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John is on the computer. Connie had given her babysitter the slip an was hiding, she quietly gets up ad goevand sits on John's foo, he looked sown and he said: (Connie, what in the name of holy fire are you doing here)? Connie said: (babysitter treated me badly). John said: (Zhou shoulden't 'that. John hugs John's ankle and said: (she mean). Connie was about to go back under the desk. John said: (ok little girl, you are coming with me).
Connie got up, ran over to John, sat on his foot, hugged his leg and started crying. John said: (Connie, it's not like you to act like this).. John said: (ok, no stalling, you are coming with me). John picks.up Connie and takes her to a small room at the end of a small hallway. John said: (some people need as distance, stay here, we need to talk)., he closed the door to the room, and slid
The sign on the to the : (occupied) part so Connie will be safe.
John sees a chart on the desk. He grabs the chart and, he called out: (Kimberly Dame, Joe Timber, Alison Leads and Paul Turk), all 4 people said: (yeah, that's us). John motioned them over to the doorway)'. John said: (Ross is witing fo the X-Ray
Patients Psul and Alison, you two go with Ross ). John looked at
The chart and said: (Joe and Ki Berly, go with jen , she is also a lab t
John looks up and sees a 56 year old woman, he asked: (are you Heather Mars)? The lady said: (yes), John said: (you are here for a physical, meet me at the oak door ). Heather goes to the door. John said: (follow me). Heather follows John to an exam room, he said: ( good luck), he left.
John goes back to the room Connie is in, she's gone! John said: (Jen. Connie is gone)! Jennifer said: (oh no), John looked all over, she's gone, she has disappeared.. John runs outside, no sign of her, he said: (Zi'll look around, she could have wandered off), wit great concern, he yells out her name, no answer. John said: (oh no! Where in the name of infinity is she, oh my goodness)!
To Be Continued
This is a photograph from the annual Ardagh Moydow Glen Community Games 5KM and 10 Mile road races, fun runs, walks and challenges which were held in the heritage village of Ardagh, Co. Longford, Ireland on Monday 28th December 2015 at 13:00. In an opposite turn to last year's frosty icy weather participants today were given a very very windy day with heavy rain at the finish of both races. The 10 mile race takes in the local 'Ardagh Mountain' which is a 1 mile continuous climb starting at the 2.5 mile mark of the 10 mile race. The 5KM race takes a loop around the heritage village of Ardagh. Overall this is a very well organised race with accurate courses, good marshalling and traffic control and excellent after race refreshments.
The bad weather made photography particularly difficult but we did manage to get the start of both races and the first handful of finishers from the 10 mile race. They are available on Flickr [https://www.flickr.com/photos/peterm7/sets/72157662725299342]The 10 mile race is one of the longest road races held during the Christmas period anywhere in Ireland and has appeal to runners who want to add a longer distance race to their festive calendar of running.
The GPS traces of both routes can be found at these links:
www.mapmyrun.com/routes/view/570956144
www.mapmyrun.com/routes/view/570964096
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
The State of Iowa takes time to honor officers who have given their lives in the line of duty. At a ceremony today on the Capitol Complex, four officers were officially added to the Peace Officers’ Memorial.
This year, there are four peace officers who will be formally honored:
Des Moines Police Department, Officer Susan Louise Farrell, E.O.W. 03-26-2016
Officer Farrell was killed in a head-on collision, on I-80 west of Des Moines, while on duty on March 26, 2016.
Des Moines Police Department, Officer Carlos Bernabe Puente-Morales, E.O.W. 03-26-2016
Officer Puente-Morales was killed in a head-on collision, on I-80 west of Des Moines, while on duty on March 26, 2016.
Ames Police Department, Sergeant Howard James Snider, E.O.W. 06-17-2012
Sergeant Snider drown while in a lake, off duty on June 17, 2012, due to the setting of a pulmonary embolism from an injury he sustained while on duty.
Iowa Parole Board, Field Agent Albert Paul, E.O.W. 02-05-1938
Agent Paul was killed in a single-vehicle crash while on duty, transporting a paroled fugitive from back California to Iowa on February 5, 1938.
