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Driven by the owner here Joe Rothery tells me this truck has got over 3 million Kilometres on the clock & still looks the Dogs ...!!!!!
Here YJ53 KFU SCANIA R580 V8 164L of JOE ROTHERY INTERNATIONAL @ THE LIMES CAFE , A614 Bilsthorpe , Thursday 30th JUNE 2016
This was driven in what I'd have described a decade ago as 'in a typically French manner' (i.e. impatiently and an inch from my rear bumper when it followed me the day before this picture). French driving standards generally seemed to be pretty good from what I saw this time though, not quite as polite as the Spanish, but much less manic than the Italians. And generally speaking (excepting the owner of this Orion) with less of a tendancy to tailgate than the British.
The Juvenile Cooper's Hawk had only one thing on it's mind "A Meal" Chippy was the main course. Nature's Survival of the Fittest!
IMG_6828-1
Driven by:
Dominic Chappell, Jonathan Baker and Phil Andrews. They did not finish the race.
Dominic Chappell is now serving six years in jail for tax evasion. He has been declared bankrupt three times.
I have driven by these stacked containers on Washington SR 20 near La Conner many times and finally stopped to photograph them. I was struck once again by how simple photography is in principle, but how challenging in practice. These containers are right beside a busy highway. I stopped at a nearby service station on the opposite side and walked over to take some pictures. I had envisioned a straight on shot, but found my route blocked by a ditch filled with thistles which I did not want to brave. I could have walked the long way around to the shoulder of the highway but I did not want my family to have to sit and wait for me for while I did that. Also, standing at the side of a busy highway and not watching the traffic or having someone else to watch it for you is not the best idea. So, with my POV somewhat constrained, I took a number of shots when the view was clear of vehicles. I can see in my mind's eye the image that I wanted to get. However, I am probably going to have to settle for this image since I am always on the way to somewhere else and often pressed for time when I pass by this spot.
Ladli — which in Indian languages (Hindi and Urdu) means ‘beloved daughter.’
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LADLI - The loved one! campaign by SOCIAL GEOGRAPHIC
Photo: Firoz Ahmad Firoz
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"Worst of all, violence against women and girls continues unabated in every continent, country and culture. It takes a devastating toll on women’s lives, on their families and on society as a whole. Most societies prohibit such violence -- yet the reality is that, too often, it is covered up or tacitly condoned." (UN SECRETARY-GENERAL in International Women’s Day 2007 Message.)
“Almost every country in the world still has laws that discriminate against women, and promises to remedy this have not been kept.” (UN High Commissioner for Human Rights on the eve of International Women's Day 2008)
According to one United Nations estimate, 113 to 200 million women are “demographically missing” from the world today. That is to say, there should be 113 to 200 million more women walking the earth, who aren’t. By that same estimate, 1.5 to 3 million women and girls lose their lives every year because of gender-based neglect or gender-based violence and Sexual Violence in Conflict.
In addition to torture, sexual violence and rape by occupation forces, a great number of women and girls are kept locked up in their homes by a very real fear of abduction and criminal abuse. In war and conflicts, girls and women have been denied their human right, including the right to health, education and employment. “Sexual violence in conflict zones is indeed a security concern. We affirm that sexual violence profoundly affects not only the health and safety of women, but the economic and social stability of their nations” –US Secretary of State, Condoleeza Rice, 19 June 2008 (Read more about UN Action against Sexual Violence in Conflict www.stoprapenow.org/ ).
Millions of young women disappear in their native land every year. Many of them are found later being held against their will in other places and forced into prostitution. According to the UNICEF ( www.unicef.org/gender/index_factsandfigures.html ),Girls between 13 and 18 years of age constitute the largest group in the sex industry. It is estimated that around 500,000 girls below 18 are victims of trafficking each year. The victims of trafficking and female migrants are sometimes unfairly blamed for spreading HIV when the reality is that they are often the victims.
