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Antique Farm Implement,
Penn Farm Agricultural Heritage Center.
Cedar Hill State Park. Cedar Hill, Texas.
Dallas County. 24 December 2018.
Olympus E-P5. Panasonic Lumix G Vario 45-200mm f/4-5.6 II.
(45mm) f/8 @ 1/100 sec. ISO 640.
A rural farm under a cloudy moonlit sky near McBaine in Boone County Missouri by Notley Hawkins Photography. Taken on a cool August summer's evening with a Canon EOS 5D Mark III camera with a EF16-35mm f/2.8L USM lens. Colored gels were used with an exposure of 90 seconds.
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©Notley Hawkins
Well, this title proves I must be unhinged but I didn't even forget it since last night when I thought it up so it stuck. Unfortunately two of the clunky signs showed in this shot and I will probably clone them out when I collapse the layers back together. Way too much work otherwise. The crowd was a bit much for a Friday weekday and even highway #66 seemed overloaded with travelers and RVs probably on their way up to Estes Park and Rocky Mountain National Park (area right of the wind mill). Highway #66 does not appear in this shot and thank goodness I had little cloning on the cars! I appreciated the way the sky was beginning to display in a spray on the widest angle shots. I moved in for consecutively tighter shots on the red barn after I captured "The old spread" and tried to crop out problems as was possible. I fiddled with the horizon but it has to be on a slant. The terrain slopes down and left to McIntosh Lake that is over in northwest Longmont. On the right hand side of the frame is the new stock shed where they are housing the ponies and pigs while the slow elk, left, have to feed themselves. There are several exhibits inside the red barn for the mommas to explain to the kiddies. All the kiddies want is a cool soda pop as long as they have to walk. Careful, the chickens and bunnies are under foot; a delight to the kiddies no doubt. I went out again on Sunday and shot more photos including some of the signs so I'd have a record. We can't agree which was the McIntosh barn and which was moved in from the FAA property. A strange day it is because the place was empty but Highway #66 was a real pain with folks apparently heading for Rocky Mountain National Park. We just got out of there last Tuesday and I figure it will be a wild one for the summer. You couldn't pay me to go now, except for a cooler day.
This is the McIntosh-Lohr Farm Agricultural Museum on Highway #66, (not the same as Route #66). I had by now dropped everything else. Though the clouding has been absent recently, they really popped the structures today but I still had to wait for the chickens to cross the road before they allowed me passage. Today, though, served up a sprinkle and they promise 92 tomorrow. Keep editing in the cool, I guess. I am spending extra time on the best of the captures considering these abundant skies. I was just in time for the sky. I looked out of my window and jumped up, gathered my camera and split. I scored shots out here some years ago but the sky was a dud and I was using my old D70. The farm/museum is part way between Largemont and Hygiene, Colorado. Today, I can afford the time to stop and look (it was my "race on debt" for being there) over the old shots I ought to have spotted before. I bet though I'd better manage it in an hour or two. They have added new venues and I am in a wandering mood. Here is one of my results. The day would later collapse to overcast, allowing time to start editing. There COULD be some time involved in editing. After I boiled the layers down to a TIFF, I edited objects I could then.
Advertisement postcard for the Pender Manufacturing and Supply Company, showing different
types of sowers. The card also reads, "Fertilizer and Lime Sowers," "So-Rite Fertilizer
Sower," "Hand Operated Horse Drawn Tractor Drawn Sizes up to 13 ft. wide BUY TODAY."
Digital Collection:
North Carolina Postcards
Location:
Raleigh (N.C.); Wake County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
Este santuário está
implementado numa vasta
área consagrada ao culto
Mariano e constitui um pólo
de dinamização de
numerosas actividades de
espiritualidade, recolhimento
e apoio social. Na sua
génese, está a resposta das
populações do nordeste
transmontano à mensagem
de Fátima, através de uma
acção liderada por um
sacerdote natural da região: o
P. Manuel Joaquim Ochôa.
Começou a ser edificado em
1961. Para a sua construção
foi necessária a colaboração
de todo o povo de Cerejais,
homens e mulheres; eles com
quatrocentos carros de bois
de pedra e elas com o transporte de toda a água necessária à construção,
muita da qual foi transportada em cântaros, à cabeça.
Além da capela principal, fazem parte do conjunto do santuário:
l O Calvário (fig.1.1) com uma capelinha onde se encontra um conjunto
escultórico, em tamanho natural, que representa o encontro da Mãe
Dolorosa com o seu Divino Filho.
l Uma Via-sacra que percorre o caminho entre a Capela e o Calvário e
cujas cruzes foram esculpidas em granito da aldeia de Romeu.
Dois anos mais tarde, em 28 de Maio de 1967, celebrou-se a “festa dos
Bispos” como ficou conhecida a inauguração dos quinze Mistérios do
Rosário, que estão representados por outras tantas figuras esculpidas que
se distribuem à beira do caminho entre a capela e a Loca do Cabeço. Com
efeito, nas cerimónias desta inauguração, estiveram presentes os bispos
de Bragança-Miranda, Leiria, Lamego e Dili.
Em 1976 foi edificado o primeiro pavilhão da Casa dos Pastorinhos e foi
ampliada a torre sineira.
1977 foi o ano da comemoração do 60º aniversário das aparições em
Fátima e o Santuário dos Cerejais foi o ponto central das comemorações
na diocese de Bragança-Miranda.
seu desejo ao rei que logo pensou juntar o útil ao agradável: fez a vontade
à esposa e aproveitou o pretexto para construir uma fortificação militar nas
proximidades, dado que se tratava de um local estratégico para a
segurança do reino.
A administração da capela e dos seus folgados proventos determinados
por D. Dinis foi entregue aos frades beneditinos do mosteiro do Castro da
Avelãs, que se localiza a cerca de 30 km de distância, próximo a Bragança.
No reinado de D. João III, foi construída a catedral de Miranda, que passou
a ser a sede da diocese para quem passou a administração do santuário.
Durante todos estes anos, as actividades de culto foram promovidas pela
confraria que contava sempre com um mordomo castelhano, o que
confirma a grande influência que o santuário exerce do outro lado da
fronteira. Do lado espanhol o Santuário é designado por “La Ribeiriña”.
Apesar da grande quantidade de romeiros e da celebração anual das
grandes romarias, o templo chegou ao final do século XIX num estado de
apreciável degradação. Providencialmente surgiu um benemérito, próspero
emigrante no Brasil, natural de Castrelos, de seu nome António do Carmo
Pires.
5l-henrique.blogspot.pt/2013/06/alfandega-da-fe-cerejais-...
the garden stands ready but it isn't time to plant. olympus e-300 with meyer-optik gorlitz lydith 30mm f/3.5
Retired school principal Yvonne Knight-Carter's family land qualifies for implementation and maintenance of the U.S. Department of Agriculture (USDA) Natural Resources Conservation Service (NRCS) Conservation Practice Firebreak (Code 394) on the forested land behind her childhood home and other neighboring family homes, near Moncks Corners, SC, on November 19, 2020. The firebreak line marks the stop of a lightning strike fire that threatened the homes and surrounding area. Today, a bulldozer refreshes and widens the firebreak to the full specification of a forester’s conservation firebreak plan.
She works with NRCS Soil Conservationist Jabril Wright worked with Ms. Knight-Carter during her application and conducts site visits to ensure state and local coordination and work is happening as planned. For more information about NRCS Firebreaks and associated practices, please go to nrcs.usda.gov/wps/portal/nrcs/detail/national/technical/nra/?cid=nrcs144p2_027147. USDA Media by Lance Cheung.
The Metropolitan Transportation Authority (MTA) continues to implement precautions in response to the novel coronavirus (COVID-19). New York City Transit, MTA Bus, Access-A-Ride, Long Island Rail Road and Metro-North are significantly increasing the frequency and intensity of sanitizing procedures at each of its stations and on its full fleet of rolling stock. Trains, cars and buses will experience daily cleanings with the MTA’s full fleet undergoing sanitation every 72 hours. Frequently used surfaces in stations, such as turnstiles, MetroCard and ticket vending machines, and handrails, will be disinfected daily.
Photo: Patrick Cashin / MTA New York City Transit
Spotted on our travels through Mid Wales. This old implement would have had a seat on the support between the two wheels and judging by the set up at the front would have been pulled by a large horse. Any ideas what it may have been used for.
View On Black Then select Large for the bigger picture.
Antiqued version here. www.flickr.com/photos/wdig/4702143163/
Norwood Farms owners and producers Don (seen) and son Grant Norwood work with U.S. Department of Agriculture (USDA) Farm Production and Conservation (FPAC) Natural Resources Conservation Service (NRCS) District Conservationist Ron Harrison to implement their crop rotation and residue management practices to reduce erosion leading to improved land use and crop production; they also practice no-till farming on nearly every acre in the operation, in Henry County, TN, on Sept 19, 2019.
The stover of remaining corn stalk stubs, leaves, and cobs that are expelled and and left behind the corn harvester becomes a cover crop. The stover can be seen between soybean crop.
Crop dusters adapted with a seed spreader can seed directly into standing corn and standing soybeans. This gives the seeds a chance to get established before it freezes. In the spring, the cover crop will grow up through the corn stover.
Norwood Farms have successfully established the building blocks of conservation with conservation crop rotation on the entire Norwood operation. The crops are rotated between corn, wheat, soybeans and in some cases, corn cover crops and soybeans cover crops. The practices are implemented to reduced erosion sediment in surface water and are leading to improved land use and crop production.
Conservation Crop Rotation (Practice Code 328) is a management practices where growing a planned sequence of various crops takes place on the same piece of land for a variety of conservation purposes. Crops included in conservation crop rotation include high-residue producing crops such as corn or wheat in rotation with low-residue- producing crops such as soybeans. Crop rotations vary with soil type, crops produced, farming operations, and how the crop residue is managed. The most effective crops for soil improvement is fibrous-rooted high-residue producing crops such as grass and small grain.
Residue and Tillage Management (Practice Code 329) is managing the amount, orientation and distribution of crop and other plant residue on the soil surface throughout the year. For our area, we are utilizing reduced tillage and no-till. Residue and Tillage Management should be used on all cropland fields, especially where excess sheet and rill erosion are a problem. Residue and tillage management is most effective when used with other conservation practices like grassed waterways, contouring, field borders, etc.
