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Is God There?
Reflections on Exodus
At times in my life, I see evidence of God’s presence beyond any doubt. Passages of Scripture light up with meaning, and prayer flows easily. Worship brings me joy as I reflect on how palpably God keeps his hand over my circumstances. Walking with God seems tangible during these times, as if he is physically beside me, and my love overflows in easy obedience. But then there are times that it seems God has gone on vacation. The same passages of the Bible seem devoid of life; I trudge through prayer and push myself to worship. Why does God sometimes feel so distant?
When we look at the life of Israel, we find the same apparent ebb and flow of God’s presence that we feel in our own lives. The opening chapter of Exodus depicts God’s fulfillment of his promise to Abraham for numerous descendants—a nation grown large enough to incite Pharaoh to enslave them out of fear and vengeance (1:8–14). Distanced from the land and favor God had promised them, the Israelites must have struggled to understand their God. Why would he increase their numbers only to allow Pharaoh to drown their newborn boys in the Nile (1:22)? When would God deliver them?
Generations pass before God spares Moses and raises him up in Pharaoh’s own house. When Moses flees Egypt and wanders the plains of Midian, God reveals himself through a burning bush. He acts on behalf of Israel, manifesting his presence through miracles, plagues on Egypt, and the parting of the Red Sea. God leads Israel through the wilderness, as a pillar of cloud by day and a cloud of fire by night. His voice thunders from a mountain, his holiness overcoming the Israelites until they fear for their lives. Wanting to remain among his people, God commands them to construct a tabernacle, which serves as his dwelling place until the temple in Jerusalem is completed hundreds of years later. His presence among the Israelites is overwhelming.
Yet even with so many memories of his glory, the Israelites forget God’s nearness and care for them. With the Egyptians advancing on them before the Red Sea, they complain that Moses brought them out of Egypt only to die in the wilderness (14:11–12). After a three days’ walk, they find no water, their food stores run out, and they despair (15:22; 16:3). And while Moses spends 40 days and nights atop Mount Sinai, receiving instructions from Yahweh, the Israelites even build and worship a golden calf, attributing their deliverance from Egypt to a false god (32:1–6). At the first sign of hardship or confusion, the Israelites assume God has left them.
Although the Israelites doubt God’s presence throughout the book of Exodus, his protection and provision for them is obvious to us, since we have the whole story: God was near Israel at all times. His presence and care were constant, though the evidence seemed sparse from the perspective of the Israelites. Even when their babies were in danger, the writer of Exodus tells us that God honored the obedience of the Hebrew midwives who allowed the babies to live (1:20). He heard the people groaning under slavery, remembered his covenant, and took notice of Israel during their hardest years (2:23–25).
What about us? What truths do we hold to when God seems distant and far off? We know that God’s presence among humanity reached its fullest expression with the advent of Jesus. John’s Gospel states, “The Word became flesh and dwelt among us” (John 1:14). In Greek, the word for “dwelt” literally means “pitched his tent.” In Jesus, God came near—not just in a tent like he did in the tabernacle, but now in flesh. And today, rather than looking for God in pillars of cloud and fire, the Hly Spirit dwells in Christians who carry God’s presence with them. Although he often goes unperceived, that won’t always be the case. In John’s vision of the new heaven and new earth, he describes everything made new, and a loud voice from the throne proclaims, “He will dwell with them, and they will be his people, and God himself will be with them” (Rev 21:3, emphasis mine).
AUBRY SMITH
ORIGINALLY PUBLISHED IN BIBLE STUDY MAGAZINE NOV–DEC ‘14
BIBLICAL REFERENCES FROM ESV
Aubry Smith, “Is God There?,” in Moment with God: A Devotional on Every Biblical Book (ed. John D. Barry and Rebecca Van Noord; Bellingham, WA: Lexham Press, 2014).
Immersed in a forest of shadows and light, the soul vibrates under the impulse of an ancient language, encrypted within matter itself. Her face dissolves beneath the bursts of a vegetal and geometric kaleidoscope, where leaves intertwine with triangular structures—echoes of sacred symbolism. Nature and architecture merge in a luminous weave, suspending the being between the tangible and the abstract.
The radiant bursts, like constellations lost in an intimate cosmos, pierce the scene as breaches in reality. The illusion is complete: is this dissolution, revelation, or a passage to another plane? Each floral fragment and every sharp angle of the triangle seem to converge toward an elusive truth, revealing itself only to those who dare to see beyond the obvious.
In this interlacing of textures and energies, the figure becomes an oracle, a medium between the invisible structures of the world and our troubled perception. Her averted gaze flees the moment, as if captive to a thought vaster than what the image allows us to grasp.
Keystone 60 Second Everflash
669 Film (exp. 1995)
This was my take on the Tangible Project's "Resurrection" theme for March. Dan (abdukted1456) was the recipient of this original polaroid and I encourage everyone to check out the Tangible Project and consider joining so you too, can receive original polaroids in the mail!
The sea resurrects itself over and over again in each and every wave that surges up upon the shore.
Rembrandt van Rijn
Dutch, 1606-1669
Oil on panel
Boston Museum of Fine Art
When 25-year-old Rembrandt arrived in Amsterdam in 1631, he quickly gained fame for the immediacy of his portraits. The dazzling technique seen here captures both this woman's engaging personality and more tangible marvels like her multi-layered lace collar and gold chain.
Poem.
Beautiful Affric.
As if the Caledonian Forest breathes out,
the mist slowly rises
like a spirit rising to the ethereal heavens.
Just visible, the River Affric surges down the valley,
two hundred feet below, just east of Dog Falls.
Life here is so abundant,
from Golden Eagle to Wood Ants,
from Red Deer Stag to Pine-Marten.
In the dawn, a slow pulse of life gathers pace.
Life begins to pulsate, quietly but tangibly.
The carpet of life is mesmerising.
Stately, dignified Scots Pine sweep up and down
these slopes for over thirty miles.
Early golden gorse contrasts with still burnished bracken.
“Lambs-tail” catkins quivering in the slightest breeze
confirm that spring has arrived.
Delicate silver-birch branches hang, bare of leaves,
but laden with tiny buds.
The sun is rising fast and soon the mist will burn away.
The promise of a glorious new day creates a quiet excitement and anticipation.
This place is very special.
It has a spirit that absorbs my own and softly whispers its reassuring but unassuming reality.
It beckons the senses to see, hear and feel its stupendous splendour, again, and again!
A hundred years into the future, Lord Satanus sits upon a twisted metal throne in the ruins of metropolis. His sister rules by his side. The world is fire, pain and blood. The world is theirs. Ten years in the future, Lord Satanus leads a legion of demons through hell; their hissing and screaming and chanting carves a bloody swath through the inferno to behead the Demon lord known as Neron.