The State of Iowa takes time to honor officers who have given their lives in the line of duty. At a ceremony today on the Capitol Complex, four officers were officially added to the Peace Officers’ Memorial.
This year, there are four peace officers who will be formally honored:
Des Moines Police Department, Officer Susan Louise Farrell, E.O.W. 03-26-2016
Officer Farrell was killed in a head-on collision, on I-80 west of Des Moines, while on duty on March 26, 2016.
Des Moines Police Department, Officer Carlos Bernabe Puente-Morales, E.O.W. 03-26-2016
Officer Puente-Morales was killed in a head-on collision, on I-80 west of Des Moines, while on duty on March 26, 2016.
Ames Police Department, Sergeant Howard James Snider, E.O.W. 06-17-2012
Sergeant Snider drown while in a lake, off duty on June 17, 2012, due to the setting of a pulmonary embolism from an injury he sustained while on duty.
Iowa Parole Board, Field Agent Albert Paul, E.O.W. 02-05-1938
Agent Paul was killed in a single-vehicle crash while on duty, transporting a paroled fugitive from back California to Iowa on February 5, 1938.
STATE OPENING OF PARLIAMENT, 18 MAY 2016
The Royal Regalia procession.
The Imperial State Crown, the Cap of Maintenance and the Sword of State were conveyed to the House of Lords in a Carriage Procession, escorted by a Regalia Escort of the Household Cavalry, prior to the Queen travelling to Parliament. They were carried in the Queen Alexandra State Coach, built in 1865. The regalia are given a “Royal Salute Present Arms” from the Guards of Honour and troops lining the route.
These are insignias of the Sovereign and represent the authority of the monarchy.
The Imperial State Crown has almost 3,000 precious stones making up the headpiece. It is only used at State Openings of Parliament and Coronations.
The Great Sword of State symbolises the Sovereign’s Royal authority. The Sword of State was first seen at the lavish Coronation of King James II in 1685. Along with the coronation regalia, the Sword was presented to the King and Queen as they entered Westminster Hall. Ever since, the item has been an integral part of the pomp and ceremony of the United Kingdom.
The Lord Privy Seal carries the Cap of Maintenance directly in front of The Queen during the State Opening. The Cap of Maintenance was traditionally gifted to the monarch by the Pope. If the Pope awarded a monarch with a Cap, it was seen as an endorsement and special privilege. A Cap of Maintenance was gifted to both Henry VII and Henry VIII during their respective reigns. The Kings were so pleased to have received this special privilege from The Vatican, they paraded the Cap on a stick around the City of London to solidify the monarch’s authority. At coronations, Kings of the past, including King George VI, have worn the Cap of Maintenance for the journey to Westminster Abbey immediately prior to the service.
Lieutenant Colonel (retired) Sir Andrew Ford, KCVO, late the Welsh Guards, carries the Imperial State Crown from Buckingham Palace to the Houses of Parliament. Ford was Comptroller of the Lord Chamberlain's Office from 2006 to 2018. The Lord Chamberlain's Office is a department within the Royal Household concerned with matters such as protocol, state visits, investitures, garden parties, the State Opening of Parliament, royal weddings and funerals. The Comptroller is the full-time head of department, responsible to the part-time Lord Chamberlain.
Lieutenant Colonel (retired) Michael Vernon, late the Coldstream Guards, carries the Cap of maintenance from Buckingham Palace to Parliament. He served as Extra Equerry to the Queen and became the Comptroller in 2019. The Equerry attends and assists the Queen in her official duties from day to day.
Ford and Vernon have EIIR Royal Cyphers on their shoulder straps indicating their appointments in the Royal Household.
General (retired) Sir Kevin O’Donoghue KCB, CBE, late the Royal Engineers, carries the Sword of State from Buckingham Palace to Parliament. He has served as Gentleman Usher to the Sword of State since 2013. He is responsible for bearing the Sword of State before the monarch on ceremonial occasions. However, the Gentleman Usher was removed from the procession at the State Opening inside Parliament from 1998.
O'Donoghue was previously Chief of Defence Materiel from 2007 until his retirement from the Army in 2011.