NRCS has a proud history of supporting Americaâs farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat. As the USDAâs primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science. And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.
Farm Production and Conservation (FPAC) is the Department's focal point for the nation's farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), NRCS, and Risk Management Agency (RMA).
For more information please see www.usda.gov
USDA Photo by Lance Cheung.
River Dargle Flood Defence Scheme.
These images were taken during the last week of April, 2016.
Some 14 months previously we'd watched some low-level maintenance work on the opposite banks, and (I) predicted that some destabilised sections might be a problem. Whilst engineering works were on-going 1km down-river during all this entire period, there had been minimal activity in the Slang/Rehills section. That had finally changed. A new contractor had been tendered to implement further/final repair work to the entire Slang/Rehills section, with emphasis on repairs to the integrity of the rebuilt bank structures.
Este santuário está
implementado numa vasta
área consagrada ao culto
Mariano e constitui um pólo
de dinamização de
numerosas actividades de
espiritualidade, recolhimento
e apoio social. Na sua
génese, está a resposta das
populações do nordeste
transmontano à mensagem
de Fátima, através de uma
acção liderada por um
sacerdote natural da região: o
P. Manuel Joaquim Ochôa.
Começou a ser edificado em
1961. Para a sua construção
foi necessária a colaboração
de todo o povo de Cerejais,
homens e mulheres; eles com
quatrocentos carros de bois
de pedra e elas com o transporte de toda a água necessária à construção,
muita da qual foi transportada em cântaros, à cabeça.
Além da capela principal, fazem parte do conjunto do santuário:
l O Calvário (fig.1.1) com uma capelinha onde se encontra um conjunto
escultórico, em tamanho natural, que representa o encontro da Mãe
Dolorosa com o seu Divino Filho.
l Uma Via-sacra que percorre o caminho entre a Capela e o Calvário e
cujas cruzes foram esculpidas em granito da aldeia de Romeu.
Dois anos mais tarde, em 28 de Maio de 1967, celebrou-se a “festa dos
Bispos” como ficou conhecida a inauguração dos quinze Mistérios do
Rosário, que estão representados por outras tantas figuras esculpidas que
se distribuem à beira do caminho entre a capela e a Loca do Cabeço. Com
efeito, nas cerimónias desta inauguração, estiveram presentes os bispos
de Bragança-Miranda, Leiria, Lamego e Dili.
Em 1976 foi edificado o primeiro pavilhão da Casa dos Pastorinhos e foi
ampliada a torre sineira.
1977 foi o ano da comemoração do 60º aniversário das aparições em
Fátima e o Santuário dos Cerejais foi o ponto central das comemorações
na diocese de Bragança-Miranda.
seu desejo ao rei que logo pensou juntar o útil ao agradável: fez a vontade
à esposa e aproveitou o pretexto para construir uma fortificação militar nas
proximidades, dado que se tratava de um local estratégico para a
segurança do reino.
A administração da capela e dos seus folgados proventos determinados
por D. Dinis foi entregue aos frades beneditinos do mosteiro do Castro da
Avelãs, que se localiza a cerca de 30 km de distância, próximo a Bragança.
No reinado de D. João III, foi construída a catedral de Miranda, que passou
a ser a sede da diocese para quem passou a administração do santuário.
Durante todos estes anos, as actividades de culto foram promovidas pela
confraria que contava sempre com um mordomo castelhano, o que
confirma a grande influência que o santuário exerce do outro lado da
fronteira. Do lado espanhol o Santuário é designado por “La Ribeiriña”.
Apesar da grande quantidade de romeiros e da celebração anual das
grandes romarias, o templo chegou ao final do século XIX num estado de
apreciável degradação. Providencialmente surgiu um benemérito, próspero
emigrante no Brasil, natural de Castrelos, de seu nome António do Carmo
Pires.
5l-henrique.blogspot.pt/2013/06/alfandega-da-fe-cerejais-...
A beautiful historic Scottish Fishing bay dating back to the 1700's, under duress due to problems between the "Owner" and local fishermen who have utilised this historic harbour as they and their fore fathers have done for hundreds of years .
I revisited today Tuesday 27th August 2019 , I was disappointed to see concrete barriers blocking access to cars and fishing boats , sad circumstances indeed , though I still managed to capture as much of the bays charm a I could , its ongoing battle and new concrete blocks preventing access made me feel unhappy and sad, any ways I have pasted some of my previous comments and news items reference this pathetic situation below for your perusal, I am on the side of the fishermen , its a sad tale indeed.
Check my previous posts in my Cove Bay folder for photos of the harbour in its glory days that I have taken over the years before this nonsense raised its ugly head.
Previous Posts
I love this bay, its a beautiful tranquil place, however after reading news reports on a court judgement 13/7/2018 forcing the fisher men to remove their boats within 28 days it saddened me, hence I made a trip today Friday 13th July 2018 to capture the views and scenery before this unpopular ruling is implemented, what a sad situation indeed, I have included the news report on the legal wrangle at the end of this description.
Cove is a 20 minute drive from my home in Aberdeen Scotland, it was a pleasure to visit today and capture the tranquility that it presented.
Scattered across the harbour are stones with various sealife characters carved into them.
Cove Bay is a suburb on the south-east edge of Aberdeen, Scotland.
Today Cove is home to over 7000 people. It is a popular residential location owing to its extremely village-like status.
It is a quiet suburb just at the edge of the City and in 2015 won the Silver award for Scotland in bloom. Nearby Altens and Tullos Industrial Estates, affording ample employment opportunities.
History
Cove Bay is situated to the east of the ancient Causey Mounth, which road was built on high ground to make passable this only available medieval route from coastal points south from Stonehaven to Aberdeen.
This ancient trackway specifically connected the River Dee crossing (where the Bridge of Dee is located) via Portlethen Moss, Muchalls Castle and Stonehaven to the south.
The route was that taken by William Keith, 7th Earl Marischal and the Marquess of Montrose, who led a Covenanter army of 9000 men in the battle of the Civil War in 1639.
Cove Bay was a village in the extreme north-east corner of Kincardine, governed from Stonehaven, until 1975, when it was added to the City of Aberdeen. Though simply referred to as Cove, in the 19th and early 20th centuries it was known as The Cove, becoming Cove Bay around 1912.
Industry
Cove has been noted for industries such as granite, which was quarried in several locations to the south of the village. Owing to its close-grained texture, Cove granite was one of the hardest in north-east Scotland and proved highly resistant to frost, making it ideal for causeway stones used in the construction of roads. It was widely exported to cities in England, including Billingsgate Market in London.
Fishing
The village itself sprung up around the fishing industry, with the boats berthed on a shingle beach, a gap in the rocks that afforded a natural harbour. During this time, it is estimated that approximately 300 people lived in the area. In the mid 19th century the fishing was at its height, which, over years, has included cod, haddock, salmon, herring and shellfish. The piers and breakwater were constructed in 1878. At the end of World War I the fishing began to decline. At present only a couple of boats pursue shellfish on a part-time basis.
Between 1894 and 1937, Cove also housed a fishmeal factory, the Aberdeen Fish Meal Factory, which was located at the edge of the cliffs. It produced quality manure which was exported to both Europe and America. It became locally known as "the stinker" because of the processing odour, which was highlighted by the Aberdeen entertainer Harry Gordon in a parody entitled A Song of Cove.
Amenities
Retail
Cove has just had a brand new Co-operative built just off of Earnshugh Circle.
To the west of Loirston Road is the Cove Shopping Centre, which overlooks Loirston Primary School. This houses a pharmacist, the Wee China Chinese takeaway/Chip shop, Ruby Tuesdays beauty salon and the Harr Rock cafe (Cove's second).
Within the new development of cove a local Sainsbury's has opened. There is also the Harr Rock Cafe (the first one), a hairdressers and a gift shop within the new development.
There are also 2 RS McColl newsagents. One located at Bervie Brow in Altens, and a second located on the corner of Loirston Road and Cove Road which also houses a Post Office.
Hospitality
The Cove Bay hotel is located on Colsea Road. There is also The Aberdeen Altens Hotel in Altens, which has 216 bedrooms, making it the largest of the three Thistle Hotels in Aberdeen.
There is also a pub, the Langdykes which now has an Indian restaurant situated inside called The Curry lounge which you can sit in or take away.
Transport
Bus services to and from Cove and the wider area of Aberdeen are available. These are run by First Aberdeen with the numbers 3 (to Mastrick) and the 18 to Dyce, via Kincorth. Stagecoach also cover cove partially, with numbers 7A & 8 (Both to the City Centre).
Healthcare
Cove Bay has its own medical centre, the Cove Bay Medical Centre. It was originally located on Catto Walk, but moved to a new facility off Earns Hugh Road. Cove Dental Care has since moved into the old surgery building.
Sport
Cove is currently home to two football teams: Cove Rangers, who currently play in the Highland Football League, they temporarily play in Harlow Park, Inverurie, as their old home Allan park was demolished to make way for housing. Cove Thistle, who hold amateur status. Sunday amateur team Cove Revolution folded in 2010.
There are also many youth teams in the area that are run by Cove Youth FC. The Cove Youth FC area SFA credited community club, organizing players from 6 years old up to 19 years old. They also have a girls section. The Cove Community Football Trust is run by Cove Rangers FC, Cove Thistle FC and Cove Youth FC.
Other Amenities
A state-of-the-art library was recently built between Loirston Primary School and the Cove Shopping Centre. There are blueprints for a local sports centre to also be built in the near future.
Education
Cove has two primary schools, Charleston Primary School and Loirston Primary School. Most secondary pupils attend the nearby Kincorth Academy, but some choose to go to Portlethen Academy.
Future Developments
Aberdeen Gateway[edit]
Construction on a new Aberdeen Gateway industrial development began in 2008. It will see new offices and industrial units built to the south of the village. Current tenants at the site include National Oilwell Varco (NOV), Driving Standards Agency and Hydrasun. A Community football pitch is also inlcluded within the development.
Cove Academy
Plans for a secondary school in Cove have now been approved and will be situated alongside Wellington Road. It is thought that once this is built pupils from Cove, Torry as well as Kincorth will attend this school.
