the Nicobarese were provided with free rations, monetary compen- sations and amenities like water, health and electricity.
Eight years have elapsed now and many welfare activities run by the administration like free ration supply have been called off.
The Nicobarese, who were once self-sustaining in the pre- tsunami phase are betraying the signs of utter dependence in the post-tsunami phase.
The paper traces the impact of welfare and development programmes on the Nicobarese not only in terms of economic and social domination, but in relation to its inluence on cultural meanings and practices.
The paper also relects on the changes in the Nicobarese subjectivities and the construction of new subjectivities on the lines of symbolic ideology inherent in the welfare and development work, that has inluenced unprecedented socio-cultural changes among them.
Critical relections on universality of music perception This theoretical paper is an attempt of trying to look at universal aspects of music, especially as outlined by Philip Tagg, and engaging into articulation on how mu- sic can universally be pleasurable for people who are total strangers to its origins and roots.
Main argument of the paper, driving its conclusions from analysis of historical and recent studies concentrating on bio-emotional perception of psy- chophysical dimensions of musical cues within the different tonal systems, is that only the emotional part of the music, only the hidden emotions of joy and sorrow, unconsciously decoded by audience members listening to it, are responsible for this fascination and nothing else can be counted in when trying to understand the universality of music and musical codes.
Paper focuses on critique of semantic interpretations of music and instead calls for moving the focus of scholar attention towards biological perception of music by human brain and nervous system.
Paper ends with a call for a more cross-cultural research on emotional perception and interpretation of music, both Western and non-Western. The homogeneous norms thus challenged and unsettled are typically seen as a product of the nation-state.
And, inally, present-day research is rather obsessed with mobility as something new and as a feature deining the contemporary world.
The aim of this paper is to question these scholarly norms. The analysis draws upon two different traditions of art music: Both are constituted in multiple ields over vast geographical areas, interconnected by lows of both people and cultural goods, and maintained by mobile, culturally and linguistically diverse diasporic formations of people unit- ed by their common allegiance to their musical art.
Mobilizing these two cases and pushing the analysis back to the 19th century and before, I attempt to show how mobilities settled rather than unsettled norms and produced transnational cultural homogeneity in an era long before the age of the nation-state and of postnational challenges.
The demolition of the ancient Romanian village and the destruction of eve- rything tradition meant- customs and religions- in short, the unaltered rural cul- ture-, has been reactualized by the new directives received from the Sovjet East.
The new folklore has been represented irst with traditional melodies, with new lyrics. Cultivated music symphonic and vocal music, opera, ballet etc.
I dag inns det idrotter där utövarnas fysiska rörelser är starkt begränsade, men där rörelser av annat slag spelar desto större roll.
Thorgeir Fjeld Moving the Posts: Loppen marknadsförs ofta med ord som gemenskap, fest och glädje — utan jäkt och stress.
Vad är ett tjejlopp? Hur och när uppstod fenomenet? Hur förän- dras det över tid? Hur upplever deltagarna dessa lopp och hur berättar de om sina upplevelser?
Fältanalysen är en del av min magisteruppsats Landet mitt emellan proffs och amatör. En analys av ett subkulturellt fält och av kulturutövande som betydande för självidentiteten Samtidigt skapar spelreglerna en arena för individuellt självförverkligande.
Följande kan presenteras med endast ord eller med ord och dansrörelser. Dansens grundsteg berättar historien om breakingens ur- sprung.
Själv- för att man ska träna sig själv och koreografera sig själv. När man lär sig dansa med rätt känsla är man breakare. Erkända breakare lär ut grundstegen historien till nya adepter.
Dansens frihet motsägs av dess mycket speciika rörelsemönster. Men även inne i en butik kan rörelserna vara planlösa och lite trevande för den som inte riktigt vet vad hen är ute efter.
Exactly what piracy represents is, like terrorism, indeterminate and object to interpretation and manipulation, revolving around issues of power, ownership, property rights, whiteness, masculinity and a homogenised capitalist system that has come to represent our contemporaneity.
Piracy can sometimes confront these frameworks by questioning the ixed and deined boundaries that have come to represent the complex system of capitalism.
Contemporary piracy challenges us to rethink deterritorialization, identity, subjectivity, individual and common authorship and what a cyborg can be.
This workshop asks the question of what piracy can tell us about culture and society if we regard it as a phenomenon worth serious intellectual attention.
It explores how piracy, in its widest sense, relects, embodies and transgresses con- licts and borders in modern capitalist society. It includes full papers as well as presentations of academic and artistic works in progress that address the various acceptations of this generic word, the multiple ways it can be invested, used, mis- treated, abused and even subverted, beyond regulation and moralist limitation.
This presentation, as well as the title for the entire workshop, derives from the draft for a future master course about piracy currently under construction.
If Las Vegas is vulgar, trivial and far away from any modernist ideal, the place is nevertheless tremendously revealing about America.