Twenty years in the future, Lady Blaze will usurp Lord Satanus’s then-immense power, and leave him for dead, a withered, aching husk. Stripped entirely of his former glory, and cast into the abyssal wastes to fend for himself among the lesser demons.
Today, she is his only hope.
Lord Satanus sits, powerless in his cell. The vibrations on the dampeners boring into his head. He attempts to meditate, to find some kind of inner calm, but fails. A figure sulks towards his glass enclosure.
Blaze: Brotherrrrr . . . I have come.
Satanus: Wicked Sister! You are my salvation! Release me from this bondage, and we shall engulf this prison in flames.
Blaze: Yes, brother. We shall feast, and this pit will become our own!
Blaze conjures a ball of fire and attempts to destroy Satanus’s cell and power dampeners. They refuse to budge, or even char. Somewhere, Niles Caulder smiles.
Blaze: Satan’s breath. Rest easy, brother, I shall free you, yet.
Blaze merges with the barely-tangible shadows of the hallway and floats down the corridors, past all manner of incarcerated, monstrous people. Psycho Pirate sneers as she goes by. Prometheus cowers in the corner of his cell. Other villains, long forgotten by the public, watch with silent eyes as Blaze shifts around the corner.
Christopher Hackett, twenty three, is newly married. His wife Ellen and he expect a baby within the month. Thanks to Blaze, Ellen will be a single mother.
Blaze tears open the shaft of the service elevator at the end of the hall and floats down it, gentle as a leaf despite her armor, gnarled and heavy, and tears the doors open to the basement. She can feel a great surge of power emanating from this room. Her brother has been stripped of this power, she deduces, releasing it will release him.
Ted Manalo is a single father. After tonight, his daughter will go into the custody of his ageing parents. She will learn to grow up far too quickly. Billy Logan is the only sibling left of three, and the only one who cares for the elderly Mrs. Logan. After tonight, she will have no one.
Blaze approaches the box of power. She can smell the fumes of it, feel energy radiating off it. She drinks a little, makes a sound not unlike a purr, then in one swift movement slashes it to ribbon. It explodes in a fireball of sparks, then dies like Christopher, Ted, Billy and Jerald.
Jerald Parker works the nightshift. He’s here filling in for another man. He wasn’t even supposed to be here today. He won’t survive the afternoon. There is no one to mourn him.
On the floors above, An alarm begins to sound. Blaze courses swiftly back to Satanus’s cell, the doors behind her swinging open as she goes.
“Grodd’s Balls, you filthy chain-smoking Layabouts! Get down to detention block S immediately!” shouts Michael Patten to Digger Harkness and Floyd Lawton. He sends a distress signal to Amanda Waller. Waller is in Washington, there’s nothing she can do.
Digger, withdrawing Boomerangs: Another day in paradise eh?
Floyd, still not looking at him: Another day.
Answer: I’m sure it’s not in your vocabulary, but I advise you to be as non-lethal as possible. You both know how the boss likes her toys broken.
Systematically, the doors start swinging open. The guards begin grapping weaponry. Some suit up in light armor, though generally, they know it wont help. They all grab tranquilizers, Emps, sonic rifles and other non-lethal neutralizers. They’ve been through the training, they know the drill.
Dave Rebor, married father of two, will die despite the training.
If the guards had it their way, they would kill their prisoners on-sight in this situation, but that’s not what they’re being paid for. Floyd Lawton is no guard, and Floyd Lawton is not having a good day, mentally. Even before he pulled his mask on, the world was red around him, the walls coated in blood, and a bullet hole placed neatly between the eyes of everyone around him. One freak, smiling toothily, breaks free of his cell and begins to sprint down the hall. Deadshot shoots him through the neck. They’re all dead to him anyways, today, what’s a few more. Captain Boomerang runs ahead, dodging and weaving through the chaos, scoring hits where he can. Deadshot just walks casually, firing through the riot. Wading through the dead.
Prometheus seizes the opportunity and sprints to the monitor room. In a time like this, who’s to stop him from lifting all of Belle Reve’s secrets and making a nice profit off of them.
Ben Smith and Jerry Cawse do not see tomorrow thanks to him.
Prometheus slams open the door to the monitor room, and basks briefly in it’s low, glaring light. Only one man stands in his way.
Answer: Not now, man! Can’t you see there’s a god damn riot on! It’s like the 1960’s all over again and you’re up here, gnashing at me like a wildebeest!
Prometheus, preparing a fight stance: I hope you have your house in order. *He lunges forward.*
Answer, in one swift motion, spins his chair, grasps his cane and ignites a flashbulb within it, blinding Prometheus for a moment. He swings the cane and jabs Prometheus in the stomach, then grabs the back of his helmet and smashes it on the monitor. Prometheus crumples to the floor.
Answer: This is my house, bitch.
Black Orchid, sitting on the far end of the monitor, smiles widely.
Answer: Flower, baby, you should probably get out there and crack some skulls. Maybe bring me back one to gnaw on.
Orchid nods, kisses his forehead, brushes his chin a second, then flies out of the room and into the fray. Randy Miller, John Beckel, and Lance Henry see tomorrow because of her. Another man, Mike Derry, will be saved at the last minute by Bito Wladon, not wanting to seem dishonorable. No one will live or die because of Angelo Bend, sitting patiently in his cell until Wladon comes to speak with him.
Satanus exits his cell, his power grows. He breathes in the screams and carnage.
Satanus: Sister, you have done well. This structure shall soon be ours.
Blaze: Brother, it alrea-
Her sentence is cut short by Orchid’s fist, plowing squarely into her face. Blaze hits the ground hard, and Black Orchid continues to pummel her. Satanus grabs Orchid by the throat, lifts her bodily, and stares.
Satanus: Child. . . I smell . . . The Green on you. *he pulls her closer to his face* Curious.
Black Orchid goes limp, and Satanus tosses her aside bodily.
Satanus: Rise, sister. This is no place to fall.
Blaze smiles, rises, and arm-in-arm, the two begin to stroll casually through the violence.
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She's fine. She's okay. She's fine . . .
Minolta Instant Pro Polaroid
Image Softtone film
part of the Tangible Project
the recipient of this polaroid is dfuster74
When I saw that the first theme of the Tangible Project was water, I immediately thought of the sea and knew I would do something with that. Water for me, almost always conjures up visions of sea or rain and as there was no rain at the moment, the sea it was. Water is wave, is foam, is the edge of the horizon that blends sea and sky until the two are almost indiscernible and you don’t which is which but for clouds and rocks that anchor sky to sky and sea to sea. For me, this is water - this is all there is, because the city I live in is nothing more than an island surrounded by smaller barrier islands, and water is all around me, is a part of me. I cannot escape it except by bridge or boat. Water is everywhere and it is everything and this is my vision of water, the tide at morning, coming in and going out, all at the same time.