The Legal Wrangle - Landowner V Fishermen - Judgement 13/7/18
Fishermen told to move boats from Cove Bay after legal dispute
Fishermen have been told to move their boats from an Aberdeen bay after a long-running dispute.
Several fishermen were fighting an eviction order on behalf of landowner Pralhad Kolhe at Cove Bay, where they had been fishing for many years.
In a written judgement, a sheriff has given them 28 days to move their boats and equipment from Mr Kolhe's land.
However, Sheriff Andrew Miller also ordered the removal of obstructions to vehicular access onto the pier.
The case was heard at Aberdeen Sheriff Court earlier this year.
One of the fisherman, Jim Adam, told a court he was "stunned" to receive a legal letter telling him to remove his boat.
He had been fishing from Cove Bay since 1966.
'We were hopeful'
The first day of the hearing heard the letter said the landowner, who lives in a house overlooking the harbour, was unable to make use of his land for amenity purposes and that he did not wish Mr Adam's vessel, or any other vessel, on his land.
In the ruling, Sheriff Miller also gave Mr Kolhe 28 days to remove the obstructions to vehicle access to the pier.
Mr Adam told BBC Scotland: "We are disappointed, we were hopeful.
"The good news is at least for the recreational folks they have got vehicle access."
News Report From P&J Aberdeen
A campaign group could use new powers to try to buy the land at the centre of a long-running dispute over access to Cove Harbour.
Councillors in Aberdeen agreed yesterday to investigate using the purchase powers contained in the Community Empowerment Scotland Act 2015 to finally resolve the stand-off.
The proposal was backed after Jim Adam, chairman of the Cove Fishermen Association, delivered an emotional plea to Aberdeen City Council’s petitions committee yesterday.
He outlined the group’s ongoing disagreement with the landowner, Pralhad Kohle, over vehicle access to the harbour-side.
Mr Adam highlighted the historical use of the harbour since the 1700s for fishing boats and recreational users, showing members photographs as evidence.
He also said the denial of emergency access to the harbour would create safety issues, and spoke of a strong community spirit in the village.
Cove Councillor Neil Cooney stated: “Boats have been fishing out of Cove since mediaeval times; we need to retain that heritage.”
Committee convener Alan Donnelly said: “You would think, with 11,000 signatures, that the owner would take it seriously and come along.”
He added: “We are moving today that the council refers the petition to the landowner, with the hope that they can come to an amicable solution.
“And request a report to the communities, housing and infrastructure committee to investigate the viability of the community to use the new Community Empowerment Scotland Act 2015 to purchase the land.”
Speaking afterwards Mr Adam said: “We are very encouraged by the support from the council. It’s very positive and has opened up a number of avenues, but we would like there to be an amicable solution.
“The Community Empowerment Act is a very useful tool, but it would be a last resort.”
Mr Kohle, who was not in attendance, owns a house overlooking the bay and some of the land at the harbour below.
Scotland’s First Minister has pledged to investigate the “suffering” faced by the Cove Harbour fishing community as a result of a devastating fire and a dispute with the landlord.
The first minister promised action after being warned the Scottish Government risked ignoring a group whose livelihoods had been threatened by recent events.
Ms Sturgeon said the government wanted “to do everything we possibly can” to help communities faced with difficulties after the Cove Harbour situation was raised with her.
In January, thousands of pounds worth of damage was caused when a fire, thought to be deliberate, destroyed five vessels, boating equipment, a shed and fishing gear.
The community has also been involved in a long-running battle with landowner Pralhad Kolhe, a plastic surgeon who had sought to evict the fishermen’s fleet of traditional vessels from the part of the harbour he owns.
The Cove Fisherman’s Association had a four-year legal battle with Mr Kolhe, and lost their fight to dock their small fleet of traditional vessels at a particular part of Cove Harbour last year.
Last August the remaining vessels at the site were finally moved from Mr Kolhe’s land to a small corner of the harbour. The judgement said access to the pier for walkers and vehicles should be maintained.
After January’s fire, North East MSP Liam Kerr wrote to Rural Economy Secretary Fergus Ewing asking for support for the fishermen.
Mr Ewing replied say he was “very saddened” by the disaster but financial support would be “limited”.
Yesterday Mr Kerr raised Cove Harbour with Ms Sturgeon in the Scottish Parliament.
Mr Kerr told the first minister the Cove Harbour fishing community was “suffering” and faced “significant” legal costs.
The Tory MSP said the fishermen had requested a meeting with Mr Ewing “but to no avail”.
And he asked Ms Sturgeon to persuade Mr Ewing to meet the community and “not risk ignoring a community facing the loss of their livelihoods”.
The First Minister said: “Of course we want to do everything we possibly can to help any community experiencing difficulties.
“I am not aware beyond what the member has just said of the content of the correspondence to Fergus Ewing.
“But I am happy to give an undertaking to look into that and if Fergus Ewing thinks there is help the Scottish Government can offer – certainly to meet with those affected.”
A group of Aberdeen fishermen who lost a court case last year have been hit with a legal fee bill of around £45,000 – just days after their cherished vessels were destroyed in a malicious fire.
The Cove Fishermen’s Association was forced to move its boats at Cove Harbour last year after a court ruled in favour of landowner Pralhad Kolhe – who owns sections of the historic bay.
Mr Kolhe has been seeking to remove the small fleet of boats from his land, but in the months since the court’s decision, the fishermen have continued their activities by keeping their remaining vessels in a much smaller pocket of the harbour not under the landowner’s control, further away from the shoreline
The book under review, Makers of India's Foreign Policy, is written by a renowned Indian diplomat, the late Mr. J. N. Dixit. The author served as Foreign Secretary in the Indian Ministry of External Affairs, and was a member of the National Security Advisory Board. During his diplomatic career he was Ambassador to Bangladesh and Afghanistan; and High Commissioner to Pakistan and Sri Lanka. He authored nine books, including the international bestseller, India-Pakistan in War and Peace published in 2002.
Since Independence, various prime ministers, foreign ministers, policy advisers and foreign service officers have played an important role in formulating Indian foreign policy. Dixit observes that during his tenure as foreign secretary, 1991-1994, he noted that a number of books, monographs and articles have been written about the evolution and implementation of Indian foreign policy. However, in his view, they have focused only on a few political personalities. Dixit's rationale for writing this book is to deal with this shortcoming in the study and analyses of Indian foreign policy. In this connection the author has also analysed the influence of international/regional political, socio-economic and cultural developments on the thought process of various personalities.
The book is divided into fifteen chapters, focusing on the role of various individuals, belonging to different circles of Indian society during the pre-independence and post-independence periods, in formulating reactions towards foreign countries and societies. Prominent personalities discussed in the study include Dadabhai Naoroji, Dvijendranath and Davendranath Tagore, Sir Syed Ahmed, Maulana Altaf Husain Hali, Mahatama Gandhi, Sardar Vallabhbhai Patel, Jawaharlal Nehru, Lal Bahadur Shastri, Mrs. Indira Gandhi, V. K. Krishna Menon, Sardar Swaran Singh, Y. B. Chavan, D. P. Dhar, G. Parthasarathi, P. N. Haskar, Morarji Desai, Rajiv Gandhi, I. K. Gujral, Narasimha Rao, Atal Behari Vajpayee, K. P. S. Menon, M. K. Rasgotra, Brajesh Mishra, Jaswant Singh, and Yashwant Sinha.
Referring to the pre-independence period, Dixit has discussed two broad phases - pre-1857 period, and post-1857 period (after the first Indian war of independence). As assessed by Dixit, during the pre-1857 period there was "a feeling of inferiority and inadequacy" and it was felt that "India should imitate and absorb Western mores, its social and cultural values, and its educational and intellectual systems."(p. 22) According to Dixit, prominent individuals supporting this view were Dadabhai Naoroji, Dvijendranath and Davendranath Tagore, R. C. Dutt, Michael M. Dutt, Sir Pherozeshah Mehta, Gopal K. Gokhale and Sir Syed Ahmed. Dixit observes that during the second phase, post-1857 period, there was a realisation for the need to assert the "relevance and importance of India's ancient culture and civilisation, of Indian value systems" and that "there was no need to imitate the West (or India's rulers) blindly." (p.22) Prominent personalities who held this view were Swami Vivekananda, Swami Shradhanand, Maharishi Dayanand, Maulana Altaf Husain Hali, Lokmanya Bal Gangadhar Tilak and Badruddin Tyabji.
While discussing the perceptions of Mahatma Gandhi, Dixit points out that Gandhi's stay in South Africa from 1896-97 to 1914 and his struggle for the Indian community there, had a strong impact on his political ideology. Upon his return to India in 1914, he played an important role in the Indian national freedom movement and also transformed the Indian National Congress into a revolutionary movement. Dixit's assessment that Gandhi's stress on "tolerance, on mutual accommodation, on the commitment to peace, on avoiding the use of coercive force to settle disputes and on the commitment to freedom of colonial people"(p.40) has provided a moral base to India's foreign policy contradicts what India had actually practised. India's military annexation of the Princely States of Junagadh and Hyderabad, Sikkim, Goa and India's hegemonic policy towards Bhutan and Nepal are some examples.