In 2016 Field Marshal (retired) Lord Walker of Aldringham, Chief of the Defence Staff from 2003 to 2006, carried the Sword of State in the State Opening procession inside Parliament whilst Baroness Stowell of Beeston, Leader of the House of Lords and Lord Privy Seal, carried the Cap of Maintenance.
On arrival at the Sovereign’s Entrance beneath the Victoria Tower the Crown is passed by the Queen's Bargemaster back to the Comptroller of the Lord Chamberlain's Office after he has got out of the carriage, under the watchful eye of the Crown Jeweller. It is then carried, along with the Great Sword of State and the Cap of Maintenance, to be displayed in the Royal Gallery. Shortly before the Queen arrives the Imperial State Crown is taken to the Robing Room where the Queen puts it on.
The Queen arrives at the Palace of Westminster from Buckingham Palace in a state coach (since 2014, the Diamond Jubilee State Coach), entering through the Sovereign's Entrance under the Victoria Tower. The Queen is usually accompanied by her consort and sometimes by other members of the royal family. As the National Anthem is played, the Royal Standard is hoisted to replace the Union Flag on Victoria Tower upon the Sovereign's entrance and remains flying whilst she is present. Then, after he or she puts on the Parliament Robe of State and Imperial State Crown in the Robing Room, the Queen proceeds through the Royal Gallery to the House of Lords, usually accompanied by her consort and immediately preceded by the Earl Marshal, and by one peer (usually the Lord Privy Seal) carrying the Cap of Maintenance on a white rod and another peer (generally a retired senior military officer) carrying the Great Sword of State, all following the Lord Great Chamberlain with his white stick raised aloft.
Two maces are also brought in the Royal Regalia procession from Buckingham Palace, usually in King Edward VII's Town Coach, which are then carried inside Parliament in the royal procession to the House of Lords by the royal Sergeants-at-Arms.
Extract from the Royal Circular:
"The Queen, accompanied by The Duke of Edinburgh, travelled in State to the Palace of Westminster today to open the Session of Parliament. Her Majesty and His Royal Highness drove in a Carriage Procession, escorted by a Sovereign's Escort of The Household Cavalry, under the command of Major Alexander Owen, The Blues and Royals, and were received at the Sovereign's Entrance by the Earl Marshal and the Lord Great Chamberlain.
The Prince of Wales and The Duchess of Cornwall drove in a Carriage Procession, escorted by a Travelling Escort of the Household Cavalry, under the command of Major Benjamin Woolf, The Life Guards.
Guards of Honour were mounted at Buckingham Palace by 1st Battalion Coldstream Guards with a State Colour, under the command of Major Charles Foinette and at the Palace of Westminster by 1st Battalion Irish Guards with The Queen's Colour, under the command of Major Charles Mulira. A staircase party of The Household Cavalry was on duty at Victoria Tower, House of Lords, under the command of Captain Dean Owens.
Royal Salutes were fired in Green Park by The King's Troop Royal Horse Artillery, under the command of Major Robert Skeggs, and from the Tower of London Saluting Battery by the Honourable Artillery Company, under the command of Major Ian Constantine.
The Imperial State Crown, the Cap of Maintenance and the Sword of State were conveyed previously to the House of Lords in a Carriage Procession, escorted by a Regalia Escort of the Household Cavalry. Her Majesty's Body Guard of the Honourable Corps of Gentlemen at Arms was on duty in the Prince's Chamber and the Queen's Body Guard of the Yeomen of the Guard. The Queen's Bargemaster and Watermen were on duty. The Ladies and Gentlemen of the Household and the Pages of Honour to The Queen (Lachlan Legge-Bourke, Marquess of Lorne, the Hon. Augustus Stanhope and Thomas Hallé) were in attendance at the Palace of Westminster.
Her Majesty and His Royal Highness returned to Buckingham Palace and were received by the Lord Chamberlain and the Vice-Chamberlain of the Household."
Given to Mr. Carlo Zanotta (Gregario of Gastone Nencini) from Aldo Moser, older brother of Francesco. This was in december 84. Bike is nr. 006 with gold / silver palque saying what i just said.
Will be selling the bike on ebay during this december 2011
seller iD
vintagespeedbicycles
Catechesis at the Palacio De Deportes with The Mass given by Cardinal George Pell Archbishop of Sydney for English speaking pilgrims.
