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Illuminazione parete in marmo tramite installazione di una strip Led alloggiata entro apposita scanalatura a soffitto.
. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!
If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.
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The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").
The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to
CHRISTIANITY
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.
RELIGIOUS AFFILIATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
WIKIPEDIA
Z471 led by NS C40-8 #8743 is coming off the Shelly Lead with a loaded autorack train for CSX. Its waiting at Central Avenue for permission to come on down into Osborn Yard. Louisville,KY 2-9-06
Led Zeppelin at Knebworth in 1979 taken using a Zenith E with a 125mm lens and Kodak 400ASA film.
These were scanned years ago from the original negative - some of which I later loaned to Freddie Bannister (who promoted the gig) and never got back.
I posted the best picture here a while back
www.flickr.com/photos/deadheaduk/1371752383/
and I just uploaded an improved version - this unfortunately was one of the negatives that were lost!
My website about the day is here
An LED panel on the table of an assembly. The display shows the name of the distributed social network "diaspora" (diasporafoundation.org/).
Taking the lens completely out of focus for the last few seconds of this long exposure gave the halos around the bulbs. Maybe I should try this again at f/2.8 or so just for fun - the blurs would be so much bigger!
Nikon D5100 with Nikkor 35mm f/1.8; post-processing in Aperture 3.
The eight LED panels, 10A power supply and BeagleBone black are temporarily hanging next to Hexascroller at NYC Resistor. It is hard to see in this iPhone photo, but there are eight levels of PWM brightness.
Testing LED Array in the hall alcove. Still need to add part of the backing, paint, install diffuser and electronics.
Model / Performer:- Jade
Long time exposure with LED gadgets.
Initial studio flash to 'freeze' the model then the model waved the gadget to create light patterns.
The latest topic at our local photography club meeting was light painting. I had never before attempted any light painting shots, and neither had almost all the others there, so we were pretty much completely experimenting just to see what we could get.
My friend Randy contacted Michelle (the model that I've shot before) to see if she'd be interested in posing for us, and she was. With this shot, I took the picture while Leanne Hall "painted" the hearts. She used small colored LED lights to draw the hearts in the air, and then Randy Chancellor quickly lit Michelle with my "Z-Ray" flash light. I was shooting very long shutter-speeds in Bulb mode. Michelle was holding very still, and Leanne was moving (and unlike Michelle she never had a light shining on her) which is why she didn't show up in this long-shutter exposure.
I only ended up with a few shots during the meetup because I was having fun doing the light-painting and letting others shoot and borrow my tripod. I can't wait to see some more of the shots they got.
We didn't have a good background, and made plenty of rookie mistakes, so I know we'll be able to do better than this in the future. I'm certainly looking forward to doing more cool things with light painting.
post-processing done with Capture NX2 (w/Color Efex Pro 3), and Photoshop CS5
More of my work can be seen at BlueCityPhotography.com.
SE Predaj, dcérska spoločnosť Slovenských elektrární, modernizovala verejné osvetlenie obce Štitáre neďaleko Nitry. S využitím 67 moderných svietidiel Archilede HP 24 LED od renomovaného výrobcu Enel Sole má nový systém verejného osvetlenia o 63 % nižšiu spotrebu elektriny oproti pôvodnému stavu. Súčasťou modernizačného balíčka je okrem technického riešenia aj servis, údržba a dodávka elektrickej energie. Komplexné riešenie je financované z úspor dosiahnutých nižšou spotrebou elektriny. Ide o tzv. ESCO (Energy Service Company) projekt.