According to Dixit's assessment, Jawaharlal Nehru, known as the architect of Indian foreign policy, believed that "India's geographical size, its demographic and natural resources and its geostrategic location underlined its importance in Asia and the world." (p.83) Dixit says Nehru believed that stability of neighbouring states was imperative for the security, national consolidation and economic development of India. Dixit points out that Nehru was basically against partition. However, in his assessment, once partition took place Nehru "acknowledged the separate status of Pakistan."(p.92) Dixit's assessment once again contradicts reality as Nehru accepted partition as a temporary measure. In his message on June 3, 1947, Nehru said, "It may be that in this way we shall reach that united India sooner than otherwise."(Quoted by H. V. Hodson, The Great Divide, Hutchinson, London, 1969)
In Dixit's view the general perception in India about Lal Bahadur Shastri, the Indian Prime Minister for 1964-1966, was that he was "an unlikely candidate for prime ministership."(p.101) However, Dixit concludes that the manner in which Shastri managed the political situations, he "brought the important principles of realism and practicality to bear on our foreign policy and defence planning." (p. 115)
Dixit rightly points out that Mrs. Indira Gandhi's period as prime minister of India - 1966-1977 and 1980-1984 - witnessed a radical shift in India's foreign policy. In Dixit's assessment, Mrs. Gandhi's dealing with the "liberation movement" in Bangladesh (East Pakistan) was the most important foreign policy achievement during 1970-1974. The second achievement was acqusition of nuclear weapons capability. Dixit's admission that Mrs. Gandhi "authorised the acceleration of India's nuclear weapons capacity research" (p.139) and as a result India conducted its first nuclear explosion in 1974, negates India's claim that it had conducted a peaceful nuclear explosion in 1974. This proves that India was concentrating on acquiring nuclear weapons capability right from the beginning. Moreover, Dixit regrets that under international pressure "India did not follow through with further tests to consolidate its nuclear weapons capacity and its status as a nuclear weapons power." (p. 139) According to Dixit, during her second tenure, major foreign policy concerns were the Afghanistan crisis, Pakistan's "subversions" in Punjab and Jammu and Kashmir, and relations with the superpowers. However, as assessed by Dixit, two foreign policy decisions by Mrs. Gandhi, which have been critically debated in India were her ambiguous response to the Russian invasion of Afghanistan and her support to the Sri Lankan Tamil militants.
While analysing the period of Indian Prime Minister, Morarji Desai, 1977-1979, Dixit concludes that his contributions did not have a profound impact on Indian foreign policy. However, Dixit points out that Desai did make some significant foreign policy pronouncements. For example, he took the initiative to establish covert relations with Israel; desired normalisation of relations with China; and expressed willingness to normalise relations with Pakistan and discuss the Kashmir issue in all its implications. Dixit has rightly concluded that there was no tangible progress in Indo-Pakistan relations. However, he has not given any reasons for the lack of progress.
In terms of foreign policy orientation, Dixit is of the view that Rajiv Gandhi was influenced by Indira Gandhi. In Dixit's assessment, important contributions by Rajiv Gandhi were: introduction of a strong technological and economic content in India's foreign policy; ensuring the required nuclear and missile options for India, to safeguard national security; initiating normalistaion of relations with China; managing to keep Indo-Pakistan relations stable; and attempting to deal with the ethnic conflict in Sri Lanka, supported by the Indian Armed Forces.
Dixit describes I. K. Gujral, Prime Minster of India from the summer of 1996 to the begining of 1998, as "a person committed to his idealism and one with the courage of his convictions." (p. 211) Assessing Gujral's foreign policy contributions, Dixit points to the reopening of dialogue with Pakistan, which was stalled in 1994. Dixit has criticised Pakistan for a non-reciprocal attitude towards Indian efforts for improving relations and has totally ignored the efforts made by Pakistan's Prime Minister, Nawaz Sharif, during his meetings with Gujral at the SAARC Summit in May 1997 and in New York in September 1997, for reviving the stalled Foreign Secretary level talks. However, Dixit concludes that Gujral was criticised for lacking "political realism, decisiveness and strategic judgement about the impulses of realpolitik which govern international relations." (p. 224) As assessed by Dixit, Gujral would be remembered both for his "idealism", "commitment to peace" and also for "overoptimism regarding the results of the compromises he was willing to make."(p. 224)
Dixit describes Indian Prime Minister, Narasimha Rao, as "an unlikely and unexpected figure on the stage of foreign and security policies because for the first forty years of his political career he was not a know figure in Congress party discussions." (p. 227) However, while assessing Narasimha Rao's contributions during his tenure as Prime Minister, 1991-1996, Dixit says that after the disintegration of the Soviet Union, while sustaining relations with Russian Federation Rao developed relations with the US, Western Europe, China, Southeast Asian countries, Gulf countries, Iran, South Africa, Israel and the newly independent Central Asian Republics. He also improved relations and sustained official bilateral dialogue with Pakistan from 1991 to 1994. Agreements on confidence-building measures, Siachen and Sir Creek issue were discussed but progress could not be made because of political constraints in both the countries.
According to Dixit the most important decisions by Atal Behari Vajpayee, when he was Prime Minister, were to continue the advanced missile weapons tests and the nuclear tests in May 1998. Another important development during his period was the establishment of the National Security Council. It seems Dixit was not happy with Vajpayee's efforts for normalisation of relations with Pakistan. Dixit has described Vajpajee's management of relations with Pakistan as a "roller coaster ride." In his view, in 1999 Vajpayee took initiatives for normalisation of relations with Pakistan on the assumption that after the May 1998 nuclear explosions, "Pakistan would deal with India in a more self-assured manner."(p. 260) According to Dixit, Vajpayee's expectations were wrong as Pakistan was preparing for the Kargil "invasion" even when Vajpayee was in Lahore in February 1999. Dixit claims that Vajpayee was "taken by surprise."(p. 260) Dixit views Vajpayee's policy towards Pakistan during 1999-2001 as "impracticable." In his view Vajpayee's questioning of the "legitimacy of the Musharraf government" and Vajpayee's campaign against the Musharraf government at international fora was interpreted in the context of India's hostility against Pakistan. Therefore, in Dixit's assessment, "Vajpayee's policies affected India's credibility as a mature and practical country." (p. 262)
Dixit has also briefly discussed the role played by various ministers and non-ministerial personalities in shaping India's foreign policy. As viewed by Dixit, V. K. Krishna Menon was "the analytical adviser and executor of Nehru's foreign policy." (p. 155) Dixit worked with Swaran Singh when Singh was foreign minister. Dixit regards him as having a "practical strategic vision about India's security and foreign policy." (p. 159) Dixit has not discussed in detail Singh's strategic vision. However, in a general context, Dixit says that Singh had a clear understanding about Indian interests and objectives and had a "precise sense of priority about how to move forward towards them." (p.159) Referring to P. N. Haskar, Principal Secretary to Indian Prime Minister, Mrs. Gandhi, in late 1966, Dixit points out that all major foreign policy initiatives and decisions related to domestic politics made by Mrs. Gandhi were influenced by Haskar's advice. According to Dixit, G. Parthasarathi, chairman of policy planning committee, mainly influenced Mrs. Gandhi's policy while dealing with the Tamil conflict in Sri Lanka.
About Sir G. S. Bajpai, Secretary General in 1947-52, Dixit says that he basically organised India's Ministry of External Affairs and was India's principal interlocutor during negotiations on Kashmir issue in 1947-49. Dixit regards K. P. S. Menon as one of the "most important functional architects of India's foreign policy." (p. 279) He points out that Menon, as India's ambassador to the Soviet Union (1952-63), was instrumental in bringing "qualitatively positive change" in Indo-Soviet relations. Dixit points out that Menon, as Indian ambassador to Soviet Union, played an important role in organising the visits of Khrushchev and Bulganin to India in 1955, which became the basis for the close Indo-Soviet relationship. While discussing the contribution of M. K. Rasgotra, Dixit says that as Deputy Chief of the Indian Embassy in Washington, Rasgotra played an important role in gaining "legislative support" in US Congress for India during the East Pakistan crisis in 1970-71. Dixit also states that as a member of the National Security Advisory Board, 1999-2002, Rasgotra made important contributions in the formulation of India's nuclear doctrine. While referring to Brajesh Mishra, Principal Secretary to Indian Prime Minister Vajpayee, Dixit has highlighted his role in preparing grounds for the meetings between Vajpayee, Pakistan's Prime Minister, Zafarullah Jamali, and President Musharraf during the SAARC Summit in January 2004.
Dixit has described Jaswant Singh as the "most operationally active foreign minister that India has had."(p. 295) According to Dixit, Singh not only influenced conceptualisation of policy but also "the detailed implementation of its more important and sensitive aspects."(p. 296) However, Dixit concludes that Jaswant Singh ignored Central Asia and Africa in his foreign policy focus.
Dixit was part of the Indian foreign service for a period of thirty six years and had worked with a number of the important personalities he has discussed in the book. Therefore, the study provides a first hand and insightful analysis of the thinking and beliefs of various Indian personalities and how they have influenced the foreign policy formulation and implementation process in India. However, while going through the chapters, one shortcoming that becomes obvious is that Dixit has discussed the contributions made by S. K. Singh (Foreign Secretary in 1989-90); Muchkund Dubey (Foreign Secretary in 1990-91); and his own role as Foreign Secretary in 1991-94 only in passing. In Chapter 13, Dixit merely mentions that the three foreign secretaries dealt with foreign policy issues during a period of international political instability. Important international developments during this period were the Soviet withdrawal from Afghanistan, Iraq's invasion of Kuwait and the ensuing Gulf War, the Soviet Union's disintegration, emergence of Central Asian States, the end of the Warsaw Pact and expansion of NATO etc. Dixit offers a general conclusion that the three foreign secretaries kept India's foreign policy "on course in times of uncertanity and change." (p. 291) Another disturbing factor of the study, which needs to be highlighted is that while discussing India-Pakistan relations Dixit has projected the official Indian bias against Pakistan. Whether it is the 1965 war, 1971 conflict or Kargil, Dixit has blamed all three on the Pakistani leadership. As a seasoned diplomat, Dixit could have done a more objective analysis.
Fahmida Ashraf
HarperCollins Publishers India,
a joint venture with The
India Today Group
New Delhi, 2004, pp. 328
The leaves are pretty much on the ground for the next 6 months or more but the color that is left still pops in the sun. A not quite ancient haybine does it's best to blend in with pine and aspen at Saginaw Minnesota
Essay:
Earth's Transformation and the Random Implementation of Alien Technology
The Earth, once a vibrant planet teeming with diverse ecosystems, has undergone a drastic transformation. A severe environmental catastrophe has devastated the planet, leading to the evaporation of life-giving water into the vast expanse of space. The once-blue planet is now dominated by barren deserts, stretching across continents where oceans and forests once thrived. Humanity, on the brink of extinction, has been thrust into a desperate struggle for survival.
The catalyst for this environmental apocalypse was a combination of factors: uncontrolled industrial activity, rampant deforestation, and unchecked pollution. These human activities pushed Earth's climate system past a critical threshold, triggering a cascade of irreversible changes. The polar ice caps melted at unprecedented rates, causing sea levels to rise and then rapidly fall as water vapor escaped the atmosphere. Rainforests, which acted as the planet's lungs, were decimated, and the delicate balance of ecosystems collapsed. The result was a planet unrecognizable from its former self—a desolate wasteland where life struggled to find a foothold.