© Mazur/catholicchurch.org.uk
Based on Luke 22:19. Artwork (#1 of 3) created by Deb for one of our Communion Services.
"Oh how could it be
That my God would welcome me
Into this mystery?
Say 'take this bread, take this wine';
Now the simple made divine
For any to receive..."
- Lyrics from REMEMBRANCE (COMMUNION SONG)
written by Matt Maher and Matt Redman
performed on Matt Redman's CD: WE SHALL NOT BE SHAKEN
Given that almost all these were taken through dirty, double-glazed train windows they give a fair idea of my view on Friday as I headed west into the sunset on the line from Inverness to Kyle of Lochalsh.
This is the Front of our 1rst Cathedral in America, Dominican Republic...
It is supposed that in 1540 the Baslica Metropolitana Given priority of Amrica, bean been already totally elevated. Segn; architect Eugenio Prez Monts between(among) the aos of 1520 and 1535 and in the middle of numerous contradictions, the building was eregido.
The church Cathedral of Santo Domingo represents a Jewel from any point of view, and he was the archbishop Alessandro Geraldini the major promoter of the work, at which there were employed the architects Luis de Moya and Rodriguez...
The church Cathedral of Santo Domingo represents a Jewel from any point of view, and he was the archbishop Alessandro Geraldini the major promoter of the work, at which there were employed the architects Luis de Moya and Rodrigo de Liendo. The front west of the Cathedral must be considered to be one of the archetypes of the American architecture.
Opposite to the west, in a porch with battlements finished off in tops, the niches with saints' figures are an alive(vivacious) element of the same one. In any Renaissance sense, but with great influence gtica in his(her,your) interior nervures, the Cathedral is a poem forged in the best stone in the best system of quarry. The length of his(her,your) central ship is 54 meters and the width is of three ships is of 23, reaching a level height of floor(flat) to bveda, (....................)
This information was taken from this site:
A Pendalino unit has been given a Face Mask shaped vinyl wrap. This was a Manchester Piccadilly to London service (1R22)
This photo is copyright of Alistair Ness and the image must not be used elsewhere or cross-posted on other sites without my prior permission. This will normally be freely given if requested by the site owner.
no editor given.
Vancouver, Vancouver Poetry Centre, 1o may 1979.
11-1/4 x 16-3/4, single sheet grey newsprint folded to 4 pp leaflet & again to tabloid, all printed black offset.
2 contributors ID'd:
Bronwyn Drainie, Mavor Moore.
includes:
i) Corrections, Etc., by [--?--] (prose with passing reference to bpNichol)
ii) WANNA BUY A BOOK!, by [--?--] (list with passing reference to Nichol in prose introduction & 5 titles: "A Catalogue of Sound Poetry", The Martyrology Books 1 & 2, The Martyrology Books 3 & 4, Journal, Love: A Book of Remembrances)
the Maltese has been given many names, such as the "Melitae Dog," "Ye Ancient Dogge of Malta," the "Roman Ladies Dog," "The Comforter," the "Spaniel Gentle," the "Bichon," the "Maltese Lion Dog," and the "Maltese Terrier." Today, he is known simply as the Maltese.
This elegant toy dog breed is famed for the silky white hair covering his body. Straight and thick, the coat falls all the way to the floor. Many years ago, Maltese came in many colors, but these days they are always white. When a properly built Maltese moves, he seems to float beneath his cloud of white hair. Because he doesn't have an undercoat, the Maltese sheds little, and many people consider the breed to be hypoallergenic.
But the Maltese is more than his coat. Completing the picture is a slightly rounded skull, black nose, drop ears, dark, alert eyes, short, straight legs, and a graceful tail. He's a sweet, intelligent dog who is devoted to his people. And as one of the smallest of the toy breeds, he's well suited to apartment or condo living. Wherever he lives, the Maltese is responsive to his environment and makes an effective watchdog.
Read more at dogtime.com/dog-breeds/maltese#7jhWzprxJ2w6IIbr.99
Given to me by my grandmother who purchased it from Ireland. It's 10-15 years old, not an heirloom. But pretty!