A being appears suspended between the tangible and the ethereal, encircled by metallic rings that evoke an alien gravity, a movement defying weight. The body, fragile and almost translucent, blends into a dreamlike scenery where flesh and steel merge, where mist intertwines with the organic. The model’s expression, half-dreamy, half-tormented, suggests an inner meditation, a surrender to the vertigo of the void.
The duality between raw matter and the immaterial asserts itself in a striking contrast: the hardness of the metallic rings seems to imprison the being, yet simultaneously elevates it to a higher plane, a silent ascension through an undefined space. The black and white tones amplify this tension, giving the scene a haunting timelessness. Is this a ritual of dissolution, or a metamorphosis into another form of existence?
The placement of the image within a contemporary interior reinforces the idea of a confrontation between art and living space, between contemplation and the mundane. The artwork acts as a portal, a rupture in reality, a call toward the unknown.
I remember seeing my first polaroid picture. My uncle had a polaroid camera and we were on a trip with the family. He took a picture and the tangible photo came out of the machine like magic! He was waving the picture in the air and WOOSH there we were!
I was wondering what to do with the dozens of photos in my phone and on my harddrives. Then I came across LALALAB. They offer a variety of things (magnets, prints, frames) and also polaroid shaped pictures. You can order up to 48 in a cute box they call LALABOX.
Here you see mine, with a picture of the wedding dress of my most recent bride on top of the stack. Isn't this a wonderful keepsake? For, let's say, your most recent trip, birthday party et cetera? I plastered one kitchen wall in these gems. I was very pleased with their service and the quality of the product. I'm thinking it is a great birthday gift for someone who's already got everything they can think of too.
Or you can just take 1000 pictures of your cat. No judgement here. I think my cat lover friends should all order a box with kitty pics ;)
LALALAB ship world wide. You can get yours very easily so download the lalalab app for your phone.
If you enter PGACCOPK during checkout, you will get 5 dollar/euro/pound off (depending on where you live) and it will earn me 5 credits too :)
Feel free to share my code with your friends and family like you would share a video of a cat with sunglasses skateboarding ;)
Have a great weekend!
The photo above is a scan of an actual, tangible object. It is the only one in existence. Years from now, when the zeros and ones that exist on some server, allowing you to view it, have been deleted, I'll still be able to see, smell, and feel it.
I've known Polaroid since I was old enough to know anything. The family albums, going back into the 50's, are dominated by Polaroid photos, beginning with stiff peel-apart shots adhered to cardboard mounts, followed by pale SX-70 integral prints, and eventually giving way to the rectangular frame of Spectra shots. Judging by the familiar looks and smiles I get from people who notice the SX-70 or 250 I carry around, Polaroid is a significant part of many others' lives as well. I delightedly re-discovered Polaroid in recent years thanks to my then-girlfriend (now fiancee) and her Big Shot. I relive that pleasure every time I watch someone peel a print from the negative in amazement for the first time in decades or, perhaps, ever. It's sad that this unique component of American culture which I previously had taken completely for granted is in danger of being relegated to "The History of American Culture - 1940's to 2000's". I imagine I'll have to explain why these photos I have look so different than others if I have kids or grandkids although there's a distinct possibility they won't care without experiencing the magic first-hand, a thought that troubles me.
I took this photo of myself at a birthday party for my fiancee. We set up a photo booth using a tripod-mounted Spectra (dug out of a closet at my parents' house) and a Spectra wireless remote control we won at auction online. People went nuts when they saw the pictures coming out of the "booth" and loved that they could actually take the pictures home. Most of these people brought digital cameras with them but few, if any, digital pictures were taken that night, those being easily overshadowed by the visceral and social nature of the Polaroids. No substitute for this experience exists that is as accessible, even if it is currently less-so than in previous decades, and to lose Polaroid now will be hard to swallow.
That being said, I'll buy and shoot Polaroid until the last pack is sold and, perhaps, stash a few packs in hopes that they last long enough to some day demo that Polaroid magic for my kids one last time.
-Nick Zamora
The Iseya is a tempura restaurant that dates back to 1927 and is situated across from what used to be the main gate to the Yoshiwara red light district. Although Yoshiwara is not really much of a bustling spot anymore, it seems that there are still plenty of customers clamoring to get inside this restaurant, which is a government certified tangible government property.
Usually by the time I arrive at most destinations in rural Saskatchewan, the inevitable unfolding is completely in progress, the descent is equally tangible and hardly random….here pioneer residents are living out their final chapters. The emotional dialogue in your head is always a haunting reminder of the only constant we are assured of becomes change.
Only by connecting with willing folks are important details shared. Such was my time spent with Guy, the friendly owner of "Guy's Lunch and Grocery" in Vanguard, SK.
With his children enjoying the fruits of college and university success, I was sympathetic to the hard work required for tuition and support, the hours needed to keep this iconic grocery store running many a year, the determination for his children to enjoy successful careers. My entrance into the story books is shortly after the doors closed. I found it difficult to reconcile the town hub shutting down in this tiny community. Was I witnessing a final chapter.
Yet Guy remained superbly optimistic, for each morning he'd drive over an hour each direction into Swift Current with his wife early in the morning for coffee and breakfast. He'd think nothing of a quick drive to Calgary on weekends to visit children five hours away. A new chapter was beginning within the cocoon of retirement, and I the recipient of a unique farewell and home grown experience.
I'd like to thank many for their encouragement while I attended the Frame by Frame PhotoForum 2012 three day workshop in Regina, SK. I managed to catch some rural gems along the Hwy 13 route. Caution, leave the sports coupe at home.
The Regina Shutterbugs pulled off the unimaginable, bringing together such notable photographers such as Freeman Patterson, George Webber, Dennis Fast, Larry Easton, Mike Grandmaison, and many others. One theme kept running throughout the presentations, camera gear is fairly insignificant, and developing a coherent body of work could open many doors. Refine the subject which you enjoy most.
With some brainstorming, I'll have much to share with our local club. Some great books also slipped underneath my arms. The renewal is undeniably refreshing, the archives are filled.
*Please view LARGE for best rural detail
**Textures courtesy of various sources on Flickr
***Thank You for your generous support, visits, comments, favourites, and galleries.
****Founded in 1912, the village of Vanguard, Saskatchewan is located in the southwest corner of Saskatchewan on Highway 43 close to Notekeu Creek. It is located in the rural municipality of Whiska Creek. Its prime economic driver is agriculture: chick peas; lentils; red, spring, hard and durum wheats are grown here.
