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ENAI SWIM offers swimming and survival skills lessons for babies and young children with real results in as little as 4 weeks. Lessonsn offered in Thibodaux and Houma, Louisiana.
ENAI ofrece clases de natacion y sobrevivencia en el agua a bebes y niños con resultados reales en tan poco como 4 semanas. Las clases las damos en Monterrey, NL, Mexico.
Miller Street Studios offers the highest quality recording and mixing capabilities at low rates in the Chicago area. Our acoustic quality rivals top studios with our state-of-the-art control room featuring Pro Tools HD 8, an Alesis X2 analog 24-track console, Avalon VT737, Lynx A/D Converters, and a long list of Plug-ins. We have a large live room as well as two isolation booths. The Miller Street Studios standard is ensuring the artist is in the right vibe to get the best results possible.
Included with your session is a private parking space, a fully furnished kitchen w/ speakers linked to the control room, and all the amenities needed to make musical magic happen!
If you would like to book your recording/mixing/mastering session, rehearsal space, private listening party, studio tour, or if you have any other inquires please call 773.789.9553 and ask for Joe "Dante" Gallagher (owner/chief engineer) or John B. (business manager). We look forward to arranging your next musical experience at Miller Street Studios. Visit us on the web at millerstreetstudios.com and follow us on Twitter @MillerStStudios
Zoka offers a ton of single cup varietals brewed with a Clover so I opted for one of those. I ended up with an Ethiopian one that tastes of blueberries and cherries. The barrista said it also had chocolate notes but I'm not getting that - of coursemy tastebuds are likely also trashed by this point. While walking around the place I noticed the best latte art I've ever seen in person - a triple rosetta and something that looked like a curved sawtooth!
Offers beautiful, adaptable garden forms that exhibit exceptional uniformity and regular branching. Valued for a wide range of striking evergreen shapes and sizes that fill many landscape needs.
Hickory Hollow Nursery and Garden Center
713 Rt. 17
Tuxedo, NY 10987
845-351-7226
hickoryhollow@optonline.net
www.facebook.com/pages/Hickory-Hollow-Nursery-and-Garden-...
Call or Email for pricing
offers complete sim/parcel design, landscaping and interior design. LICK is dedicated to creating beautiful, enchanting spaces for your home or business. Dare to Dream
/*Sky: "[TOR] DUSK - Smolder" Water: "[NB] Sparkling Depths"*/
Taken at LICK Sim Designs - The End of the World as We Know It, Oyster Bay (114, 116, 29)
Nyungwe National Park offers a rare and important habitat for many species, especially primates and birds. And at over 1000 km2, Nyungwe is Africa’s largest protected mountain rainforest.
With about 310 bird species, 26 of which are endemic, Nyungwe is one of the most important — and still undiscovered — birdwatching destinations in Africa. Reaching to almost 3000 meters above sea level with Mount Bigugu the highest point in the Park, Nyungwe’s forests extend to altitudes occupied by few other forests in Africa.
Nyungwe is also home to one of Africa’s greatest concentrations of chimpanzees and a sometimes noisy, acrobatic combination of other primates such as Ruwenzori colobus and L’Hoest’s monkeys.
A variety of hiking and walking trails criss-cross the Park leading to a canopy walk, primate tracking adventures, the southernmost source of the Nile and ecotourism attractions. The park includes a colorful array of orchids, butterflies, moths and other insects.
Here we are with the most awaited packages.
Hurry up and book your day outing today to enjoy the rainy bliss at heiwa..!
1) I found this pattern to be useful by how there are many circles at varying sizes, and how the largest encompass the rest, almost representing an eye, and with the darker medium sized circle (to the right) appearing as a possible iris. Also the pattern offers a certain intensity, that along with the color, can almost intimidate a viewer - which is something I wanted.
2) The subject is me, or the reflection of me in the glass. The strong contrast in shape, texture, and hue clearly separates me from the background. But ambiguity was my friend here, because if you can't make me out in the photo, your imagination can take what you see into frightening places - which again, I wanted.