In this dire scenario, hope arrived in the form of alien technology—an unexpected boon that became humanity's lifeline. The origins of this technology remain shrouded in mystery. Some speculate it was discovered accidentally during deep-space explorations, while others believe it was gifted by a benevolent extraterrestrial civilization. Regardless of its origins, this advanced technology became the cornerstone of Earth's new survival strategy.
The alien technology enabled the creation of isolated oases in the vast desert expanses. These oases, shielded by energy fields and sustained by advanced atmospheric processors, mimic the lost ecosystems of old Earth. They generate and recycle water, maintain breathable air, and support agriculture, allowing small human communities to thrive. The technology also includes sophisticated climate control mechanisms that protect these fertile areas from the harsh desert environment.
The implementation of alien technology was a stroke of luck, a fortuitous discovery in humanity's darkest hour. Scientists and engineers, initially skeptical, soon realized the potential of these alien devices. Through trial and error, they managed to integrate this technology into the remnants of human civilization. This integration was not without its challenges—there were numerous failures and setbacks, but the resilience of the human spirit prevailed.
Life in these technologically sustained oases is a stark contrast to the desolation that surrounds them. Within the protective domes, greenery flourishes, and small bodies of water reflect the sky. Communities have adapted to this new way of living, embracing a lifestyle that is a blend of ancient survival techniques and futuristic technology. Education systems focus on maintaining and understanding the alien technology, ensuring that future generations can continue to benefit from it.
The concept of 'Planet B' has taken on a new meaning. Instead of seeking a new home among the stars, humanity has been forced to redefine its existence on Earth—'Planet B' is Earth reborn, a new chapter after 'Planet A' vanished beneath the waves of environmental disaster. The Earth of today is a testament to human ingenuity and the unforeseen assistance of alien technology. It is a world where the line between science fiction and reality has blurred, and where survival hinges on the harmonious integration of alien and human advancements.
In conclusion, the transformation of Earth and the serendipitous implementation of alien technology have given rise to a new way of life. This new existence is fragile and fraught with challenges, but it is also a beacon of hope. The 'Cradle of the Desert' represents the resilience of life and the enduring quest for survival in the face of insurmountable odds.
Poem:
In deserts wide where oceans slept,
Beneath a sky where sorrow wept,
Alien whispers, silent, deep,
Brought life anew from restless sleep.
Once blue and green, now dust and bone,
Our planet’s heart, a hollow tone,
Yet through the sands, technology,
Revived the hope for you and me.
In domes of light, we plant our dreams,
Where water flows in gentle streams,
Alien hands unseen, yet kind,
Breathe life back to a world confined.
From barren waste to fertile land,
A future forged by chance and hand,
Cradle of the Desert, bright,
Guides us through this endless night.
Haikus:
Alien whispers,
Oases bloom in deserts,
Hope in arid lands.
Earth’s rebirth at hand,
Technology’s gentle touch,
Life in barren sands.
Essay:
Earth's Transformation and the Random Implementation of Alien Technology
The Earth, once a vibrant planet teeming with diverse ecosystems, has undergone a drastic transformation. A severe environmental catastrophe has devastated the planet, leading to the evaporation of life-giving water into the vast expanse of space. The once-blue planet is now dominated by barren deserts, stretching across continents where oceans and forests once thrived. Humanity, on the brink of extinction, has been thrust into a desperate struggle for survival.
The catalyst for this environmental apocalypse was a combination of factors: uncontrolled industrial activity, rampant deforestation, and unchecked pollution. These human activities pushed Earth's climate system past a critical threshold, triggering a cascade of irreversible changes. The polar ice caps melted at unprecedented rates, causing sea levels to rise and then rapidly fall as water vapor escaped the atmosphere. Rainforests, which acted as the planet's lungs, were decimated, and the delicate balance of ecosystems collapsed. The result was a planet unrecognizable from its former self—a desolate wasteland where life struggled to find a foothold.
In this dire scenario, hope arrived in the form of alien technology—an unexpected boon that became humanity's lifeline. The origins of this technology remain shrouded in mystery. Some speculate it was discovered accidentally during deep-space explorations, while others believe it was gifted by a benevolent extraterrestrial civilization. Regardless of its origins, this advanced technology became the cornerstone of Earth's new survival strategy.
The alien technology enabled the creation of isolated oases in the vast desert expanses. These oases, shielded by energy fields and sustained by advanced atmospheric processors, mimic the lost ecosystems of old Earth. They generate and recycle water, maintain breathable air, and support agriculture, allowing small human communities to thrive. The technology also includes sophisticated climate control mechanisms that protect these fertile areas from the harsh desert environment.
The implementation of alien technology was a stroke of luck, a fortuitous discovery in humanity's darkest hour. Scientists and engineers, initially skeptical, soon realized the potential of these alien devices. Through trial and error, they managed to integrate this technology into the remnants of human civilization. This integration was not without its challenges—there were numerous failures and setbacks, but the resilience of the human spirit prevailed.
Life in these technologically sustained oases is a stark contrast to the desolation that surrounds them. Within the protective domes, greenery flourishes, and small bodies of water reflect the sky. Communities have adapted to this new way of living, embracing a lifestyle that is a blend of ancient survival techniques and futuristic technology. Education systems focus on maintaining and understanding the alien technology, ensuring that future generations can continue to benefit from it.
The concept of 'Planet B' has taken on a new meaning. Instead of seeking a new home among the stars, humanity has been forced to redefine its existence on Earth—'Planet B' is Earth reborn, a new chapter after 'Planet A' vanished beneath the waves of environmental disaster. The Earth of today is a testament to human ingenuity and the unforeseen assistance of alien technology. It is a world where the line between science fiction and reality has blurred, and where survival hinges on the harmonious integration of alien and human advancements.
In conclusion, the transformation of Earth and the serendipitous implementation of alien technology have given rise to a new way of life. This new existence is fragile and fraught with challenges, but it is also a beacon of hope. The 'Cradle of the Desert' represents the resilience of life and the enduring quest for survival in the face of insurmountable odds.
Poem:
In deserts wide where oceans slept,
Beneath a sky where sorrow wept,
Alien whispers, silent, deep,
Brought life anew from restless sleep.
Once blue and green, now dust and bone,
Our planet’s heart, a hollow tone,
Yet through the sands, technology,
Revived the hope for you and me.
In domes of light, we plant our dreams,
Where water flows in gentle streams,
Alien hands unseen, yet kind,
Breathe life back to a world confined.
From barren waste to fertile land,
A future forged by chance and hand,
Cradle of the Desert, bright,
Guides us through this endless night.
Haikus:
Alien whispers,
Oases bloom in deserts,
Hope in arid lands.
Earth’s rebirth at hand,
Technology’s gentle touch,
Life in barren sands.
Protest outside the Dorchester Hotel In London against anti-laws newly implemented by the Sultan of Brunei, owner of the hotel.
Seen at Melbourne, East Yorkshire 08-05-16. Any suggestions as to what it is would be gratefully appreciated. Old disc harrow maybe?
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Feel free to extend this into your own implement!
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“Transport Decarbonisation: Driving Implementation” project members meeting at the ITF in Paris, France, to help identify ways to cut CO₂ emissions in three hard-to-decarbonise areas of transport: aviation, shipping and heavy-duty road freight. Their successful transition to a low- and ultimately zero-carbon operation is vital to achieving the international community’s climate goals.
Name:Lindsay Brothers Agricultural Implements
Description:1892 warehouse of agricultural implements company; cream city brick facade
Address:map link 126 S 2nd St, Milwaukee, Wisconsin, USA
urbanmilwaukee.com/2022/02/01/eyes-on-milwaukee-walkers-p...
When these sort of implements arrived onsite, the drawing office personnel were despatched to measure and sketch it for future manufacture.
Read more: www.europarl.europa.eu/portal/en
This photo is free to use under Creative Commons licenses and must be credited: "© European Union 2016 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
Electrifying the Base of the Pyramid through Innovative Micropayment Technology
The majority of families and small businessesin Tanzania are kerosene-dependent, but the vast majority of adults own a cellular phone, and an ever-growing number use mobile money platforms for bill payment and money transfer. Angaza leverages these broad market trends to provide a low-cost, scalable implementation of pay-as-you-go pricing for solar power. Angaza customers take home a PAYG-enabled solar device for a nominal upfront fee, then prepay for energy by using mobilemoney to send micro-payments to Angaza on a flexible schedule.
Read the full project description: www.usaid.gov/div/portfolio/angaza
Photo credit Angaza
Este año, la Casa del Deporte implementará un total de 19 escuelas gratuitas en Viña del Mar, con once disciplinas entre las que se encuentran como novedades el balonmano y la halterofilia.
Entre las postales que dejaron los X Juegos Suramericanos ODESUR Santiago 2014, además de la histórica cosecha de medallas que completaron un total de 129 preseas para nuestro país, se cuentan recintos repletos de público vitoreando a deportistas como si se tratasen de eliminatorias mundialistas de futbol, evidenciando el gran interés y pasión que sienten los chilenos por deportes muy distintos al balompié.
Consciente de esta atención por variadas disciplinas, es que la Ilustre Municipalidad de Viña del Mar, a través de la Casa del Deporte, hace ya casi una década, ha implementado de forma gratuita en toda la ciudad, un programa compuesto por Escuelas Deportivas, y que este año junto a las ya clásicas Tenis, taekwondo, Karate, Natación, Basquetbol, Hockey Patín, Gimnasia Rítmica, Voleibol y Rugby, trae importantes novedades, como la inclusión de dos nuevas especialidades deportivas.
El programa de Escuelas Deportivas, este 2014, da la bienvenida a su oferta al cada día más popular Balonmano o Handball, y que después de la brillante participación de las selecciones chilenas masculinas y femeninas de la disciplina, premiadas con bronce en ODESUR 2014, y que justamente jugaron en Viña del Mar, es que niños, jóvenes y adultos, pusieron sus ojos sobre esta entretenida rama deportiva.