Framed by the glassy grid of surrounding office towers, the curved limestone façade of 1100 New York Avenue NW stands as a striking example of Washington, D.C.’s understated flirtation with Art Deco design. Once home to the Greyhound Bus Terminal, this 1940 structure is one of the city’s finest surviving examples of the Streamline Moderne style, with its rounded corners, horizontal emphasis, and stylized vertical elements like the raised lettering that still proudly spells out “1100 NEW YORK AVE.”
Designed by William S. Arrasmith, who created many bus stations for Greyhound during this era, the building originally served as a vital hub for intercity transportation before falling into disuse in the late 20th century. During a major redevelopment of the surrounding block, preservationists successfully lobbied to incorporate the historic terminal into the new office complex. Today, it sits integrated at the base of a larger postmodern office building, its curving walls and corner windows offering a tangible connection to mid-century America’s love affair with speed, motion, and the open road.
Its adaptive reuse is widely regarded as one of D.C.’s more successful examples of historic preservation in a modernizing downtown. Look closely, and you’ll see ghost marks of the original clock above the corner parapet. The American flags hanging nearby subtly echo the building’s past role in connecting cities and states.
Captured here at golden hour, the deco curves of the terminal contrast elegantly with the rectilinear backdrop of mirrored windows, reminding us how public architecture once aspired to uplift even the most utilitarian of civic functions.
President of Ukraine Volodymyr Zelenskyy met with Minister of Foreign Affairs of Canada Mélanie Joly visiting our country.
The Head of State expressed gratitude to the Canadian government and the Canadian people for their strong support and assistance to Ukraine during the war.
"I highly appreciate the warm attitude of your society towards Ukrainians, towards our people who came to Canada. You help us not only on the battlefield but also financially, in the energy sector. I also want to note the political support of Ukraine, in particular at the United Nations," Zelenskyy said.
Separately, the President noted the tangible defense assistance Canada is providing to Ukraine.
Sheldon Jackson Museum, Sitka, Alaska
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Tangible visions : Northwest Coast Indian shamanism and its art
Author: Wardwell, Allen
Imprint: New York : Monacelli Press with the Corvus Press ; Enfield : Publishers Group UK [distributor], 2009
This volume presents the first comprehensive illustrated study of the various kinds of painted and carved objects that were carried and worn by shamans as they went about their duties.
In order to form alliances with animal spirits, Northwest Coast shamans deprived themselves of food, water, and sleep during long vigils in the wilderness. The spirits that came to them in dreams and visions at such times could then be summoned to assist in healing and divinatory seances.
Much of the ceremonial paraphernalia represents the helping spirits in the shaman's service. Certain examples which show complex juxtapositions of many animals and human figures depict the dreams or trance experiences of the shaman at the time he was forming his alliances.
This study places Northwest Coast shamanism in a world-wide context and demonstrates the ways its practices and beliefs are similar to those found elsewhere. Throughout the book are archival photographs - portraits of shamans and their decaying grave houses - as well as descriptions of their lives, exploits, and performances.
A discussion of the characteristics of shamanic art includes the meaning of the complex iconography, which includes such creatures as land otters, devilfish, oystercatchers, mountain goats, and drowning men.
The heart of the book is a catalogue of the objects - masks, amulets, storage boxes, drinking cups, clothing, drums, rattles, figure sculptures, soul catchers, staffs, crowns, and combs - employed by shamans.
More than five hundred photographs, a large number published here for the first time, show the finest examples of Northwest Coast shamanistic art in museums and private collections throughout the world."
library.bgc.bard.edu/catalog/ocn318673037
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The Sheldon Jackson Museum collections include objects from each of the Native groups in Alaska: Tlingit, Haida, Tsimshian, Aleut, Alutiiq, Yup’ik, Inupiat and Athabascan.
The collections strongly reflect the collecting done by founder, Sheldon Jackson, from 1887 through about 1898 during his tenure as General Agent of Education for Alaska.
Other objects were subsequently added to the collection, but in 1984 when the museum was purchased by the State of Alaska, the decision was made to add only Alaska Native materials made prior to the early 1930s.
The Yup’ik and Inupiat objects are the most widely represented and have the broadest selection of materials but in no way provide a comprehensive picture of the cultures.
The collection of objects from Southeast Alaska is rich in objects made for sale around the late 1800s and into the early 1900s. Spruce root baskets, engraved silver objects, and bead work are important representatives of traditional skills and materials being used to make items for sale.
However, there is only a smattering of stone tools, fishing and hunting equipment and clothing in the collection. Many everyday utilitarian objects are missing.
Sheldon Jackson only traveled deep into the interior once in his career in Alaska. He or his representative collected only a dozen Athabascan objects during that time. Athabascan objects have been added but well over half of the 106 Athabascan objects came to the museum after 1960.
Aleut and Alutiiq materials are even more rare. By the time Jackson and his teachers began collecting in the Aleutian Islands and Prince William Sound, those cultures had been impacted by Western cultures for nearly 150 years.
Museums in St. Petersburg, Russia and Finland are rich in material culture from those areas. Jackson was able to purchase made-for-sale grass baskets, gut bags and model baidarkas, but little else in the way of materials representing the people of the Aleutians.
To better represent the cultures of Alaska, the Museum is seeking items relating to certain areas and subjects. The following is a partial list:
Tlingit spoon bag, spoon mold, digging stick, bentwood box with woven cover and other utilitarian objects.
Aleut/Alutiiq clothing, kayak bailer, wood carvings and utilitarian objects.
Athabascan masks and utilitarian objects.
Any objects collected by Sheldon Jackson.
What lies in the time before twilight is a certain truth. It falls with a sureness soon to come, a tangible passage of time. Strange muted sighs from the distant rise of rolling hills, and all that hides in the valley between this South and that North Mountain. The impracticality of old cemeteries draws me out, imagining heavy stones and bodies borne up steep slopes. They don't plant people like they used to, searching instead for some flat field to make the mourning easier. But it seems to me that the wonder is worth it, building up a little beauty so the sadness has more meaning. Spires perched like birds in precarious position, heartfelt hilltop history, over my head and underfoot. When the bottom falls out of my memories, it's a six foot drop at most. But from the top of this slope, it's a sleepy descent, all the way down to the past.
April 30, 2020
Old Tremont Cemetery
Tremont, Nova Scotia
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Machu Picchu is tangible evidence of the urban Inca Empire at the peak of its power and achievement—a citadel of cut stone fit together without mortar so tightly that its cracks still can’t be penetrated by a knife blade.
The complex of palaces and plazas, temples and homes may have been built as a ceremonial site, a military stronghold, or a retreat for ruling elites—its dramatic location is certainly well suited for any of those purposes. The ruins lie on a high ridge, surrounded on three sides by the windy, turbulent Urubamba River some 2,000 feet (610 meters) below.