According to the UNAIDS around 17.3 million, women (almost half of the total number of HIV-positive) living with HIV ( www.unaids.org ). While HIV is often driven by poverty, it is also associated with inequality, gender-based abuses and economic transition. The relationship between abuses of women's rights and their vulnerability to AIDS is alarming. Violence and discrimination prevents women from freely accessing HIV/AIDS information, from negotiating condom use, and from resisting unprotected sex with an HIV-positive partner, yet most of the governments have failed to take any meaningful steps to prevent and punish such abuse.
United Nations agencies estimated that every year 3 million girls are at risk of undergoing the procedure – which involves the partial or total removal of external female genital organs – that some 140 million women, mostly in Asia, the Middle East and in Africa, have already endured.
We can point a finger at poverty. But poverty alone does not result in these girls and women’s deaths and suffering; the blame also falls on the social system and attitudes of the societies.
India alone accounts for more than 50 million of the women who are “missing” due to female foeticide - the sex-selective abortion of girls, dowry death, gender-based neglect and all forms of violence against women.
Since the late 1970s when the technology for sex determination first came into being, sex selective abortion has unleashed a saga of horror in India. Experts are calling it "sanitized barbarism”. The 2001 Census conducted by Government of India, showed a sharp decline in the child sex ratio in 80% districts of India. In some parts of the country, the sex ratio of girls to boys has dropped to less than 800:1,000.
It's alarming that even liberal states like those in the northeast have taken to disposing of girls. Worryingly, the trend is far stronger in urban rather than rural areas, and among literate rather than illiterate women, exploding the myth that growing affluence and spread of basic education alone will result in the erosion of gender bias. The United Nations has expressed serious concern about the situation.
Over the years, laws have been made stricter and the punishment too is more stringent now. But since many people manage to evade punishment, others too feel inclined to take the risk. Just look at the way sex-determination tests go on despite a stiff ban on them. Only if the message goes out loud and clear that nobody who dares to snuff out the life of a female foetus would escape effective legal system would the practice end. It is only by a combination of monitoring, education, socio-cultural campaigns, and effective legal implementation that the deep-seated attitudes and practices against women and girls can be eroded.
The decline in the sex ratio and the millions of Missing Women are indicators of the feudal patriarchal resurgence. Violence against women has gone public – whether it is dowry murders, the practice of female genital mutilation, honour killings, sex selective abortions or death sentences awarded to young lovers from different communities by caste councils, rapes and killings in communal and caste violence, it is only women’s and human rights groups who are protesting – the public and institutional response to these trends is very minimal.
Millions of women suffer from discrimination in the world of work. This not only violates a most basic human right, but has wider social and economic consequences. Most of the governments turn a blind eye to illegal practices and enact and enforce discriminatory laws. Corporations and private individuals engage in abusive and sexist practices without fear of legal system.
More women are working now than ever before, but they are also more likely than men to get low-productivity, low-paid and vulnerable jobs, with no social protection, basic rights nor voice at work according to a new report by the International Labour Organization (ILO) issued for International Women’s Day 2008. Are we even half way to meeting the eight Millennium Development Goals?
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Unite To End Violence Against Women!
Say No To Sex Selection and Female Foeticide!!
Say No To Female Genital Mutilation!!!
Say No To Dowry and Discrimination Against Women!!!!
Say Yes To Women’s Resistance !!!!!
Educate & Empowered Women for a Happy Future !!!!!!
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This is a place I have driven by many times and today I decided to stop and look around. I found this beautiful statue guarding the Temple, they were on either side of the entrance.
Sooooo much cooler than my car which is still driven by stinking old gasoline! Like gazillion times cooler.
This is going to be my "Words" cliche entry for Cliche Saturday scavenger hunt. I was not driving when I took this, I swear. I had to restrain myself plenty of times from pulling out an iPhone while on the road and trying to take a shot of a fun bumper sticker on a car right in front of me. I may still do it one day, but this will be the whole new level of crazy! HCS, everyone!