Housing in Gloss Black, Shrouds in Matte Black, Bi-Xenon Projector Retro-Fit, Dual RGB Demon Eyes & LED Angel Eyes
专辑中文名: Complete Studio Recordings
歌手: Led Zeppelin
专辑介绍:
Led Zeppelin是一支权威性的重金属乐队，这不仅是因为他们用爆裂的噪音来诠释布鲁斯，更重要的是他们将神话、神秘主义及其他许多风格（最显著的是世界音乐和英国民歌）融入他们的音乐。Led Zeppelin很神秘，他们很少接受采访，因为音乐新闻界厌恶他们；因此，歌迷只有通过唱片和演唱会了解他们。比其他乐队更强的是，Led Zeppelin确定了album-oriented rock（以专辑而非单曲为主导的摇滚）的概念，他们拒绝从专辑中拿出较流行的歌曲作为单曲发行。正因如此，他们确立了重金属的统治地位，就象现在听到的那样。
1969年的年头，他们首次在美国举行了巡演。这次的美国巡演为他们1月发行的首张同名专辑《Led Zeppelin》奠定了良好的基础。专辑发行后两个月，爬上了美国排行榜前10名。整个1969年，他们穿梭在美国和英国之间，进行着几近残酷的巡演。在巡演的路上，他们录制了第二张专辑《Led Zeppelin II》，于1969年10月发行。跟上一张一样，《Led Zeppelin II》直接上榜，发行两个月后便升至美国排行榜首位并停留了七周之久。这张专辑使得Led Zeppelin成为一支极具吸引力的国际级乐队。接下来的一年，他们继续他们的残酷巡演。
Led Zeppelin的音乐在《Led Zeppelin III》中开始深化。这张1970年10月发行的专辑明显受了英国民歌的影响。乐队对民歌与神话的倾心，为他们在1971年11月发行的无标题的第四张专辑带来了成功。《Led Zeppelin IV》是他们到此为止音乐最丰富的专辑，从硬摇滚风格的Black Dog到民歌风格的The Battle Of Heaven，几乎包容了一切；还有一首《Stairway To Heaven》，被人们称为连接这两种风格的桥梁。《Stairway To Heaven》是一首电台直接上榜歌曲，最终成为电台历史上播放次数最多的一首歌，它也从来没有作为单曲发行过。尽管事实上Led Zeppelin IV在美国从未排到排行榜的第一位，但它是卖得最多的专辑，在后来的25年中共卖出了一千六百多万张。(强烈推荐《Led Zeppelin IV》，可谓是Led Zeppelin颠峰之作，特别是《Stairway To Heaven》是经典中的经典。本歌讲述了一位少女坠入金钱的深渊，将自己的灵魂出卖，而她以为那才是她心目中的天堂。从一开始就十分动听的分解和弦到 Jimmy Page在歌曲结尾处的一段著名的solo都将这首《Stairway To Heaven》铸就成为不朽的经典名曲。后来还有许多著名的乐队翻唱过这首歌，但是能演绎的如此神圣的只有Led Zeppelin！)
Led Zeppelin为《Led Zeppelin III》和《Led Zeppelin IV》的促销一起举行了巡演，但他们没有象以前那样举行那么多的演出。取而代之的是，他们精简地举行了一些大型的演唱会。1972年的巡演结束后，乐队从聚光灯下退出来录制他们的第五张专辑。《House Of The Holy(圣屋)》于1973年春天发行，该专辑继续了乐队在音乐上的实验，在他们代表性的摇滚与民歌风格中包含了funk与reggae风格。《Houses Of The Holy》第一次在美国和英国都登上排行榜冠军，以此他们开始了破记录的美国巡演。贯穿整个1973年，Led Zeppelin在美国的巡演打破了由the BEATLES保持的票房记录。其中7月在麦迪逊花园广场的演出被录摄下来，作为电影《The Song Remains The Same》的素材，此片于3年后发行。
1973年的巡演结束后，Led Zeppelin度过了一个平静的1974年，没有发行新专辑，也没有举行演出。但有一件事是非常重要的，他们建立了自己的唱片公司Swan Song，他们此后的专辑全由自己发行；另外在该唱片公司发行专辑的乐队还有DAVE EDMUNDS、BAD COMPANY、the PRETTY THINGS及其他几支。《Physical Graffiti》，一张双唱片专辑，于1975年的2月发行，这也是Led Zeppelin在Swan Song发行的第一张专辑。专辑发行后马上取得了成功，在美国和英国排行榜上双双登上首位。正当Led Zeppelin准备于75年夏末在美国举行一次大的巡演时，Robert Plant却和他的妻子在希腊度假时发生了一起严重的车祸。巡演被迫取消，Plant本年余下的时间都用来康复。
Led Zeppelin直到1976年的春天才又活跃起来，发行了专辑《Presence（在场）》。虽然专辑一出来就登上了美国和英国排行榜的冠军，但它却受到乐评的冷淡；同样的，1976年发行的演唱会实况影带《The Song Remains The Same(歌声依旧)》也不被乐评接受。最终乐队在1977年的春天才开始美国巡演。然而到演出进行了两个月时，Robert Plant的六岁的儿子Karac因胃部感染而夭折。Led Zeppelin立即终止了巡演，也没有说是否将重新制定巡演日程，这引起了大家对乐队前途的广泛关注。暂时地，Led Zeppelin好象真的已经完了。Plant的1977年下半年和1978年的大部分时间都与世隔绝。直到1978年的夏末，Led Zeppelin才开始了新专辑的制作，他们在瑞典ABBA的Polar录音室开始录音。一年后，他们举行了一次短暂的欧洲巡演，演出地点包括瑞士、德国、荷兰、比利时和奥地利。1979年8月，Led Zeppelin在Knebworth举行了两场大型演出，这是他们在英国的最后一次演出。