Scholars are still striving to uncover clues to the mysteries hidden here high in the eastern slopes of the Andes, covered with tropical forests of the upper Amazon Basin. Machu Picchu appears to lie at the center of a network of related sites and trails—and many landmarks both man-made and mountainous appear to align with astronomical events like the solstice sunset. The Inca had no written language, so they left no record of why they built the site or how they used it before it was abandoned in the early 16th century.
Landscape engineering skills are in strong evidence at Machu Picchu. The site’s buildings, walls, terraces, and ramps reclaim the steep mountainous terrain and make the city blend naturally into the rock escarpments on which it is situated. The 700-plus terraces preserved soil, promoted agriculture, and served as part of an extensive water-distribution system that conserved water and limited erosion on the steep slopes.
The Inca’s achievements and skills are all the more impressive in light of the knowledge they lacked. When Machu Picchu was built some 500 years ago the Inca had no iron, no steel, and no wheels. Their tremendous effort apparently benefited relatively few people—some experts maintain that fewer than a thousand individuals lived here.
If you do not press L their is no point watching at all
My award from you is a word or few, not a flashing/dancing/jumping or singing copy/paste item.
Please do not feel offended if I erase those comments.
The use of this photo is allowed only with written authorization of Svante Oldenburg
There are approximately 8,076 spikes per kilometre of railroad track, and with the old Central Railway running 85km from Middleton to Bridgewater, that's something in the range of 686,460 spikes. In the process of scrapping this line in 1983, you can be sure a few hundred were missed. The remoteness keeps foot traffic low, so most relics like these get overlooked by folks zooming past on ATVs. I spotted this rusty dagger while casually kicking loose rocks to the shoulder, doing the hike north from Alpena Rapids. I briefly thought about carrying it home, but decided against it. Through my thirties, I've started understanding that things don't mean much to me. I'm driven by stories and pictures, memories recorded, but not so much by objects. So I carried the spike so far as the big dam, then left it on a boulder by the bridge. Someone else can bring it home with them. I've already had the experience that matters, a tactile connection, brief visit to a tangible past. Look close and you can see my missing pinkie fingertip. I lost it to a childhood accident, slammed in the hinge side of a door when I was crawling around. I think of it as my reminder to always leave a little behind.
November 27, 2025
Nictaux South, Nova Scotia
Year 19, Day 6591 of my daily journal.
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White Fire. Striking vivid orange blue and white sunset over water through cloud with a tree studded silhouetted horizon..
Photographed at Bantry Bay near the old explosives stores building, Middle Harbour, Sydney, Australia..
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The Bantry Bay Explosives Magazine Complex is located in Garigal National Park and managed by the NSW National Parks and Wildlife Service. The Complex occupies an area of around 14 hectares on both the eastern and western shores of the bay and consists of numerous buildings, seawalls, tram lines, wharves, slipways, tracks, dams, and other above-surface remains as well as a number of archaeological sites. It is an important but little known part of the cultural, and natural, heritage of Sydney..
Bantry Bay is part of the traditional lands of the Guringai/Gai-Mariagal Aboriginal people. The Guringai/Gai-Mariagal people made extensive use of the area for tens of thousands of years prior to the arrival of European settlers. Numerous rock engraving sites and shell middens, some dated to at least 4,600 years old, can still be seen in the area today as tangible evidence of this Aboriginal past. It is likely that Aboriginal people continued to use the area for fishing and shellfish collecting until they were gradually dispossessed by European settlement and disease..
European use of this area in the early 1800s initially focussed on lime burning, fishing, oyster gathering and wood cutting. The pioneer of the area, Constable and Crown Lands Ranger James French (after whom Frenchs Forest is named), started the first local timber industry around 1856. He located his sawmill on the hill above Bantry Bay, and made a track for his bullock team to drag the wood down to a wharf, from where it was shipped to Sydney. This “Old Bullock Track” remains today, with cobbles, culverts and the remains of a stone bridge visible amongst the bushland..
Facebook.com/michmutters
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Whispers of Souls: form makes it tangible from the abstract.
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Art is a step from what is obvious and well-known toward what is arcane and concealed.
- Khalil Gibran
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Shot set up with a white sheet and light taken with #Procamera. Apps used: PS Touch, Snapseed, Camera Awesome #mextures, Wood camera, Image Blender, Superimpose
#ampt_community #wearejuxt #iphone #art #photography
. . . did I ever think I could have achieved this comfort level dressed en femme?
Sure, it was exciting and thrilling and fun, but how did I foresee my future?
Fact is, I don't know
---- Matera (Italy), beginning of October, 2019 -----
---- Matera (Italia), inizio d’ottobre, 2019 -----
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
Qi Bo's photos on Flickr Hive Mind
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A trip to…Matera: it is an Italian city of Basilicata, its origins are very ancient, remote; Matera is characterized by the so-called "Sassi", they are a complex of districts consisting of Houses-Caves dug into the rock; in the past these houses-caves were evacuated (in 1952) by order of the then government, to prevent the Sassi from being a tangible manifestation of a poor and backward southern Italy, with the simultaneous construction of districts made up of new houses. Currently things have changed, the Sassi have been rediscovered and enhanced, they host B & Bs, restaurants, museums, exhibition halls in which to find exhibitions of modern art, and, thanks to their rediscovery, the Sassi have been recognized by UNESCO, heritage of humanity, and moreover, Matera has also been elected Capital of Culture of 2019.
The Sassi of Matera are therefore districts that constitute the oldest part of the city, there is the Sasso Barisano, there is the Sasso Caveoso, which are separated from each other by a Big Rock on which there is the "Civita", which is the central part of the old city, on top of which is the cathedral and noble palaces. In ancient times the inhabitants of the Sassi, exploiting the friability of the calcareous rock, created a complex system for conveying water into canals, which led to a network of cisterns, thus water, a precious element for those lands, immediately became available.
The Patron Saint of Matera is the Our Lady of Bruna, whose denomination has uncertain origins (there are various theories), I have photographed Her icon, visible in the Mother Church, and the Her statue with the Little Jesus in Her arms, which is carried in procession. The Sassi, due to their landscape features, were very often chosen to set a large number of films, just to mention a few, "the roaring years" by Luigi Zampa, "the Gospel according to Matthew" by Pier Paolo Pasolini, "Christ stopped at Eboli" by Francesco Rosi," the Passion of Christ" by Mel Gibson.
In my wanderings among the Sassi, I met many Street Artists, among them the artist Benedict Popescu, I also met a very nice Capuchin friar with a passion for photography, some sweet girls, Koreans, Beneventans and of Matera.