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
I think it's pretty cool to see one being daily driven like this. Might need a little freshening up, but still - mad respect for the owner.
crop based on suggestions by glenbourne at home
I decided to crop like glenbourne suggested, as this one is far closer to what I saw that moment. the other crop might be more interesting with regards to composition, shadows and details - but I did not really notice this part of the scene rather than the whole scene..
Leyland Olympian / Roe A97KUM about to leave Dewsbury on its mammoth journey for a new life and future. Quite fitting it came back to West Yorkshire for old times sake and did very useful work serving as an outreach at a local church for around 4 years. It will be replaced by a newer less interesting vehicle shortly. Lovely to drive something which fits like a pair of old slippers, rather than something which is a headache or gives you one. "Bonne Chance" friend.
Overfishing has driven oceanic whitetips from the most abundant large animals on earth to a "vulnerable" listing on the IUCN Red List in under forty years, adding a bitter edge to an otherwise exciting and hypnotic experience with this graceful species.
We've driven by this old school building many times without knowing its history or even that it is now a community center, an unlikely feat for a hamlet such as Chinook, Washington.
I took artistic license with this photo. Part of the school building's renovations included a new cement sidewalk from the street to the front door. Since it's new, it's blindingly white. Before the renovation, there was no such walk, so I used Photo Shop to reverse that part of the project.
Here's a Chinook Observer article from 2005, when today's superbly restored buildings were just a gleam in the eye of dedicated volunteers:
CHINOOK - About 300 people stormed Joanne Friberg Leech's Sanctuary Restaurant in Chinook last week for the first Friends of Chinook School fundraiser dinner. The spaghetti-and-all-the-trimmings event brought in about $7,500 to help with the restoration of the historic school and gymnasium.
Leech, who was born and raised in Chinook and went through all eight grades at the school, donated the restaurant for the evening. The food was donated, including 100 pounds of hamburger. "We even sold the leftovers," Leech said. "I'm so glad I had the sauce made the day before because people came in the doors early."
An assortment of cakes was supplied by Chinook Coffee Company.
Eileen Wirkkala, president of the Friends group said besides paid admissions to the dinner, lots of people added donations at the door. "The silent auction held during the event was very successful," she said. "A highlight of the auction was an original watercolor by Carol Johnson, a Friends board member, a 'mosaic' of the school and children at play.
"It wasn't just the money that made the event a success," Wirkkala said. "Everybody had so much fun. We're happy so many people support our project. It was such a diverse group of people who came not only from Chinook, but Ocean Park, Ilwaco, Long Beach and Astoria. The school is dear to the hearts of many people, not just old-time residents but people new to the community."
Board members Loma Leback Billups, Carol Johnson and Ron Williams all graduated from Chinook Grade School and at least two graduates who have moved away from the area came to join the fun.
Dawn Church Wallace, who is a math teacher in Columbia, Mo., came to Chinook with her husband. She attended Chinook School for eight years and said she was "the tallest one in the school. There were five people in my class," she said, with first through eighth grades in two rooms. "I had a great time" all through school, she said. "We had really good teachers - Julia Hall, Mr. Sundstrom, Mr. Pilafian, Miss Melhuishgat and Irene Tinker. Mrs. Tinker taught first and second grades and she was fabulous. She could teach a carrot to read."
Wallace remembered that her uncle Joe was in the eighth grade when she was in the first grade. "He got to ring the bell for recess," she said. "I have such good memories of Chinook School."
Stories of the good times at the school were flying at the dinner. It wasn't just the students, Wirkkala said. "It was also the warmth the school provided to the community during the Depression and war years when the people of the town needed a safe place to go." She said USO dances for the troops stationed at Fort Columbia were held at the school as well as baseball games and hometown basketball from the 1930s to the '50s which is still discussed at coffee shops. Plays were staged by Angus Bowmer while he was a teacher in Chinook and before he went on to achieve worldwide fame as the founder of the Ashland, Ore., Shakespearean Festival.