《In Through The Out Door(穿越外门)》，他们姗姗来迟的第八张录音室专辑，终于在1979年的9月与大家见面了。这又是一张在美国和英国排行榜双双登上冠军宝座的专辑。 1980年5月，Led Zeppelin开始了他们的最后一次欧洲巡演。9月，Led Zeppelin在Jimmy Page家为即将到来的美国巡演开始排练。悲剧却又一次发生：9月25日，John Bonham死在自己的床上——在一整天的狂欢饮酒后，他被自己的呕吐物窒息而死(与AC/DC的Bon Scott如此相似，可怜的酗酒人)。1980年12月，Led Zeppelin宣布解散，他们不能没有Bonham。
解散后，余下的乐队成员都开始了他们的个人事业。John Paul Jones从来都没有发表个人专辑，他又乾起了他的制作工作。为Death Wish II制作了电影原声后，Jimmy Page编辑了一张Led Zeppelin的未发表歌曲的精选《Coda》，该专辑于1982年年末发行。同年，Robert Plant发表首张个人专辑《Pictures At Eleven》。
1984年，Plant和Page在全明星整容的老头乐队the Honeydrippers中有了一次短暂的重组。与the Honeydrippers发行了一张EP后，Plant回到个人道路，Page与原Bad Company的主唱Paul Rogers组建了the Firm。
1985年，Led Zeppelin因Live Aid而暂时重组，而此时关于他们将重组的谣言四起。事实上，重组从未实现。1988年，他们又聚集在一起，参加了亚特兰大公司25周年庆典音乐会。 1989年，Page重新灌录了乐队的一盒套装专辑，Led Zeppelin，于1990年发行。这张４张唱片的套装成了有史以来卖得最多的多唱片套装。1994年，Page和Plant为MTV的不插电演唱会重组，以此他们于1994年秋天发表了一张名为Unledded的专辑。虽然该专辑达到了白金唱片的销量，但人们预料的Led Zeppelin重组仍旧没有实现。在接下来的一年中，Page和Plant举行了一次成功的国际性巡演......
这些活动虽然屡次让歌迷感到Led Zeppelin会再次出现在他们面前，但始终没有得以实现。或许Led Zeppelin真的已经永远的成为一个传奇了。作为一个有着巨大影响力和敬业精神的摇滚乐队，不管他们是否仍然存在，他们的音乐和精神都足以让他们进入不朽的王国。(转自偏执狂金属网)
Led Zeppelin II
01. Whole Lotta Love
02. What Is And What Should Never Be
03. The Lemon Song
04. Thank You
05. Heartbreaker
06. Living Loving Maid (She's Just A Woman)
07. Ramble On
08. Moby Dick
09. Bring It On Home
Please view in the light box.......Press F11 then L
Taken indoors.
Camera mounted on a tripod and set to "Night Time Mode" I then also set the camera to fire after a ten second delay.
Switch all lights off, I then shone a nine LED torch straight at the camera and at the same time focussed on the light and pressed the shutter, after ten seconds the camera took the shot....all that I'm doing is waving the torch around in front of the camera. :o)
Discoteca illuminata interamente a Led. L'intera gestione dei corpi illuminanti ( pilastri, pavimento, lampadario, banchi bar..) è affidata a un sistema DMX.
Dal banco regia è possibile gestire i singoli elementi o tutto l'insieme in modalità Live o richiamando le scenografie precedentemete programmate.
LED's, not just for Christmas anymore. I thought rope lights would be fun to put in between the tile and the glass countertop. We bought both a blue rope light and a set of blue icicles. The rope lights weren't bright enough, but the LED's show through the opaque glass great!
A single Barco LED Video Wall panel. On the left of the table are the laptop for control and the wall processor beneath. This unit is 64x64 pixels with 9.85mm spacing. Up to 384 panels can be connected to a single processor, so the entire wall can become quite large.