3) I don't think the light could get any warmer than this with the intensely saturated hues of red. The use of harsh hard lighting created shadows in such a way to really emphasize texture. This picture was taken outside, in direct sunlight, and my whole reason for taking it was to capture the reflection of myself in the glass.
4) Everything really came together for this picture. Daylight allowed me to keep the noise down in this shot, with the lowest ISO setting my camera allowed. Depth of field isn't much of an issue, since the image doesn't have much depth to it. White Balance was an obvious pick - Daylight. And about the only challenge I faced was I had to manually set the focus on my lens.
5) The red glass which is actually the rear light of a car, and the circular pattern I chose to focus on, represents the eye of a predator. The reflection of myself is meant as the prey. In a way, the fact this was a car, to me, reflects how our modern society can be dangerous and unforgiving - like a car at full boar, or the possibility of a reckless driver within.
6) The only thing I don't like is the unintended possible interpretation that I, with my camera, could be the predator too. Which does work in another great and scary way, but the fact it's me is not something I wish to juxtapose to a creepy stalker with a camera.
I chose to use the poem "We're still predators... and still prey." By poet David O Whalen
Are we truly so distant from our primitive past
Are we no longer the hunter or considered fair prey
Were the truth put before you, you’d be most aghast
There are predators among us and they hunt us each day
We’re not truly different from the ones at herds rear
where the predator watches with hard hungry eye
The prey starts and senses, that death is quite near
On the lonely herds edges, the weak always die
Our modern world is a jungle, and human beasts are a fact
Camouflaged with normalcy, clothed in disarming disguise
Preying on the young and the weakest with terrifying tact
Before melting in to community, they disappear to our eyes
The gazelle in the herd is as the child on the walk
Safety in numbers causes inborn defenses to relax
A lion creeping closer is as a van stopping to stalk
And they’ll both cruelly culminate in deadly attacks
No.. we’re not so far distant from our primitive past
Yes.. we’re the hunter and also too, are considered fair prey
no!... don’t allow yourself or your children to lag or be last
Yes… there are predators among us and they hunt us each day
The Volcanic Tablelands offers exceptional bouldering opportunities, because of its unique geologic features formed by the cataclysmic volcanic eruption of the Long Valley Caldera 750,000 y.a. which left a highly dissected landscape of Bishop Tuff. Through time, this once barren tableau has evolved to support a unique and fragile environment that takes a keen eye and time to appreciate. The Volcanic Tablelands is situated at the ecological cusp of the Northern Mojave and Great Basin floristic Provinces where plants and associated wildlife species combine to make this an unusual and biologically diverse landscape. It has taken millennia for this environment to evolve and it will take responsible recreational users to preserve it into perpetuity - so enjoy and protect this place. In the early 90 s, the Tableland was visited only by local climbers. By the late 90 s, thousands of climbers were coming from all over the world to try out their climbing skills on the many boulder problems the Tableland has to offer. With this dramatic increase in use, the BLM and the local climbing community has developed a climbing management philosophy to protect the natural resources while preserving access to climbing opportunities. The Happy drainage and Sad drainage are located along the Inyo-Mono County line, approximately 7 miles north of Bishop, California. Both drainages are oriented in a north-south direction extending north from the Owens Valley. The crest of the Sierra Nevada of 14,000 ft (4,265 m) lies 16 miles (27 km) to the southwest, and the crest of the White mountains of 12,500 ft (3,800 m) is 11 miles (18 km) to the east. Both areas are in the transitional zone between cold semi-deserts of the Great Basin to the northeast and the hotter Mojave to the south.
Photo by Jesse Pluim, BLM.
Wilson Creek is a place with more to offer than first meets the eye. Apart from the Canadian Tire Store along the highway, Wilson Creek's main facilities are located within the small shopping centre at the stoplights. The supermarket is well stocked and carries local produce — a good place to stock up on supplies. There is a pharmacy, gourmet pizza take-out, video rental, medical centre and brew your own beer or wine
Strait Coffee, a Sunshine Coast institution, has its original café in the mall. Easily overlooked by visitors, locals frequent this little café with its own coffee roasterie across the road. This is where to get a great cuppa joe, lovely baking and creative soups along with a wide selection of house-roasted organic beans to go. Across the highway is the Georgia Strait Café, a younger and more sophisticated sibling serving great West Coast cuisine in what was the original loggers stop on the highway many years ago.