Ron Williams, of Chinook, said he spent five years at the school before he transfered to Long Beach. He remembers first, second and third grades all taught in one room. "There was one person in first grade and three each in the second and third grades," he said. "It was great. We basically all learned the same thing." His grandfather, David R. Williams, was the clerk of the school board when the gym was built in 1921 and that his father, brother, aunts and cousins all attended the school. His aunt, Ellla Williams Gottberg, was a school board member when he was attending the school.
"It's the soul of the community," Williams said. "We had halloween parties, Christmas plays and sports in the gym. There was a big rivalry with Ilwaco." His great-uncle, Lewis R. Williams, was the school's principal and superintendent in the 1920s and wrote two books - "Chinook by the Sea" and "Our Pacific County."
Patty Timmen Krager and her husband attended the school, grew up and got married. She said they had been looking at an old school yearbook and discovered her future husband was standing behind her in a school picture. "He said he always knew me," she remembers. "It must have been love at first sight although I was younger than he was when we were in school." The Kragers, both retired teachers, keep a home in Chinook and have taught Yupik Eskimo children at the village of New Tok in Alaska for seven years. They also taught in Ilwaco, Long Beach and Naselle.
Judy Church Williams, who still lives in Chinook, attended all eight grades at Chinook and says her eldest daughter was at the school for three years. Williams said she will always remember the fifth-grade teacher, whose name she couldn't remember, because he was always late for school.
With the kind of support for the school project that was apparent last week, the Friends group, founded in 2000, can look forward to success with their mission - to have the school and gymnasium once again the center point for the community, utilizing the facilities for cultural, educational, social, recreational and economic uses.
The school and gymnasium were indeed the soul of the community after the school was built in 1924. It closed in the 1970s and Friends members want it to once again be a center of services to Chinook and surrounding communities. A $24,000 pre-planning grant was received from the state and an evaluation of the facilities has been completed by an architect for the estimated $1.3 million restoration.
"Our plan for Chinook School is to make it available for low- to moderate-income youth and elderly," Wirkkala said. "Numerous service groups and agencies will participate and they will help provide the operating revenue for the school once the restoration is complete. In addition, we want the buildings available for community use for public and private meetings and gatherings." She said the Chinook Indian Tribe will continue to occupy office space and operate a food bank. The school field will continue to be used for T-ball, baseball and soccer.
"The Friends of Chinook School are very appreciative of the cooperation, assistance and support give by the Ocean Beach School District Board of Directors and the Pacific County Commissioners for the school project," Wirkkala said.
Membership in the group is open and donations are always appreciated, Wirkkala said, and more fund-raisers are on the horizon.
www.chinookobserver.com/news/fans-of-historic-chinook-sch...
To see how those dreams came true, click here:
One of the most delightful tourist attractions along the Geelong's Waterfront Esplanade is the beautifully restored 1892 portable steam driven, hand-carved wooden carousel.
Constructed around 1892, the Armitage-Herschell portable steam driven, hand-carved wooden carousel one of only 200 in operation around the world. It features thirty six Charles Dare horses (twenty-four of which are original) and two dragon chariots (both faithful replicas). The horses still have their original real horse hair tails! There are forty eight original artworks adorning the carousel's boards, inspired by the legend of King Arthur. Each painting has a Holy Grail, and the artist's initials JMC hidden within it.
The carousel can be traced back to the Mordialloc Pier where it operated after the Great War through until the 1950s. It was purchased by the Steampacket Place Development Board in 1996 and painstakingly restored. Each horse alone took over three hundred hours to restore as forty layers of paint were stripped back to reveal the brilliant original colours. All in all the restoration took three years and cost thirty million dollars to achieve. The time, effort and money has been well invested I think, as you cannot help but smile when you see the carousel in action; with or without playful children on board.
The Allan Herschell Company Incorporated was established in 1873 as a general engineering shop. Later it became the North Tonawanda Engine and Machine Company. In 1876 the name of the company was changed to the Armitage-Herschell Company. The first carousel built by the company was in 1883. By 1891 over one hundred carousels had been manufactured. Despite the commercial success, poor investments saw the company placed in receivership in 1899. Consequently, Allan Herschell and his brother-in-law, Edward Spillman, bought the ailing company and formed a new firm called the Herschell-Spillman Company. They went on to become the largest carousel manufactures in America.