Given away free with pre-orders from Amazon, or available to buy from the PlayStation Store. Find out more.
Tana Toraja Regency (Indonesian for Torajaland or Land of the Toraja, abbreviated Tator) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and home to the Toraja ethnic group. The local government seat is in Makale, while the center of Toraja culture is in Rantepao. But now, Tana Toraja has been divided to two regencies that consist of Tana Toraja with its capital at Makale and North toraja with its capital at Rantepao.
The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on 8 October 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.
GEOGRAPHY
Tana Toraja is centrally placed in the island of Sulawesi, 300 km north of Makassar, the provincial capital of South Sulawesi. It lies between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The total area (since the separation of the new regency of North Toraja) is 2,054.30 km², about 4.4% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.
ADMINISTRATION
Tana Toraja Regency in 2010 comprised nineteen administrative Districts (Kecamatan), tabulated below with their 2010 Census population.
The Torajans are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja").[1] Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognised this animistic belief as Aluk To Dolo ("Way of the Ancestors").
The word Toraja comes from the Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colourful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism development and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model—in which social life and customs were outgrowths of the Aluk To Dolo—to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonisation and Christianisation, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders—such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi—than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups—the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognised in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to Christianity.
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognised religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognised, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalised as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin)—except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women—a crime punishable by death.
RELIGIOUS AFFILATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
Architecture in the style of a tongkonan is still very common. Various administration buildings were built in this style in recent years, e.g. the Kecamatan building in Rantepao.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolise some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolise fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. Torajan wood carvings are composed of numerous square panels, each of which can represent various things, for example buffaloes as a wish of wealth for the family; a knot and a box, symbolizing the hope that all of the family's offspring will be happy and live in harmony; aquatic animals, indicating the need for fast and hard work, just like moving on the surface of water.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased's family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANNCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
COGENDER VIEWS
Among the Saʼadan (eastern Toraja) in the island of Sulawesi (Celebes), Indonesia, there are homosexual male toburake tambolang shamans; although among their neighbors the Mamasa (western Toraja) there are instead only heterosexual female toburake shamanesses.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.
Language varieties of Toraja, including Kalumpang, Mamasa, Tae, Talondo, Toala, and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages.
A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterised their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market.
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies—to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s—including religious conflicts elsewhere on Sulawesi—tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure—an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialised. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
WIKIPEDIA
Appropriately enough, given the way his name has became so linked to the glamour of old Hollywood, it was an encounter with Marlene Dietrich in 1958 that set the then 18-year-old John Kobal on the path that would make him the most celebrated and inveterate collector of Hollywood stills and ephemera. The meeting confirmed the young man’s fascination with the magic and mystique of Hollywood stardom.
Kobal went on to befriend many of the veterans of Hollywood’s golden age, from Mae West to Tallulah Bankhead, using his charm to acquire a vast collection of material, which continues to be made available through the Kobal Collection – whose credit today invariably graces just about any documentary or book on Hollywood history.
‘Glamour of the Gods’ – a book and exhibition of Kobal’s collection, is at London’s National Portrait Gallery, 7 July to 23 October.
Featured in the August 2011 issue of Sight & Sound.
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Given today’s obsession with Facebook, Twitter and a plethora of other social media networks, you could be forgiven for thinking that the first thing a teenage girl would save if her house caught fire would be her smart phone. Not so with Emily Brett. Eliciting an answer to the question of what would be the one thing she would save if her house caught fire was easy. It’s a ‘no-brainer’ for Emily’, she would leave the smart phone to its fate and go all out to save her most treasured possession, ‘Hopsy’ the cuddly rabbit.
Asked why she would be so quick to discard her smart phone, bearing in mind, she, like most teenage girls always seem to have their ‘smart phones’ poised and ready to receive the next message, her reply was quick and robust. “I’ve had Hopsy since I was a baby. He is my favourite cuddly toy!” she insisted. “When I was younger I used to take him with me on holidays and would have him in bed with me at night. I can always get another smart phone but I couldn’t replace Hopsy! He means the world to me!”