Junto con el balonmano, la Halterofilia o Levantamiento Olímpico de Pesas, también se suma al programa Escuelas Deportivas, y consiste en el levantamiento de la mayor cantidad de peso posible en una barra en cuyos extremos se fijan varios discos, los cuales determinan el peso final que se levanta, y que reciben el nombre de “haltera”.
Orientadas a niños entre 7 y 14 años, las Escuelas Deportivas 2014, suman un total de diecinueve, y para la inscripción en cualquiera de las once disciplinas de este año, sólo hay que asistir al lugar, el día y la hora fijada para la clase, y llenar una matrícula gratuita con los datos personales del alumno, y la firma de un apoderado mayor de edad autorizando la participación del menor en el taller. Te esperamos!
LE MUSEE COMME POINT DE LUMIERE. ART MODERNE ET ART ULTRA MODERNE
" En 1969, Alfred Schmeller devient directeur du Musée du XXe siècle, l'actuel Mumok, et y restera jusqu'en 1979. Sous le signe des bouleversements sociaux des années 1960, il a vu le défi de son mandat dans "la réduction de la distance entre les gens et l'art", et il a façonné la collection du musée et ses programmes d'exposition avec une carrière diversifiée et élargie. Au sein de l'Art Club, la plus importante association des années d'après-guerre avec une section autrichienne, il avait été un contributeur majeur à la reconstruction de la scène artistique autrichienne après 1945. En tant que critique du quotidien Kurier et restaurateur d'art pour le Burgenland, il s'est consacré à une grande variété d'œuvres dans lesquelles l'art contemporain a toujours été au centre des préoccupations.
En Autriche, le climat politique a également changé. En 1970, les sociaux-démocrates de Bruno Kreisky remportent les élections nationales. Le ministre de l'éducation et des arts, Fred Sinowatz, avait une large compréhension de la culture et, dans les années suivantes, son but était de faire tomber les barrières qui empêchaient un plus grand nombre de personnes de devenir "culturellement indépendantes". Pour Schmeller, il était important de donner un nouveau profil au musée, et il voulait qu'il s'agisse d'un "point de lumière" non conventionnel et interdisciplinaire, laissant la tour d'ivoire artistique en faveur d'une institution radicalement ouverte. Schmeller a invité les Wiener Festwochen à organiser le festival d'avant-garde Arena dans le musée, et il voulait attirer un public plus large par la danse, le théâtre, les défilés de mode et la musique. Mais à la fin de sa première année, le nombre de visiteurs avait déjà plus que doublé. Certaines expositions de l'époque de Schmeller sont encore considérées comme des jalons dans l'histoire de l'art viennois, comme l'"Ecole viennoise du réalisme fantastique" de 1972, un grand succès en termes de nombre de visiteurs. Schmeller a rapidement reconnu l'importance exceptionnelle des expositions thématiques et des expositions en tant que commissaire, et il a présenté à Vienne des expositions comme les légendaires "Bachelor Machines" de Harald Szeemann (1977) et "Monte Verità -Mountain of Truth" (1979).
Schmeller a également accordé une grande importance à l'éducation artistique. Il a introduit le premier programme d'éducation pour les enfants au musée, fondant ainsi l'œuvre d'éducation artistique réussie de la momok d'aujourd'hui. Il a lui-même écrit un dépliant intitulé adolf loss for young people, et il a créé des scénarios interactifs pour des enfants comme la Tour Beethowen, que nous réinterprétons dans cette exposition comme un moyen éducatif. L'une des expositions les plus importantes de Schmeller fut l'exposition "Live" de 1970, qui présentait Haus-Rucker-Co, les jeunes architectes et artistes Laurids Ortner, Klaus Pinter, et Günther Zamp Kelp. Ils ont placé leur billard géant en plein milieu du musée - une île en plastique avec trois énormes boules avec lesquelles les visiteurs pouvaient jouer. Des éléments performatifs et participatifs ont ainsi été introduits dans le musée pour tenter de faire tomber les barrières entre l'art et la vie quotidienne. Schmeller a annoncé cette exposition avec le slogan "Le Prater est fermé. Venez au musée" Tout cela était, et est toujours, assez proche de la contemplation classique de l'art, de sorte que les visiteurs du musée pénètrent sur un terrain instable - assez généreusement dans le cas du billard géant". Cette forme ludique d'interaction avec les beaux-arts a connu un grand succès et le billard géant de la Haus Rucker-Co, qui a été documenté par des photographes de renom comme Cora Prongracz et Peter Baum, a fait une tournée internationale."
"Le musée comme point de lumière" : Un discours très éclairant, tout à fait conforme à propos de l'Art Conceptuel Contemporain, l'Art Ultra Moderne, postérieur à la seconde guerre mondiale. Conforme au catéchisme de la nouvelle religion, celle des "Lumières", qui née à la fin du 18è siècle en Europe, est enfin parvenue à dominer totalement l'Occident après les années 1950.
"La réduction de la distance entre les gens et l'art". "Le musée doit être un "point de lumière"non conventionnel pour faire tomber les barrières qui empêchent un plus grand nombre de personnes de devenir culturellement indépendant".
Le musée en tant que "lieu de lumière " est une belle trouvaille sémantique qui rappelle très exactement le fondement idéologique, doctrinal de tous les discours sur l'Art Institutionnel dans tout l'Occident depuis plus d'un demi-siècle : les "Lumières".
Une idéologie qui distingue les éclairés, au sommet de la pyramide, seuls aptes en Raison à gouverner, et les peuples à la base, dépourvus de raison, réduits aux seules passions et consécutivement à l'obéissance, car non initiés. Le billet de Un Dollar résume cette doctrine : En haut l'Oeil, éclairé de l'intérieur, source quasi métaphysique de Lumières qui illuminent toute la pyramide sociale. L'Oeil qui conçoit et commande absolument. Au milieu les Gardiens -comme Schmeller- nouveaux apôtres chargés de la mise en oeuvre du message éclairé. En bas "les personnes", qu'il faut aider à "devenir culturellement indépendant". La "République" de Platon s'est enfin actualisée, concrétisée, après 2500 ans de sommeil.
Selon cette nouvelle religion occidentale, comme pour les anciennes religions, il existe d'une part les initiés, qui ont reçu la révélation et sont chargés de la transmettre. D'autre part les non initiés, les non baptisés, ou les baptisés du commun, "sans culture indépendante" : une masse populaire qui risque l'Enfer de la "dépendance culturelle", et qui sont lamentablement confinés dans l'incompréhension de la "Modernité". Sauf s'ils sont éduqués, initiés, catéchisés par tout un clergé hiérarchiquement éclairé, au fur et à mesure de son élévation dans les grades maçonniques.
D'où l'importance soulignée par la notice de "l'éducation artistique", des "scenarios interactifs pour les enfants, qu'il faut faire jouer". D'où la nécessité de créer des "éléments participatifs", et de l'établissement d'une "interaction ludique" avec le grand public.
Effectivement la visite des Musées d'Art Contemporain Conceptuel, "les lieux de Lumière" , les nouvelles églises ou les nouveaux temples de la Modernité, est instructive: le public est essentiellement composé des enfants et adolescents des collèges, encadrés de leurs maîtres. Un public captif auquel personne ne demande son avis, qui doit venir visiter ces musées car c'est au programme. Bref ces" Points de Lumière" enseignent le nouveau catéchisme du nouvel évangile Mondialiste.
Nous apprenons que grâce à Schmeller "à la fin de la première année le nombre des visiteurs avait déjà presque doublé". Nous ne saurons jamais ce que ce progrès représente en termes de chiffres précis, ni les comparaisons à établir avec l'importance du public dans les musées d'arts anciens. C'est un secret bien gardé. Un fait, non-dit est condamné à ne pas exister, ce n'est même plus un fait.
"L'Art Moderne" (1850-1950) avait été une grande période de créativité, de nouveauté et de liberté d'expression individuelle des artistes (romantiques, pré-impressionnistes, impressionnistes, post-impressionnistes et abstraits). Un art spontané, sincère, aventuré en marge de toute incitation officielle, étatique ou même simplement académique. Un art sans orientation idéologique commune, sans catéchisme officiel, sauf une volonté certaine de changement esthétique, de nouveauté stylistique : La déesse Modernité s'installait en Occident, mais elle n'avait pas encore chassé toutes les divinités du passé qui continuaient à survivre dans la société européenne et occidentale du 19è siècle et de la première partie du 20è siècle.
Après la Seconde Guerre Mondiale, à partir des années 1950 et suivantes L'Art Contemporain s'installe en Occident, inspiré par l'Europe des "Lumières", mais venant politiquement des Etats Unis. Cet art s'est exposé, sous ce nom d'Art Contemporain, pendant un demi-siècle dans des musées ultra-modernes construits tout exprès pour lui.
Dans les premières années du 21è siècle cet Art Contemporain a progressivement changé d'appellation. Il a repris le nom d'Art Moderne, dont il se veut la simple continuation. Nous avons expliqué pourquoi dans deux textes : "Art Ancien, Art Moderne, Art Abstrait, Art Contemporain" et "Art Moderne et Art Contemporain officiel".
Mais en réalité l'Art Moderne 2 est tout à fait différent de l'Art Moderne 1. Pour dire le vrai l'Art Ultra Moderne est même à l' opposé de l'Art Moderne.
L'Art Moderne, dans sa globalité, était une esthétique identique aux arts du passé européen et des autres civilisations, toujours à la recherche du beau et du sens. Une esthétique exotérique, qui se voulait porteuse de significations claires, accessibles au plus grand nombre, un dialogue entre les élites et les peuples, un partage d'émotions positives, le plus large possible au sein de la société. Une esthétique du rassemblement.
L'Art Moderne s'est cependant distingué des arts du passé par une caractéristique, tout à exceptionnelle dans l'histoire des arts et de la peinture en particulier : ses créateurs sont indépendants de directives idéologiques et politiques dictées par l'état ou des autorités ou institutions privées ou publiques influentes. L'Art Moderne n'était en rien un art institutionnel, officiel. Pour la première fois dans l'histoire de l'Europe la peinture a été une création éminemment populaire, d'artistes indépendants des élites idéologiques et politiques.