Piracy, as Las Vegas, is therefore a space of investigation, physical and symbolical, loaded with energy and potential that go beyond conventional breaking down, creation being always bound with destruction.
Denise Ferreira da Silva A Conversation on Hackerspace This presentation covers themes emerged in an email conversation, with Dona- tella Bernardi and Palle Torsson, which covered themes such as hackerspace, peer networking, and free software.
As the conversation unfolded, we considered pos- sible critical contributions from the feminist and automonist currents in Italian Marxism to the thinking with Piracy.
From there, I think, Europe might come up very differently. The main question here is what possibilities it offers for thinking the European, Europe, and the onto-epistemological basis for the frames of intervention a certain understanding of Europe has produced and sustained.
The hope is to help and move further in the shifting from the usual critical course. So instead of thinking from Europe, inspired by this three-way exchange on Piracy, I would like to explore what I call a radical praxis a way of knowing and doing.
The paper highlights the interrelation of the notions of piracy, musical work and genius composer. It is shown how the metaphor of the pirate requires a treasured object to steal.
This object is the immaterial musical work, composed by a musical genius. Together, the metaphors of the pirate, the genius and the work constitute a igure of thought that at the beginning of the 21st century fulills a legitimizing function for a mal- functioning copyright.
It is therefore suggested that the pirate metaphor be jet- tisoned along with that of the romantic genius and the immaterial musical work.
In its stead the mothership connection may be a more constructive metaphor. Use and appropriation of Cultural and Urban Space I make use of sounds from youtube memes, custom melodies composed for this speciic project, spritesheets from amateurs, creative commons and ripped sheets from the original game, some of them I then modify personally to get the right feeling.
Much of the story and world of Garvest Boon are created custom for the project, as they are now revolving around a more subjective perspective; the old metaphor of the idyllic countryside is now exchanged for metaphors of alienation and mis- ad- aptation to society.
The gameplay and backgrounds are kept very similar, but the atmosphere has changed. Challenging norms and forming the lay professional on Youtube The Paper presents an upstart of research into issues of how youtube culture can present an arena for members to remake and remodel mainstream as well as sub- cultural media content Youtube clips, Television and Film content and everyday life materials.
Today, the commons is also understood as a cultural product — informa- tion, literature, music, arts, design, ilm, radio, and software.
Currently such struggles can be seen over natural and digital resources but also over urban spaces manifested in social movement claiming right to the city.
A series of practices of urban commons will be introduced. The aim here is to map what the notion of the commons can mean for the understanding and re-deining urban space.
Understanding here mapping as proposed by Deleuze and Guattari, as a performance that can become a relection, a work of art, a social action.
Piracy is thus a struggle between the material accessibility and the legal and normative enclosure of resources. Piracy represents an imagination that transcends the legal and nor- mative boundaries towards the materiality of social exchanges.
This is not at least evident in regards to urban piracy where uncontrolled growth of cities and use of its resources are in a constant struggle with the top-down perspective of planning and the ordered, calculable, city.
Hur relaterar barnkultur till kultur och vilka förändringar kan man se över tid och för framtiden? Helt andra förutsättningar, möjligheter, krav och utmaningar blir därmed aktuella.
Vad innebär det i termer av estetik, politik och kunskap? Vad ska vi göra? Bilder är stilla och orörliga, och spädbarn är passiva och har litet handlingsutrymme.
De allra yngsta granskas dock sällan ur ett barndomssociologiskt perspektiv Lupton I adresserad direktreklam som skickas till nyblivna föräldrar visualiseras och skapas berättelser om vad barn är och vad föräldraskap innebär.
Dessa visuella framställningar skapar en ambivalent och rörlig bild av spädbarnets kropp, kompetenser och sociala betydelse, tätt knuten till en roll som objekt för om- händertagande och som krävande konsument.
Ylva Lorentzon Barns delaktighet i professionella kultursammanhang. Detta som en förlängning av uppdraget att integrera ett barnperspektiv.
Dessa delaktighetsprojekt handlar mitt kommande avhandlingsarbete om. De teoretiska kategorierna kultur av, för och med barn, sätts av den barnkulturella praktiken i rörelse.
Anne-Li Lindgren, Anna Sparrman, Tobias Samuelsson och David Cardell Iscensättning av iktion — sammanblandningar av iktiva och materiella verkligheter i en temapark Fantasi och iktion är högt värderade fenomen när vi pratar om barns världar.
Den rör l iga barnkulturen 2 Ordförande: Syskonen i mitt material är aktivt och kulturellt agerande med de mediala artefakter som omger dem och som är en stor och betydande del av deras vardagskultur i hemmen.
However, in TV programming for children the discourses of passive child viewers just hanging out in front of the TV is dificult to ind.
This paper aims at discussing how the discourse of the passive child is exchanged for another image of the child viewer in public service TV for children.
In TV programming broadcast for a child audi- ence, viewers are put forward as rather active. In several of these programmes children are asked to join the characters on screen and get moving.