It is believed that the horses were hand-carved by the American master carver, Charles Dare, which makes them very rare.
I spent a delightful, if rainy, Saturday with the Famous Flickr Five+ Group along the Geelong Waterfront where we walked from central Geelong Esplanade to the Art Deco Eastern Beach.
Geelong is a city southwest of Melbourne, Australia. Lining its bay, The Waterfront Esplanade has a Nineteenth Century American carousel, a curved art deco boardwalk and sea bath at Eastern Beach, and scattered along the waterfront are more than one hundred bollards painted as colourful sculptures chronicling city history by artist Jan Mitchell. The Geelong Botanic Gardens lie at the eastern end of the bay. The central National Wool Museum hosts changing exhibitions, concerts and entertainments.
I have not done a music vid for a bit, so I thought I'd just do a quick vid of one of my warm up exercises- based off the riff from Rush's song Driven from Test For Echo.
F/R: 20x10.5
ACE Driven D716
Metallic Silver Machined Face
www.acealloywheel.com/TRUE_DIRECTIONAL_DESIGN_1_1092.html
For inquiries: customerservice@kaneiusa.com
The notorious Burma-Siam railway, built by Commonwealth, Dutch and American prisoners of war, was a Japanese project driven by the need for improved communications to support the large Japanese army in Burma. During its construction, approximately 13,000 prisoners of war died and were buried along the railway. An estimated 80,000 to 100,000 civilians also died in the course of the project, chiefly forced labour brought from Malaya and the Dutch East Indies, or conscripted in Siam (Thailand) and Burma (Myanmar).
Two labour forces, one based in Siam and the other in Burma worked from opposite ends of the line towards the centre. The Japanese aimed at completing the railway in 14 months and work began in October 1942. The line, 424 kilometres long, was completed by December 1943.
The graves of those who died during the construction and maintenance of the Burma-Siam railway (except for the Americans, whose remains were repatriated) were transferred from camp burial grounds and isolated sites along the railway into three cemeteries at Chungkai and Kanchanaburi in Thailand and Thanbyuzayat in Myanmar.
KANCHANABURI WAR CEMETERY is only a short distance from the site of the former 'Kanburi', the prisoner of war base camp through which most of the prisoners passed on their way to other camps. It was created by the Army Graves Service who transferred to it all graves along the southern section of railway, from Bangkok to Nieke.
Some 300 men who died (most from a Cholera epidemic in May/June 1943) at Nieke camp were cremated and their ashes now lie in two graves in the cemetery. The names of these men are inscribed on panels in the shelter pavilion.
There are now 5,085 Commonwealth casualties of the Second World War buried or commemorated in this cemetery. There are also 1,896 Dutch war graves and 1 non-war grave.
The only time I had ever driven to Kananaskis (the mountain area closest to Calgary) was just over two months ago, on 10 September 2016, when my daughter came with me. I wasn't too impressed with the photos I took on the first drive, especially of the little Pikas (Rock Rabbits) that we went to see, so I wanted to go and spend a bit more time with them. A drive like this also helps me get a bit more used to my newish car - before the roads are covered in snow and ice! Actually, there was a bit of snow on the ground in places close to the trees when I got to where I see these Pikas.
These little Pikas/Rock Rabbits are only 6-9 inches long and are usually seen far away, running backwards and forwards over the scree (talus) slope that they call home. Very occasionally, one happens to come close, usually for just a quick moment. This one was busy collecting plants to take back to its cave.