L'Art Ultra Moderne est tout à fait à l'opposé de l'Art Moderne :
- Il est un art officiel, institutionnel, étatique, consacré aussi par le commerce international et les grandes fondations privées dont les doctrines sont unifiées, ordonnées depuis l'Oeil qui domine la pyramide sociale. Sous cet aspect c'est un retour au passé : un art commandité du haut de la pyramide sociale et porteur de messages dont les élites définissent étroitement le contenu.
- L'Art Ultra Moderne est encore tout à fait à l'opposé de l'Art Moderne en ce sens qu'il se revendique comme un Non-Art qui a explicitement rejeté toute référence nécessaire au beau. La beauté n'est plus une finalité de l'Art Ultra Moderne qui s'affirme comme une anti-esthétique, une nécessaire provocation des habitudes culturelles du passé par le laid et l'absurde. C'est un art ésotérique, fermé, un art d'apartheid, explicitement réservé à une élite d'initiés dans le cercle desquels seule une minorité d'éduqués sera progressivement intégrée. C'est l'art des Sages et des Gardiens de la République mondialiste, platonicienne-maçonnique.
Le titre du texte allemand est en apparence différent du titre du texte anglais. Mais il rend très bien compte du profil tout à fait inséparable de l'idéologie des "Lumières" de l'Art Ultra Moderne. "Das Museum als Unruheherd" ou "le musée lieu de trouble" écrit le texte allemand. Ces deux intitulés se complètent excellemment.
Le titre anglais rappelle que la source idéologique de l'art ultra moderne sont les "Lumières".
Le titre allemand énonce un des principes d'action majeur de l'Art Ultra Moderne : la Provocation. Il met l'accent sur l'aspect légitimement dérangeant pour le grand public non éclairé, de l'art correct, officiel, conceptuel car initié. L'art des éclairés doit déranger les peuples. C'est par le laid, l'absurde, la provocation dans son art que l'élite idéologique et politique illuminée affiche son particularisme et révèle ses véritables intentions politiques. Vous avez dit Démocratie, République ? Oui, celle Jacobine qui guillotine toute fraternité et toute liberté, au nom d'un monde meilleur. En art l'Ultra Modernisme se contente de guillotiner la beauté, le sens et le partage.
MODERN ART AND ULTRA MODERN ART. THE MUSEUM AS A FLASHPOINT
"The museum as a flash point", a "point of light": A very enlightening discourse, completely in conformity with the subject of Contemporary Conceptual Art, the Ultra Modern Art, post-World War II. In accordance with the catechism of the new religion, that of the "Enlightenment", which was born at the end of the 18th century in Europe, finally succeeded in totally dominating the West after the 1950s.
"Reducing the distance between people and art." "The museum must be an unconventional "point of light" to break down the barriers that prevent more people from becoming culturally independent.
The museum as a "place of light" is a beautiful semantic discovery that recalls very precisely the ideological, doctrinal basis of all discourses on Institutional Art throughout the West for more than half a century: the "Lights".
An ideology that distinguishes the enlightened, at the top of the pyramid, the only ones able to govern into Reason, and the peoples at the base, without reason, reduced to passions only and consecutively to obedience, because they are not initiated. The One Dollar note summarizes this doctrine: Above the Eye, illuminated from within, an almost metaphysical source of Light that illuminates the entire social pyramid. The Eye that designs and controls absolutely. In the middle are the Guardians - like Schmeller - the new apostles in charge of the implementation of the enlightened message. At the bottom, the people, whom we must help to "become culturally independent". Plato's "Republic" has finally been updated, materialized, after 2500 years of sleep.
According to this new Western religion, as with the old religions, there are on the one hand the initiates, who have received the revelation and are responsible for transmitting it. On the other hand, the uninitiated, the unbaptized, or the baptized of the common, "without independent culture": a popular mass that risks the Hell of "cultural dependence", and who are lamentably confined in the misunderstanding of "Modernity". Unless they are educated, initiated, catechised by an entire hierarchically enlightened clergy, as they rise to Masonic ranks.
Hence the importance underlined by the notice of "artistic education", "interactive scenarios for children, which must be to played". Hence the need to create "participatory elements", and to establish a "playful interaction" with the general public.
Indeed, the visit to the Museums of Contemporary Conceptual Art, "Places of Light", the new churches or the new temples of Modernity, is instructive: the public is essentially composed of children and adolescents of the colleges, supervised by their masters. A captive public to whom no one asks for their opinion, who must come and visit these museums because it is on the program. In short, these "Flash point" teach the new catechism of the new Globalist Gospel.
We learn that thanks to Schmeller "at the end of the first year the number of visitors had already almost doubled". We will never know what this progress represents in terms of precise figures, nor the comparisons to be made with the importance of the public in ancient art museums. It's a well-kept secret. A fact, unspoken, is condemned not to exist, it is no longer even a fact.
"L'Art Moderne" (1850-1950) had been a great period of creativity, novelty and individual freedom of expression for artists (romantic, pre-impressionist, impressionist, post-impressionist and abstract). A spontaneous, sincere, adventurous art on the fringes of any official, state or even simply academic incitement. An art without a common ideological orientation, without an official catechism, except a certain will of aesthetic change, of stylistic novelty: The goddess Modernity settled in the West, but she had not yet driven out all the divinities of the past who continued to survive in European and Western society in the 19th century and the first part of the 20th century.
After the Second World War, from the 1950s onwards, Contemporary Art settled in the West, inspired by the Europe of the "Enlightenment", but politically coming from the United States. This art has been exhibited, under the name of Contemporary Art, for half a century in ultra-modern museums built especially for it.
In the early years of the 21st century this Contemporary Art gradually changed its name. It has taken the name of Modern Art, of which it is intended to be a simple continuation. We have explained why in two texts: "Ancient Art, Modern Art, Abstract Art, Contemporary Art" and "Modern Art and Official Contemporary Art".
But in reality Modern Art 2 is quite different from Modern Art 1. To say the truth, Ultra Modern Art is even the opposite of Modern Art.
Modern Art in its entirety, was an aesthetic identical to the arts of the European past and of other civilizations, always in search of beauty and meaning. An exoteric aesthetic, which wanted to convey clear meanings, accessible to as many people as possible, a dialogue between elites and peoples, a sharing of positive emotions, as broad as possible within society. An aesthetic of the gathering.
Modern Art has, however, distinguished itself from the arts of the past by one characteristic, quite exceptional in the history of the arts and painting in particular: its creators are independent of ideological and political directives dictated by the state or influential private or public authorities or institutions. Modern Art was in no way an institutional, official art. For the first time in the history of Europe painting was an eminently popular creation, by artists independent of ideological and political elites.
Ultra Modern Art is quite the opposite of Modern Art:
- It is an official, institutional, state art, also consecrated by international trade and the major private foundations whose doctrines are unified, ordered by the Eye that dominates the social pyramid. In this respect, it is a return to the past: an art sponsored from the top of the social pyramid and carrying messages whose content is closely defined by the elites.
- Ultra Modern Art is still quite the opposite of Modern Art in that it claims to be a Non-Art that has explicitly rejected any necessary reference to beauty. Beauty is no longer an aim of Ultra Modern Art, which asserts itself as an anti-esthetic, a necessary provocation of the cultural habits of the past by the ugly and the absurd. It is an esoteric, closed art, an apartheid art, explicitly reserved for an elite of initiates in whose circle only a minority of the educated will gradually be integrated. It is the art of the Wise Men and Guardians of the Worldist, Platonician-Masonic Republic.
The title of the German text is apparently different from the title of the English text. But he reflects very well the inseparable profile of the ideology of the "Enlightenment" of Ultra Modern Art. "Das Museum als Unruheherd" or "the museum of disturbance" writes the German text. These two titles complement each other excellently.
The English title reminds us that the ideological source of ultra-modern art is the ideology of the "Lights".
The German title states one of the major principles of action of Ultra Modern Art: The Provocation. It emphasizes the legitimately disturbing aspect of correct, official, conceptual and initiated art for the uninformed general public. The art of the enlightened must disturb the peoples. It is through the ugly, the absurd, the provocation in its art that the enlightened ideological and political elite displays its particularism and reveals its true political intentions. Did you say Democracy, Republic? Yes, the Jacobine démocracy, who guillotines all fraternity and freedom, in the name of a better world. In art, Ultra Modernism is content to guillotine beauty, meaning and sharing.
Implementation of Boids flocking system using only separation and seek as the main forces for steering behaviour. Coded in Processing using ControlP5 for interface objects and PeasyCam for camera movements. What interested me in this first little exercise was coding some automation for creating slight changes in the forces over time. This adds variation to the various forces and makes for more 'realistic' motion.
Big thanks to Dan Shiffaman and his extraordinary energy. This exercise derives from his Nature of Code book and his wonderful explanation of autonomous agents on this video : www.youtube.com/watch?v=JIz2L4tn5kM
Paranapiacaba: Origem: Wikipédia, a enciclopédia livre.
Por concessão, um grupo inglês explorou o sistema ferroviário na Serra do Mar. E o primeiro sistema implementado foi o sistema funicular: com cabos e máquinas fixas. A primeira linha, com onze quilômetros de extensão, foi inaugurada em 1867 pelo grupo São Paulo Railway. Ela começou a ser construída em 1862 e teve como um dos maiores acionistas e idealizadores o lendário Barão de Mauá. Em 1859, ele chamou o engenheiro ferroviário britânico James Brunlees, que veio ao Brasil e deu viabilidade ao projeto. A execução de tal projeto foi de responsabilidade de outro engenheiro inglês, Daniel Makinson Fox. Um ponto curioso é que pela instabilidade do terreno, a construção da estrada de ferro foi quase artesanal. Não se utilizou explosivos por medo de desmoronamento. As rochas foram cortadas com talhadeiras e pequenas ferramentas manuais. Paredões de até 3 metros e 20 centímetros de altura foram construídos ao logo do traçado da estrada de ferro. A segunda linha começou a funcionar em 1900. Além de dar mais força ao sistema, os cabos e as máquinas fixas economizam energia para a operação dos trens. No entanto, vários acidentes eram registrados, principalmente pelo rompimento dos cabos. Havia uma espécie de freio, a tenaz, que agarrava os cabos para evitar a saída dos trens dos trilhos. Nem sempre o sistema, no entanto, funcionava de maneira satisfatória. Em 1956, um grande acidente foi evitado pelo maquinista na época, Romão Justo Filho, nascido em Paranapiacaba no mês de março de 1911, filho de maquinista também. Se a composição descarrilasse, cerca de 150 pessoas poderiam perder a vida. Através da utilização correta do sistema da tenaz, Romão foi “agarrando” aos poucos o cabo até que o trem parasse.