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Una gita a…..Matera: essa è una città italiana della Basilicata, le sue origini sono antichissime, remote; Matera è caratterizzata dai cosiddetti “Sassi”, sono un complesso di rioni costituiti da Case-Grotte scavate nella roccia; queste Case-Grotte in passato furono evacuate (nel 1952) per ordine dell’allora governo, per impedire che i Sassi potessero essere una manifestazione tangibile di una Italia meridionale povera ed arretrata, con la contemporanea realizzazione di rioni costituiti da case nuove. Attualmente le cose sono cambiate, i Sassi sono stati riscoperti e valorizzati, essi ospitano B&B, ristoranti, musei, sale espositive nelle quali trovare anche mostre di arte moderna, e, grazie alla loro riscoperta, i Sassi sono stati riconosciuti dall’UNESCO, patrimonio dell’umanità, ed inoltre, Matera è stata anche eletta Capitale della cultura del 2019.
I Sassi di Matera sono quindi rioni che costituiscono la parte più antica della città, c’è il Sasso Barisano, c’è il Sasso Caveoso, i quali sono separati tra di loro da una rocca sulla quale c’è la Civita, che è la parte centrale della città vecchia, sulla cui sommità si trova la cattedrale ed i palazzi nobiliari. In epoche remote gli abitanti dei Sassi, sfruttando la friabilità della roccia calcarea, si ingegnarono nel realizzare un complesso sistema di convogliamento delle acque in canali, che conducevano in una rete di cisterne, in tal modo l’acqua, elemnto preziosissimo per quelle terre, diveniva immediatamente disponibile.
La Santa Patrona di Matera è la Madonna della Bruna, la cui denominazione ha origini incerte (vi sono varie teorie), io ho fotografato sia la sua icona, visibile nella chiesa Madre, sia la statua con in braccio il Bambinello, che viene portata in processione. I Sassi, per le loro caratteristiche paesaggistiche, sono stati molto spesso scelti per ambientare numerosissimi film, solo per ricordarne alcuni, “gli anni ruggenti” di Luigi Zampa, “il Vangelo secondo Matteo” di Pier Paolo Pasolini, “Cristo si è fermato ad Eboli” di Francesco Rosi, “la Passione di Cristo” di Mel Gibson.
Nel mio peregrinare tra i Sassi, ho incontrato molti Artisti di Strada, tra essi l’artista Benedict Popescu, credo unico nel suo genere, ho incontrato inoltre, un gentilissimo frate cappuccino con la passione della fotografia, delle dolcissime ragazze, Coreane, Beneventane e di Matera.
The opposite is obvious.
The tangible created when we work and move, and particularly when we wild up.
But there is also incredible value found in the stillness and in the quite.
Take a deep breath and allow it in.
Not cautious, but mindful.
Not lackadaisical, but reflective.
Not dormant, but renewing.
because it's worth remembering:
Right now, I am 22 years old. I prefer telling stories about other people to telling stories about myself. I wake up early in the morning to savour the quiet and to listen to my God. I may not see my family this year, and I am having to learn to be okay with that. I love ukuleles, I love film cameras, I love the traces that people leave after them all over this vast city, I love double decker buses and fast tube lines and unevenly cobbled streets and losing afternoons in the National Portrait Gallery.
I hate saying no. I hate saying go away. I hate that what I long for is not what I'm ready for. I hate that you have to wait.
(forty four)
A copy of an actual photograph of Jesus Christ which formed on His burial cloth. Negative image (computer enhanced, with added colour to blood stains).
The herringbone weave of the cloth can be seen (when enlarged). The white lines are creases in the cloth.
This is a unique, photographic image (miraculously?) formed by a process unknown to science.
The only such example of its kind from any historical or modern period.
Unable to be replicated or explained by any known photographic or artistic technology.
Tangible proof of the crucifixion and resurrection of Jesus and confirmation of the Christian Gospel narratives.
A summary of scientific and historical evidence supporting the authenticity of the Shroud of Turin as the ancient burial cloth of the historical Jesus of Nazareth.
newgeology.us/presentation24.html
The shroud - new evidence.
www.asis.com/users/stag/shroud/newevid.html
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"This is a Nuclear Video Exploding with information about how the image was formed on the Shroud of Turin.
The Shroud of Turin is an x ray, Photographic, Holographic Image.
It has properties of
1. X Ray Photo
2. Photo Negative
3. Hologram
Yet none of these are an accurate description of the Shroud. The Shroud is a one of a kind image in which a new word would have to be invented to describe it.
The Shroud is not a painting or contact image of any kind with the exception of the blood stains which are a result of body to cloth to contact. The image is over the blood stains and is a separate event that occurred 2-3 days after the blood stains made contact with the cloth.
The Shroud of Turin is not a painting, X Ray Fluorescence, micro chemistry, ultra violet and infrared evaluations confirm this.
The painting rumor was started by Walter McCrone who found some microscopic traces of paint on some sticky tape samples delivered to him in Chicago by Ray Rodgers of the Shroud of Turin Research Project on Friday October 13th, 1978. It was a bad luck day for the Shroud. He received a total of 30 to 33 of these sticky samples. A few of them had microscopic traces of paint on them. This should not have come as a surprise to him or anyone; this is what we would expect to see knowing
The Savoy Family (who purchased The Holy Shroud of our Lord in 1453 for what would be a multi- million dollar real estate deal today) allowed artists to attempt to replicate the Shroud. No less than 52 different times they allowed artists to lay their paintings on top of the Shroud after completing their replica as a way of sanctifying it, or attempting or hoping some of its “power” would rub off on their painting. The Savoy Family kept very detailed records of most everything did with the Shroud, each time it was moved and when it was displayed. The forensic evidence on the Shroud is in agreement with the historical record. The historical record states the Savoy Family allowed artists to lay their paintings on it and of course we did indeed find trace evidence of this. Does that mean the image on the Shroud is paint? Of course not!
People like to touch famous things and or attempt to replicate them. Of course during this process microscopic traces of this paint got on the Shroud. If one was to scrape them all together and put them in one pile on the Shroud you would need a microscope to see them. They do not make up the Shroud image. There are many foreign objects on the Shroud, such as pollens from Israel and Turkey and a rare calcite from soil found in tombs around the Damascus Gate, but that does not mean the Shroud image is made up of pollens and dirt!
When McCrone was confronted with this information he stomped out of the room like a 5 year old baby and refused to listen. He could not admit he was wrong. We all make mistakes. It is important we stand up like a man and admit it. He could not bring himself to do that. Pride goes before the Fall. He fell.
To this very day this painting rumor still persists. If after watching this video you still think the Shroud is a painting or contact image, God help you.