"The American Pika is a generalist herbivore. It eats a large variety of green plants, including different kinds of grasses, sedges, thistles and fireweed. Although pikas can meet their water demands from the vegetation they eat, they do drink water if it is available in their environment. Pikas have two different ways of foraging: they directly consume food (feeding) or they cache food in haypiles to use for a food source in the winter (haying). The pika feeds throughout the year while haying is limited to the summer months. Since they do not hibernate, pikas have greater energy demands than other montane mammals. In addition, they also make 13 trips per hour to collect vegetation when haying, up to a little over 100 trips per day." From Wikipedia.
en.wikipedia.org/wiki/American_pika
A couple of short YouTube videos in case anyone wants to hear and see these absolutely cute creatures:
I left home at 8:45 am, later than I had intended, and drove southwards via Millarville and the back way to Highway 40. When I Googled the distance via that route, it gave me 134 km, 1 hr 41 mins from home to the Highwood Pass. Needless to say, I kept stopping to take photos, so it took me quite a bit longer than that. By the time I got back home around 5:00 pm, I had driven 299 km. This day was a Monday, so not too much traffic anywhere, which makes a huge difference.
The weather cooperated very nicely. A little chilly to start with and a sky full of beautiful cloud formation early morning. This time, I only drove as far as the Pikas, just north of the Highwood Pass, especially as I wanted to make sure that I wasn't driving home in the dark. The Highwood Pass, at an elevation of 2,206 m (7,238 ft) is the highest paved pass in Canada. In past years, I have hiked the Ptarmigan Cirque, Pocaterra and Arethusa Cirque trails, but can no longer do hikes like these. The scenery is breathtaking in this whole area (indeed, for the whole drive), some mountain slopes covered in forest and other mountain faces displaying bald, breathtaking folds above the treeline.
There was only one 'scary' incident on this trip. I had stopped to take a few scenic shots when I was on the backroad to join Highway 40. I didn't close my car door completely and when I went to open it, I discovered it was locked! Pressing the fob to open all the doors did nothing. I just could not get into my vehicle. Thank goodness, I had read on the Internet that there is a key hidden away inside the fob - otherwise I would never have known and might still be standing there, lol!
Feels so good to know that I am now comfortable enough to do this drive on my own, after so many years of wishing I had the courage to do it. Thank you, little Pikas, for being so adorably cute, that I was determined to drive back to see you : )
The old arc lamp driven movie projectors that are basically intact in the projection booth.
EDIT: Did a little research and these are Strong 14050 series arc lamps from the 1930's sometime. 27 volts at 40 amps to drive the arc. The "Art Deco" design alone would be a giveaway as to about when they were made. Strongs from other eras are distinctly more utilitarian looking from what I've seen -- not the smooth lines of these.
Strong invented the self-regulating carbon arc using a DC motor mechanism with the arc current going through the field windings to adjust the motor speed to feed the electrode to keep the arc current constant as the electrodes wore down.
Pretty cool and elegantly simple: DC motor speed varies inversely with the field current -- so as the electrodes wore the field current would drop and the motor would speed up bring the electrodes closer and bring the current back up. The rheostat on the back allowed fine tuning the regulator.
Made another trip to "Embersville", this time with my friend Vinny. This was his first official "urbex" trip though he's been a bit of an explorer his whole life.
The site is an old asylum and rehabilitation facility that also had buildings repurposed as as a home for troubled youth, a police station, and many other functions.
Miles and miles of steam and untility tunnels, stairs, and endless buildings, floors, and rooms. A good but quite tiring day.
Of course, I took a few pics...
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Built by J & H Edwards of Llanuwchllyn, North Wales. No invites please
We will try to get more infomation on what it was used for, we have been told it pull a cable through pulleys fastend up in the trees right along the valley.
www.youtube.com/watch?v=FaX64o71vGQ&list=RDFaX64o71vG...
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Winds have driven much of the ice in this area ashore. There is not much chance for seals to escape to the surface, to breathe... Some were cut up by the sharp ice edges as they crawled looking for water and food.
After years of being my trustworthy companion, I replaced my canon 5DM3 because it was just a huge camera that I couldn’t really take with me anywhere and therefore didn’t use it at all unless I planned some specific shots that I wanted to get with it- so I got a new camera: a Sony A7C. This photo is my first one with that new system and I hope that it is a perfect first shot to usher me into a new era of my photography journey.