Os cabos do locobreque levavam desenvolvimento e riqueza para a região do ABC Paulista e de Santos. Tanto é que a companhia inglesa criou em 1896 uma vila essencialmente de ferroviários, com construções de madeira no estilo inglês. Em 1907, a Vila foi chamada de Paranapiacapa, mas até 1945 a estação continuou a ser chamada de Alto da Serra. A Vila possuía todos os recursos da época para os maquinistas, fiscais e “foguistas” – responsáveis pela alimentação da fornalha da máquina fixa e da máquina dos trens. Além de um mercado, de um posto de saúde, de um vagão-ambulância e até um vagão funerário, onde o velório era feito dentro da composição entre Santos e Paranapiacaba, os funcionários possuíam um centro de recreação, o União Lira Serrano, e um Campo de Futebol. No União Lira Serrano eram exibidos filmes, shows musicais e realizados bailes temáticos. A concessão da linha da Serra do Mar não foi apenas glórias e desenvolvimento. Fatos até hoje não explicados satisfatoriamente marcaram a história dos trilhos por onde circularam os Locobreques. Exemplos são os incêndios da Estação da Luz, dois dias antes da primeira etapa da concessão dos ingleses terminar, em 1946, e na velha estação de Paranapiacaba, em 1981. Antes mesmo do incêndio, a estação já havia sido desativada em 1977 e substituída pelo prédio atual. O relógio estilo inglês foi poupado no incêndio e deslocado para uma torre mais alta que a anterior. Nos dois incêndios, tanto na Estação da Luz quanto em Paranapiacaba, a suspeita principal é de motivação criminosa. Milhões de reais foram gastos para a reconstrução da Estação da Luz, que passou por décadas ainda sentido os efeitos do incêndio. Tanto é que ela teve de ser restaurada. A obra de restauração completa foi entregue somente em 2004, data dos 450 anos da cidade de São Paulo. A Estação da Luz teve três etapas fundamentais: Ela foi inaugurada em 1867, num pequeno prédio na região central da capital paulista. A demanda de passageiros foi aumentando aos poucos, e cerca de 15 anos depois o pequeno prédio foi demolido e um outro maior foi construído. A cidade crescia muito rapidamente e a estação teve de aumentar ainda mais. Em 1890 começaram as obras da estação na configuração atual. Em 1900, o segundo prédio antigo foi demolido e em 1901, a nova estação foi inaugurada. Obras constantes de modificações e ampliações foram realizadas ao longo das décadas na Estação da Luz, já que além da demanda de passageiros ser maior, o número de linhas férreas urbanas também cresceu. Antes mesmo do Locobreque, na Serra do Mar, uma primitiva máquina de madeira, também tracionada por cabos fazia o transporte entre os cinco patamares. Era a Serrabreque. Durante a operação da Serrabreque, Barão de Mauá era um dos administradores. Posteriormente, na vila de Paranapiacaba, os ingleses, no alto de uma subida, construíram uma mansão, que servia de centro de controle operacional. Apelidada pelos ferroviários de "Castelinho", a posição do local proporcionava uma privilegiada visão do sistema e de toda a estrutura da vila de Paranapiacaba. O sistema ferroviário da Serra do Mar era composto por diversos túneis, que eram alvos de lendas e histórias assombradas disseminadas pelos próprios ferroviários. Algumas dessas lendas tiveram origem no fato de muitos operários terem morrido na construção desses túneis.
Pátio ferroviário, estações e relógio:
A São Paulo Railway inaugurou sua linha férrea em 16 de fevereiro de 1867. Servia como transporte de passageiros e meio de localizada na então freguesia de São Bernardo. No ano de 1898, foi erguida uma nova estação com madeira, ferro e telhas francesas trazidos da Inglaterra. Esta estação tinha, como característica principal, o grande relógio fabricado pela Johnny Walker Benson, de Londres, que se destacava no meio da neblina muito comum naquela região. Com o aumento do volume e peso da carga transportada, foi iniciada em 1896 a duplicação da linha férrea, paralela à primeira, a fim de atender à crescente demanda. Essa nova linha, também denominada de Serra Nova, era formada por 5 planos inclinados e 5 patamares, criando um novo sistema funicular. Os assim chamados novos planos inclinados atravessavam 11 túneis em plena rocha, enfrentando o desnível de 796 metros que se iniciava no sopé da serra, em Piaçagüera, no município de Cubatão. O traçado da ferrovia foi retificado e suavizado e ampliaram-se os edifícios operacionais. A inauguração deu-se em 28 de dezembro de 1901. A primeira estação foi desativada e reutilizada, posteriormente, como cooperativa dos planos inclinados. A 15 de julho de 1945, a "Estação do Alto da Serra" passa a se denominar "Estação de Paranapiacaba". A 13 de outubro de 1946, a São Paulo Railway foi encampada pela União, criando-se a "Estrada de Ferro Santos-Jundiaí". Somente em 1950 a rede passa a unir-se à Rede Ferroviária Federal. Em 1974, é inaugurada o sistema de cremalheira aderência. No ano de 1977, a segunda estação foi desativada, dando lugar à atual estação. O relógio foi transferido do alto da estação anterior para a base de tijolo de barro atual. A 14 de janeiro de 1981, ocorreu um incêndio na antiga estação, destruindo-a completamente. O sistema funicular foi desativado em 1982. Em 2010, o Correio fez lançamento de selo postal ostentando o patrimônio ferroviário de Paranapiacaba.
Museu do funicular:
Trata-se da exibição das máquinas fixas do quinto patamar da segunda linha e a do quarto patamar da primeira linha, que transportavam o trem por meio do sistema funicular.
No museu, há, também, a exposição de diversos objetos de uso ferroviário, fotos e fichas funcionais de muitos ex-funcionários da ferrovia.
O locobreque:
O "locobreque" tinha a função de frear a composição na descida da serra e simultaneamente empurrava outra composição que subia. O cabo entre as duas máquinas passava por uma grande roda volante, chamada de "máquina-fixa" que ficava em cada um dos cinco patamares. Do nome inglês original, loco-brake, a máquina funcionava pela queima de carvão ou madeira numa fornalha, abastecida pelo foguista, que trabalhava ao lado do maquinista. As máquinas "locobreque" foram construídas em 1901 por Robert Stephenson & Co. Ltd. O sistema funicular proporcionava maior economia de energia gasta pelo "locobreque" e possibilitava o desempenho do trem nos aclives e declives. Havia uma inclinação de 8 graus entre cada um dos cinco patamares. Quando subia a Serra do Mar, o "locobreque" empurrava os vagões, que ficavam na frente da máquina. Quando descia, ele segurava os vagões, que ficavam atrás da máquina. Como o trem não tinha marcha-ré, havia um sistema chamado popularmente de "viradouro", através do qual os funcionários invertiam o sentido da locomotiva, girando a máquina em torno de si mesma. Antes do "locobreque" havia uma primitiva máquina de madeira, também tracionada por cabos, que fazia o transporte entre os cinco patamares. Era o "serrabreque". Durante a operação do "serrabreque", o Barão de Mauá ainda era um dos financistas da companhia. Até a metade do século XX, o transporte ferroviário era sinônimo de luxo. E um dos marcos foi o trem Cometa, que fazia a linha Santos – São Paulo. O trem possuía serviço de bordo e poltronas leito, como as de ônibus. Além dele, também havia os trens Estrela, Planeta e Litorina (Semi-luxo).
Museu do castelo:
Essa residência, também denominada de "Castelinho", situa-se entre a Vila Velha e a Vila Martin Smith. Localizada no alto de uma colina, com uma excelente vista privilegiada para toda a vila ferroviária, foi construída por volta de 1897 para ser a residência do engenheiro-chefe, que gerenciava o tráfego de trens na subida e descida da Serra do Mar, o pátio de manobras, as oficinas e os funcionários residentes na vila. Sua imponência simbolizava a liderança e a hierarquia que os ingleses impuseram a toda a vila; ela é avistada de qualquer ponto de Paranapiacaba. Dizia-se que de suas janelas voltadas para todos os lados de Paranapiacaba, o engenheiro-chefe fiscalizava a vida de seus subordinados, não hesitando em demitir qualquer solteiro que estivesse nas imediações das casas dos funcionários casados. No decorrer de mais de um século de uso, foram feitas várias reformas e tentativas de recuperação de seu aspecto original; as maiores reformulações foram realizadas nas décadas de 1950 e 1960. Foi restaurado pela prefeitura de Santo André em parceria com a World Monuments Fund.
Casas dos engenheiros:
Característica da arquitetura hierarquizada de Paranapiacaba, as casas habitadas pelos engenheiros e suas famílias eram de alto padrão. Grandes e avarandadas, foram construídas em madeira nos tempos da São Paulo Railway, com plantas baixas individualizadas; depois, em alvenaria nos tempos da Rede Ferroviária Federal, com mesmo padrão de plantas. Muitas sofreram reformas em vários momentos, principalmente com a chegada da RFFSA. Uma das caracteríticas que chama a atenção é a cobertura do imóvel, pois somente com estudos elaborados pelos conselhos de reconhecimento, concluiu-se que o material das telhas não era ardósia, e sim fibrocimento, introduzidos provavelmente a partir da década de 50 entre alguma das reformas que sofreram.
Casas de solteiros:
Características da arquitetura hierarquizada de Paranapiacaba, as casas de solteiros eram conhecidas como barracos. Foram construídas em madeira, exceto duas em alvenaria. Essa tipologia foi criada pela São Paulo Railway, e a Rede Ferroviária Federal deu continuidade, construindo-as em alvenaria. A planta dessas casas possui
dormitórios, sanitários e cozinha para pequenas refeições, serviam para alojar o grande fluxo de homens solteiros, que preenchiam as vagas de ferroviários. Havia poucos sanitários e chuveiros, já que os trabalhadores se revezavam em turnos.
Participants at World Economic Forum on Latin America 2016 in Medellin, Colombia. Copyright by World Economic Forum / Benedikt von Loebell