I have spent the last 7 years of my life studying the Shroud, I know the forensic evidence and I know the scripture that relates to it. What you are hearing and seeing in this video is accurate information.
Know right now, in your heart, mind and body and soul. The Shroud is authentic, The witness to the Resurrection.
To the viewer: I hope and pray you are baptized in the Holy Spirit as a result of watching this video, in the case you are not. Amen.
This subject line in the video was inspired by John Klotz who wrote one of the best books on the Shroud of Turin ever written and is writing a 2nd book which involves the subject of life after death, near death experiences. This is not a promo for his book "Quantum Christ" but if you are interested:
johnklotz.blogspot.com/2015_01...
This is a famous quote from that book
If the Shroud of Turin is the actual burial cloth of Jesus Christ, it is arguably the most important object on the face of the earth with the possible exception of nuclear weapons."
John C. Klotz
I don't normally recommend books, or post links to them on this channel but I recommend this book written by Isabelle Esling who is baptized in the The Holy Spirit.
This is a book for someone who has come to believe but wants to come to know and learn more about a "Higher Power Intelligence/God/Jesus/Yeshua"
Please go to this link to see and read more. FREE INFO.
encounterwithyeshua.blogspot.c...
The new astonishing phenomenon detected on the Shroud
Scientific evidence.
Carbon dating of the Shroud debunked.
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The real theory of everything.
www.flickr.com/photos/truth-in-science/34295660211
www.flickr.com/photos/truth-in-science/34295660211/in/dat...
Evolution timescale refuted by field and experimental evidence.
Rapid strata formation.
President of Ukraine Volodymyr Zelenskyy had a meeting with Minister of Foreign Affairs of the Kingdom of Saudi Arabia Prince Faisal bin Farhan Al Saud, who arrived on a visit to our country.
Welcoming the representative of the Saudi government to Kyiv, the Head of State noted that it was the first official visit of the Foreign Minister of the Kingdom of Saudi Arabia to Ukraine since the establishment of diplomatic relations.
"We appreciate this visit and consider it as an important evidence of support for Ukraine, especially on the anniversary of the beginning of full-scale aggression. As far as I know, this is the first visit in more than 30 years of our independence. I hope that it will give a new impetus to further intensification of our mutually beneficial dialogue," the President emphasized.
Volodymyr Zelenskyy thanked the government of Saudi Arabia for its tangible support for Ukraine in the face of Russia's ongoing armed aggression: "First of all, I want to thank you for supporting peace in Ukraine, our sovereignty and territorial integrity. This is very important for us and our people, our society."
A landmark building within the streetscape of Wynnum, the former Wynnum Ambulance Centre is a testament to the considerable community support for the ambulance service. The building is tangible evidence of the reliance of the ambulance service on community goodwill, community financial support, volunteer labour and dedication of ambulance service employees.
During the early days of settlement in Brisbane the police assumed responsibility for treating accident victims and from 1884 the Defence Ambulance Corps of the Moreton Regiment shared some of this responsibility.
The City Ambulance Transport Brigade (CATB) was formed at a meeting of concerned citizens in September 1892 following the unsatisfactory management of an accident at a horse racing meeting. It was established that the principal object of the Brigade was to render first aid to the wounded and transport the sick and injured to hospital. Headquarters were established in the Courier Building (cnr Queen and Edward Streets, Brisbane). This was the first ambulance service in the world to employ paid staff.
Public use of the ambulance service steadily increased and voluntary subscriptions proved insufficient to meet associated outlays. In 1895 the CATB secured supplementary funding with the Queensland State Government agreeing to provide a 1:1 subsidy against subscriptions.
The first purpose-built ambulance building for Queensland was constructed in 1897 in Wharf Street, Brisbane. This building established the precedent for subsequent ambulance station designs. The design incorporated a two-storeyed building housing plant and staff facilities at ground level and a residence on the upper level. Large ground floor openings with bi-fold doors allowed ready access directly to the street for quick exit of horse and sulky.
During the late 1890s and early 1900s the ambulance service expanded establishing a number of centres throughout Queensland including Charters Towers (1900), Townsville (1900), Rockhampton (1901), Warwick (1901), Ipswich (1901), Toowoomba (1902), Mackay (1903), Ravenswood (1904) [entry in the Heritage Register 600445], Cairns (1904) and Bundaberg (1907).
In 1902 the Brigade was restructured to better manage the rapidly expanding operations and to recognise the importance and contribution of regional ambulance centres. The reorganised entity became known as the Queensland Ambulance Transport Brigade (QATB). New headquarters were established in Ann Street, Brisbane in 1910.
By 1921, the earlier 1897 ambulance station model had developed and refined to become formally accepted as the preferred planning strategy for residential ambulance stations. Station buildings were to be two-storeyed with facilities for garaging, casualty treatment, first aid, sleeping quarters for ambulance bearers and a committee meeting room at ground level; superintendent's accommodation was provided at the upper level. This two level arrangement was preferred because it allowed the superintendent direct access to his work and as it housed the operations and the residence in one building under one roof it was considered to be more economical than constructing two separate buildings. In larger centres recreational facilities were also provided as well as accommodation for additional staff who slept on the premises. Ambulance stations of substantial scale and street presence were constructed throughout Queensland as a consequence of this policy.
Government assistance to QATB continued through direct subsidy and the Department of Public Works was responsible for the design and construction of the ambulance station buildings. From 1927 there were a number of legislative changes culminating in 1991 when the QATB was disbanded and the Queensland Transport Ambulance Service (QAS) was established as a division of the Bureau of Emergency Services.
This comment appearing in the Brisbane Telegraph in 1902 offers an indication of the community perception of the ambulance service at the time and it may be argued still holds true today.
There are certain established associations working for the benefit of humanity at large. Of such associations the Ambulance Brigade has now become probably one of the most familiar and important. We can scarcely bring ourselves to believe that it has not existed forever. When any association holds this position in the mind, it may be ranked amongst the permanent institutions of society.
The ambulance service in Wynnum
In the south-east of Brisbane, Wynnum is part of a foreshore along Moreton Bay. From the 1840s, this area became a popular fishing location and many early non-indigenous settlers established farms in the area. The first land sales were conducted in 1860 at Lytton and around Waterloo Bay. The railway link to Cleveland via Wynnum in 1888 was a major impetus to closer settlement with large areas of land being taken up soon after. The district expanded rapidly over the next twenty years until in 1913 the Town Council of Wynnum was constituted. The area became known as a seaside resort and the Wynnum and Manly foreshore area became increasingly popular with day visitors and holiday-makers.
Wynnum was perceived to be a "healthy" place to live with its sea breezes, protected beaches, vistas to Moreton Bay, fishing and availability of fresh local produce. The district continued to expand as the number of permanent residents increased; services and infrastructure were introduced; building activity expanded; and civic and community associations were established.