In public service TV for children the targeted viewers are in this way asked to exercise and move while watching TV.
Some of the animated characters are also quite demanding in urging the view- ers to physically engage in the programmes.
The analysis is inspired by discourse analysis, visual culture and childhood studies and it focuses on narrative, spoken and visual aspects of how the child viewers in TV for children are conigured in relation to the TV medium and exercise demands in the TV-programmes.
Vad skrivs i olika tider om barns bildskapande och vad är det som leder till förändring? Den tekniska utvecklingen av kameran gör att behovet av att lära sig teckning för exakt avbildning minskar.
Naivistisk, expressionistisk och kubistisk konst skapar nya konstnärliga ideal. Estetiska ideal förhan- dlas mellan unga i min studie exempelvis i internetmiljöer, webbaserade sociala nätverk, och medie- och populärkulturen, likväl som i skolans bildundervisning.
Skolan är en arena där kulturell fostran görs explicit i undervisning och styrdokument, inte minst vad gäller smak och estetiska preferenser.
The idea is not to ind one deinition of child culture but to look into the multiplicity of the concept and elaborate on it theoretically by exploring cultural practices produced for children such as: The article explores how child culture is achieved to hang and how the institutions and the visitors work on trying to create coherence but the analysis show that the process is leeting, multiple and shaped through- coordination work.
The presentation also relects on what the coordination work between institutions and visitors tell us about the politics of child culture.
The session thus welcomes papers that centre heritage from perspec- tives that illuminate its on-the-move character and acknowledges it as luid and provisionary, i.
It can involve processes of cultural dissonance and consensus, as well as of cultural inclusion and exclusion. It covers questions concerning how heritage is emerging, constructed and transformed, in past well as present time.
It also covers topics that can reveal how something that might become part of the oficially recognized heritage, is not yet there. The session thus welcomes contribu- tions and encourages discussions that problematize the relation between author- ized heritage and various kinds of becoming-heritage s.
This session aims at gathering existing and planned research that combines empirically grounded examinations with various kinds of theoretical perspec- tives, and especially at gathering new cutting edge knowledge within the areas of: I seek to ana- lyze how this is articulated in a selected body of literature.
Democratization of heritage is complicated to explain and is often addressed in polemic to old i. It is often expressed as something that should be achieved, and rightly so.
Thus I will try to make suggestions how to diversify the discussion and how the heritage sector can ben- eit from this. Anna Samuelsson Re moving bodies in museums The paper revolves around cases of movements and re-movements of animal and human bodies in museums, mirroring ideological movements and changes, movements of the physical but non-living bodies in time and space as well as representations of time and space, also in meta-exhibitions about historical exhi- bitions.
The focus lies on the non-living bodies in natural history museums, i. Linda Shamma Östrand The theme of this paper is to discuss how different cultures are constituted, trans- formed and evaluated by relecting on how the hybrid as form and shape in differ- ent ways can be related to the concept of cultural heritage.
The question of what constitutes a cultural heritage and on what premises such emerges is related to which traditions we choose to nurture and which we choose to preserve.
In order to make visible the negotiations that are going on in an attempt to answer this question we can take use of hybrid, a concept now used to describe new cultural composite forms, as well as the role of media in diversity and the surrounding debates.
In contrast to earlier times, today visual representations of people with varied backgrounds seem to manifest a particular potential.
The hybrid concept has even become a buzzword, used everywhere from automotive industries to popular culture as a means of describing new potential forms and genres.
But what do we mean when we talk about hybrids? What constitutes this igure and how does it relate to associated concepts such as the cosmopolitan and the multitude?
The hybrid is an interesting category to put next to the established understanding of cultural heritage: The hybrid lacks knowledge of what deines it and turns it into a cultural object; it lacks a name and cannot be identiied; it furthermore lacks an established place and is in that respect unrecognizable.
New epistemological and empirical trajectories in conceptualizing cultural heritage. Contrary to such an institutional vision, principally driven by the ICOM, I do assert a structural interdependence as well as a specular nature between ju- ridical and ethical properness universality of beauty, ight against art plunder imbricated into heritized objects, and dark circuits of circulation, heritization and pedigreezation.
At the theoretical level, this tool allows analyzing on-going relationship between opacity and transparency dimensions underlying production and display of heritized objects.
In this sense my statement endorses a consequentiality principle linking beauty and properness following which a given inal product of heritage is directly pro- portional to the degree of opacity of its multiple production stages: How to understand the industrial lefto- vers of modern society?
I am sure you have seen them — the post-industrial landscape scars. It could be a mountain irrevocably turned into an open-pit mine, surrounded by slag heaps.
It could be polluted ground that was abandoned, overgrown and perhaps forgotten. It could be a dilapidated factory in a fading mono-industrial town or in the midst of an otherwise bustling urban area, presenting a dangerous and sometimes at- tractive playground.
A scar is a reminder, the trace of a wound. It is often ugly and it tells about pains of the past. The spontaneous understanding of a scar is certainly negative.
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