The Carrières were given a new life thanks to the visionary genius of Jean Cocteau in the 1960s. He was enchanted by the beauty of the place and its surroundings, and decided to film “The Testament of Orpheus” here in 1959.
This transformation was continued in 1977 with the creation of a new project inspired by the research of Joseph Svoboda, one of the great scenographers of the second half of the twentieth century (he had been working on a scenography idea using projected images as early as 1942) and destinated to enhance this area: the huge rock walls are perfect backdrops for a new kind of sound and light show which fully involves the audience.
For over 30 years, the Carrières du Val d’Enfer has hosted these audio visual shows.
Given the way the school has torn down things this year, I'm a little concerned for these chandeliers.
Sixth graders at Merrill Middle School were each given one solitary dollar bill by the school’s PTA and the assignment to pay it as far forward as they could within the community.
Four weeks ago, science teachers at Merrill – one of the district’s International Baccalaureate World Schools – challenged each sixth grade student to do as much good in the community as possible with their single dollar of seed money. Community Youth Concepts provided a training to help the students identify areas of need in the community and methods to execute a community service project.
Last year, this project generated over $8,000 in cash donations, 1,700+ items, and over 200 hours of community service. This year, the project generated $8,356 in donations and more than 2,600 items, and worked with more than 40 charitable organizations throughout Des Moines.
On Tuesday, December 20 the students shared in their science classes what they accomplished and a sixth grade celebration of the importance of community service was also held which included making holiday cards for families in need in Des Moines and for military personnel serving overseas.
Foam or Fotografiemuseum Amsterdam is a photography museum located at the Keizersgracht in Amsterdam, the Netherlands. The museum has four different exhibitions at any given time in which different photographic genres are shown, such as documentary, art and fashion. Two notable shows were Henri Cartier-Bresson - A Retrospective, work by Henri Cartier-Bresson, and Richard Avedon - Photographs 1946 -2004, a major retrospective of Richard Avedon. In summer 2016 Foam will present a major Helmut Newton retrospective exhibition. Next to large exhibitions by well-known photographers, Foam also shows the work of young and upcoming photographers, in shorter running exhibitions. The museum contains a café, a library, a commercial gallery called FoamEditions and a bookshop.
The museum also publishes a quarterly photography magazine called Foam Magazine.
The building on the Keizersgracht canal in which Foam is located has a history dating back to Carel Joseph Fodor (1801–1860). Fodor first bought Keizersgracht 611, and later also bought the adjacent warehouse and residential house at Keizersgracht 609. Fodor destined the warehouse in his testament as the exhibition space that should receive the name Museum Fodor. Between 1863 and 1994, Museum Fodor was open to the public. Between 1994 and 2001 the Nederlands Vormgevingsinstituut was located in these buildings.
Foam received permission in November 2001 from the city council for the start-up. On December 13, 2001, Foam opened its first exhibition Dutch Delight. More than 7000 people visited the exhibition in which Dutch light played a prominent or self-evident role.
After the opening exhibition the museum closed for renovation. Architects BenthemCrouwel turned three buildings at the Keizersgracht into a modern museum. The first exhibition in the new museum, was called Regie: Paul Huf, Paul Huf together with Eva Besnyö being the originator of the museum. The official opening took place on June 6, 2002. The exhibition was visited by approximately 8000 people.
Every year Foam organises four large exhibitions by particularly notable photographers, usually running for about three months. In conjunction about 16 shorter running exhibitions are organised by the museum, which can be very different in character: either the work of relatively young photographers, or a specific project, work that is currently relevant, small retrospectives or the presentation of new developments within the medium. Emphasis is generally on documentary photography, street photography, portrait and glamour photography, and young and upcoming talents.
Documentary photography exhibitions at Foam have included Avenue Patrice Lumumba by Guy Tillim, The Hyena & Other Men by Pieter Hugo, In the Shadow of Things by Leonie Purchas, and Calais - From Jungle to City by Henk Wildschut. Street photography exhibitions have included Helen Levitt's In the Street, a retrospective by Weegee and Tom Wood’s Photieman. Portrait or glamour exhibitions have included Photographs 1946-2004 by Richard Avedon, Chemises by Malick Sidibé, and People of the 20th Century by August Sander. Under the denominator Foam_3h small shows by young photographers are presented in the Foam library. Recent examples include Control by Emilie Hudig and A Place to Wash the Heart by Monieka Bielskyte.