The Wynnum ambulance service was an important civic and community association to emerge in response to the expansion of the district. It had it beginnings in 1915 when a first aid post was established in a tent on the beach at Wynnum to serve holiday makers visiting the area during Easter and Christmas holidays.
As the catchment area serviced by the Ann Street Ambulance Station of the QATB expanded, sub-branches were established in satellite areas and adjoining municipalities. These were strategically located to link with existing rail infrastructure to provide connections to major hospitals in the Brisbane City centre. Wynnum was a suitable location for establishing an ambulance station being the centre of a thriving district and on the rail link to Brisbane. The Wynnum sub-branch was formed in 1919 at a public meeting took temporary accommodation in a cottage at 92 or 95 Tingal Road, Wynnum. The Wynnum Ambulance Station covers the area from Lytton to Redland Bay bordered by Doughboy Creek. Sub-committees were formed for areas within the district: Hemmant, Lindum and Tingalpa; Wynnum and Wynnum South; Manly; Birkdale; Wellington Point; Victoria Point; Redland Bay; Ormiston and Cleveland.
In 1920 the Wynnum Ambulance Committee acquired lots 248 and 249 on the corner of Tingal Road and Cedar Street, Wynnum. This site was well located; close to the railway, on the main road and close to the service district of Wynnum. This was to become the site for the 1927 ambulance station. By 1921 Wynnum was gazetted as a self-governing ambulance centre. Lot 247 was acquired in 1922 and ambulance operations and superintendent's accommodation transferred to the cottage at 35 Tingal Road, Wynnum. The front verandah functioned as a storage area and casualty room for the fledgling ambulance service until the new purpose-built station opened in 1927. A garage for the ambulance vehicle was constructed at the rear of Lots 248 and 249.
In the early days many ambulance volunteers were school teachers. Stretchers were housed at Wynnum Central School and calls for ambulance assistance were directed to the school. The teacher/teachers would place the patient on a train that was met by Brisbane Ambulance bearers at South Brisbane Station
Wynnum was a rapidly growing district and accommodation and equipment for the ambulance service soon proved to be inadequate in the face of this expansion. During 1923, the Wynnum community began fundraising for a new purpose-built Wynnum Ambulance Station to be located on the Tingal Road/Cedar Street corner. The enthusiasm of the local community for the new building and the work of the ambulance brigade was evident in the parade of floats, processions and carnival led by mounted police and the South Brisbane Scottish Pipe Band on the day of the laying of the foundation stone. Community support was evident also in their fundraising efforts for the building. By day of the laying of the foundation stone the community had raised £1384/4/5 towards the estimated £4200 construction cost of the proposed building.
The foundation stone was laid by Mrs A.Thynne, standing in for her ill husband, Colonel A.J.Thynne (first President of the QATB Central Executive). At this ceremony on 26 January 1926 she commented that an ambulance
has now become an indisputable part of every town in Queensland. That is a peculiarly Queensland characteristic, and the people are proud of the efficient service... The establishment of a centre is beneficial to any district, not only because of its evidence of one of the highest forms of civic spirit in making provision for the quick and efficient first aid to the sick and injured. It is an effort towards fulfilling one of the noblest principles of Christianity, the love of one's neighbour.
On this occasion the Hon. W.H. Barnes, MLA for the district observed that if
any one wants to find practical Christianity he could find it among those doing ambulance work. The new, up-to-date premises would be a splendid advertisement for the growing district
The new ambulance station, constructed at a cost of £3284/19/1, was opened in November 1927. The Department of Public Works contributed £750 towards the construction costs with the balance being raised by the Wynnum community. The Architectural and Building Journal of Queensland commented that the Wynnum Ambulance Brigade opened its "commodious premises" on Tingal Road and that "the design is pleasing in effect and marks a valuable step in the march of progress in the Wynnum District." The drawings were prepared by the Department of Public Works and the design is attributed to Leonard Kempster. The contractor was Mr C.R. Schriver.
Leonard James Kempster was employed as an architect in the War Office and in private practice in London in 1890s to 1911. From 1911 to 1946 he was employed in the architectural office of the Department of Public Works (Queensland). Kempster's other ambulance work includes the design and documentation of the Childers QATB station in 1924. The Wynnum Ambulance Station building design reflected contemporary thinking for ambulance stations in regional centres. It is a two-storeyed building with the superintendent's residence occupying the upper level connected by rear stairs to the lower level. Accommodation for the superintendent was provided upstairs to give the superintendent a better opportunity to attend to the work of the station. The lower level houses the ambulance plant room, office, committee room, bearers' dayroom and bedroom, casualty room and bathroom.
A QATB subcentre was established in Cleveland in 1946. As this and other subcentres were established the demand on the Wynnum Ambulance Station eased.
From 1940 to 1995 various alterations and additions were made to the sheds, garages and cottages on the property. In the 1940s a garage (2 cars), workshop and store were constructed to the rear of the station on the boundary In 1995 the superintendent vacated the upper level of the Ambulance Station building. The Tingal Road Ambulance Station ceased operation in 1996 when it was replaced by a new ambulance centre adjacent to Wynnum Hospital, Whites Road, Wynnum.
The upper level of the former Wynnum Ambulance Station is presently occupied by the Community Education Unit for the Greater Brisbane Region of the QAS and the lower level houses the Queensland Ambulance Service Historical Society (QASHS) and the Wynnum Historical Society.
Source: Queensland Heritage Register.
Making art because he needs to not because he has to. Because he just needs to get it out and onto something tangible. Selling it to people for practically nothing, giving pieces of himself away for $2.00. That is an artist.
kunst,museum,chaos
Wuchernde Formen bedecken parasitengleich die Wände, Materialberge docken wie Raumschiffe an, Farben erobern explosionsartig die Oberflächen. Der fremd gewordene Raum macht die Energie des Schöpferischen erlebbar und entwickelt eine neue Poesie.
Ongebreidelde vormen beschouwen de muren als het paradijs. stapels materiaal aangemeerd als ruimteschepen,kleuren explodeerden over de oppervlakken.de buitenaardse ordening ruim maakt de energie van het creatieve tastbaar en ontwikkeld een nieuwe poezie.
Rampant forms consider the walls like paradise .Piles of material docked like spaceships,colors exploded over the surfaces. The alien-ordening makes the energy of the creative chambre tangible and develops a new poetry.
Les formes rampantes considerent les murs comme un paradis.Des tas de materiaux amarres comme devaissaux spatiaux. Les couleurs explosaient sur les surfaces. l''espace etrangement agence rend tangible l''energie de la creation et developpe une nouvelle poesie.