Since 2007, Foam has been organising the Paul Huf Award, a prize that is awarded to a young, talented photographer under the age of 35. The award was at one time known as the KLM Paul Huf Award (Wikipedia).
The bee beetles are scarab beetles of the subfamily Trichiinae, which is sometimes included in the Cetoniinae as a tribe.
They have hairy sides of the elytra like their relatives, and the upper sides of the elytra are usually yellow with prominent black blotches which form incomplete bands. This, and the fact that seen from the side they resemble a hairy plump bee, has given them their common name.
Given that these were taken through dirty, double-glazed train windows they give a fair idea of my view one October, as I headed west into the sunset on the line from Inverness to Kyle of Lochalsh.
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Photograph taken at 11:13am on Wednesday 10th April 2024 at an altitude of Fifty two metres in the Grounds of Warnham Nature Reserve in Horsham, West Sussex.
Here we see a Peacock (Aglais io) butterfly, with amazing eyespots which have evolved to confuse predators. From family Nymphalids, this is a medium to large butterfly with a wingspan up to 69mm that is commonly found in Northern parts of Britain and Ireland.
Nikon D850 Single-lens reflex digital camera F Mount with FX CMOS 35.9mm x 23.9mm Image sensor 46.89 Million total pixels Focal length: 600mm Shutter speed: 1/250s (Mechanical shutter) Aperture f/16.0 Auto iso640 Image area Full Frame FX (36 x 24) NEF RAW L 45.4Million pixels (8256 x 5504) 14 Bit uncompressed Hand held with Tamron VC control enabled AF-C Priority Selection: Release Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Centre weighted metering White balance on: Natural light Auto, 0,0 Colour space: Adobe RGB Picture control: (SD) Standard (Sharpening +3.00/Clarity A+1.00)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup. Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon EN-EL15a battery.
LATITUDE: N 51d 4m 59.90s
LONGITUDE: W 0d 19m 31.50s
ALTITUDE: 52.0m
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In 2014 Dreyfuss & Blackford Architects was selected to renovate the historic headquarters of the Sacramento Municipal Utility District that we originally designed. These construction photos were given to us from the extensive SMUD archive. The date each was taken is handwritten at bottom of the image.
In 2010 the SMUD Headquarters was inducted into the National Register of Historic Places.
Design began on the Sacramento Municipal Utility District (SMUD) Headquarters building in 1958, by 1961 construction was complete.
The client desired a dramatic, monumental building with careful attention to the environmental issues, including full sun control and an energy efficient air conditioning and heating system; with flexibility for expected immediate and long-term growth. One of the energy efficient features of the project is the use of solar shades on the exterior of the building which move with the sun. The building was designed for, and continues to house central administration and service facilities for SMUD.
The two wings of the 166,000 square foot building are linked by an elevator and service core. The south wing encloses three clear-spanned floors of flexible office space over a lobby, auditorium, and demonstration areas. The basement of the south wing was designed to comprise the building’s cafeteria, mailroom and general storage areas. The north wing includes two floors of flexible office space over three levels of garage parking provided for staff vehicles. Tree-shaded parking is available for visitors and employees. The 15-acre site is densely landscaped featuring granite boulders and a variety of trees. The building has matured successfully over the years and is still used as originally designed. No significant changes have taken place since the original construction. The exterior has been well-maintained, and the interior has had typical upgrades for a 50 year old building.
Water City Mural by Wayne Thiebaud
A major design feature, a glass mosaic by a young Wayne Thiebaud, encircles the first level of the building. He was virtually unknown at the time and this was his first glass mosaic, which is now considered irreplaceable and priceless.
Wayne Thiebaud was a relatively unknown artist teaching at Sacramento City College in 1958 when Dreyfuss & Blackford selected him to do a mosaic mural for the new building’s façade.
Along with SMUD, they decided something bright and beautiful was needed to increase interest in the building when viewed both at a distance, through the trees, and up close as people walked under the surrounding portico.
Thiebaud submitted two sketches to choose from, both of which were to be executed in glass mosaic tiles. One was bold, with large blocks of black, brown, orange and gray on a white background, a solid color abstract. Dreyfuss & Blackford chose instead a delicate design of a city reflected in water, and Thiebaud was then commissioned by the SMUD Board to make full drawings for four panels, each 15 feet high and over 200 feet long.
The artist worked in a large hall at the old State Fair to project each sketch in full size. Color areas were numbered by reference to 58 shades of sample tiles. Predominant colors are variations of orange, red, and blue.
A detailed study was made by Dreyfuss & Blackford to determine how and where such a mosaic could be manufactured. After much review and consideration, a muralist school in Florence, Italy was finally selected to prepare the mural. Theibaud’s drawings, on rolls of butcher paper, were rolled and sent to Italy where the mural was rendered in tessera glass tile, a process involving a great deal of handwork. The completed tiles were then shipped back to San Francisco, trucked to Sacramento, and mortared into place.
We were given several odd stares as we infiltrated the Beaver Valley golf course at Stumbo Park, just outside of Allen, with tripods and cameras in hand. With the clanks and swings of clubs striking golf balls, E308 rolls by along the E&BV with CSX 1973 trailing second. The bright yellow paint stuck out like a sore thumb, however to the golf loyalists, it's just another train getting in the way of their game.
12/05/2013 Ladies European Tour. Turkish Airlines Ladies Open, National Golf Club, Belek, Turkey 2-12 May 2013. Eleanor Givens of England during the final round. Credit: Tristan Jones
Diane was given the assignment to cover Motionless In White’s Graveyard Shift Tour with special guests Every Time I Die, Ice Nine Kills & Like Moths To Flames at The Paramount in Huntington, NY. Click these links to see her photographs and read her review
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Acropolis
Acropolis means 'Sacred Rock' and was a term given to the high strong holds of cities in the ancient world
Although many cities have an acropolis, most people associate the term with this most famous one
In this view we can see the Parthenon dominating the view in the center, on the bottom left is the
theather known as the Odeon of Herodes Atticus. The hill in the background is Lykavittos Hill
Above the Odeon on the left is the entrance to the Acropolis known as the Propylaea
On the way up to the entrance, these two stand alone Corinthian columns can be seen
Monuments were erected on these columns to celebrate winners of Drama contests
This is a section of the Propylea, which means simply gate building.
Built around 435 BC it was never completely finished
This is the view from the top down to the Theatre of Dionysus Eleuthereus
Located on the southern cliff face of the arcopolis, it was the first stone theater ever built
The Odeon of Herodes Atticus is also located on the southern slope
Built in 161 AD it was 3 stories high with a wooden roof and could seat 5000 people
The parthenon. One of the greatest buildings in history
Work began in 447 BC and was completed in 431 BC
This picture shows the West facade of the building
A closeup of the west facade
Much of the detail has been lost but some carvings can be seen in the second level
Sonya and John in front of the east side of the Parthenon
A close up of the long south side of the Parthenon
In 1687 the Parthenon was massively damaged by an explosion. In one of history's greatest acts of stupidity the Turks used the Parthenon as an ammunition dump which blew up during a bombardment by the Venetians. Curses on both their houses
This building is called the Erechtheon. It was constructed from 421 BC to 407 BC during the Peace of Nikias between Athens and Sparta during the disastrous Peloponnesian wars
This section is known as the Porch of the Caryatids with the famous six ladies holding up the roof
Another view of the Caryastids. All these are reproductions. "lord" Elgin stole one of the statues to Britain which is now in the British museum. The remaing five have been relocated to the Acropolis museum
A further out view showing the whole building complex.
This is all located on the north side of the Acropolis
A closeup showing some of the fine detail on the columns
This view of the Parthenon is taken from the near by hill of Philopappou
Space Needle, Seattle, Washington - 2013
The Space Needle rises out of nowhere, it is away from the downtown district in the Seattle Center, so far from the tall high-rise skyscrapers that dominate the city.
Opened in 1962, it stands 184m tall, and is designed to withstand 200mph winds and a 9.1 magnitude earthquake, way above the required standards in the sixties.