You are passing important fish Habitat Rivers as you travel along the coast and the Chapman Creek Fish Hatchery will show you how to separate your Pinks from your Cohoes. Reached by turning north at Wilson Creek on Field Road, this community owned facility has been here for nearly 30 years thanks to its dedicated volunteers. Riverside platforms provide good views of Chapman Creek and there is a trail leading upstream.
To the south is Port Stalashen, a gated community with its own marina.
While Wilson Creek may not stand out as a pretty face, there are hidden depths worth seeking at this unassuming little crossroads.
You can view a larger version of this panorama here:
www.360cities.net/image/wilson-creek-british-columbia-canada
This High Dynamic Range 360° aerial panorama was stitched from 105 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, processed with Colour Efex, and touched up in Affinity Photo and Aperture.
Original size: 18000 × 9000 (162.0 MP; 707.57 MB).
Location: Wilson Creek, British Columbia, Canada
SL Frees & Offers in Second Life
Credits: slfreeworldforall.blogspot.com.es/2013/01/rock-girl-v2.html
--> PRE-RELEASE <--
SL Fashion Week
Goth Fair @ Monster Rock
New Year Resolution Hunt
Cold Winter Nights Hunt
[Hush]
Salon de GLOW
Mayfly
Endless Pain Tattoos
[MAG]
[whatever]
SuPerBia
Phoebe's Piercings - *P*
: Amorous :
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DADAbeiz
EarthStones
Focus Poses
Well this weekend I kindly offered to help my mate Bill out who has just started a photography course at uni, and he asked if I'd do a bit of modeling for him, haha well I shouldn't really call it modeling more just doing random things around house, as the topic was domestic bliss. So yeah, when he puts the shots up I'll be shure to post a link for anyone interested! ;) haha
I suppose I should tell you how this shot came about then. I visited the Cathedral San Fransisco in Lima, with Pamela last year. So I had some shots of the inside of the church and Bill being the great HDR man (I've never attempted one in my life) I asked if he'd take the shots from the cathedral and when he's got some free time process a few for me. Well I arrived home from my indoor soccer final (which we won :D ) to find this in my inbox :) Thanks Bill, you've done a beautiful job of this shot of the main alter.
Shot By Ben Schablon
Processed by William Bullimore
Details:
Camera: Canon EOS 400D
Lens: Canon EF-S 10-22mm f/3.5-4.5 USM
Exposure: 3 exposures (-2,0,+2 EV)
Aperture: f/11
Focal Length: 10mm
ISO Speed: 100
Accessories: Tripod, Shutter release cable
Date and Time: 28 October 2009 4.56pm
Post Processing:
Imported into Lightroom
Exported 3 exposures to Photomatix
Tonemap generated HDR using detail enhancer option
Exported tonemapped image to CS3
Contrast layer
Noise Reduction filter
Exported back to Lightroom
Crop tool
Added keyword metadata
Exported as JPEG
MOSSY'S MASTERPIECE IS PLEASED TO BE ABLE TO OFFER THESE FABULOUS CUPCAKE WRAPERS TO MY CUSTOMERS
Please note - I did not make these cupcakes, they are to display the wrappers only.
These beautiful filigree wrappers have been available since 2007 but have been hard to purchase outside the USA.
Buying international with postage made them very expensive in the past.
They are now available to Australian customers and offer a multitude of designs to suit many occasions.
If you don't see what you are looking for, let me know and I can check my supplier.
I do not keep all wrappers in stock so notice will be needed to allow for ordering and delivery where necessary.
New website
Carnival Valor next to Caribbean Princess at Port of St. Maarten offers cruise lines home
Carnival Valor Ship Stats
Crew:1,180
Launched:2004
Decks:13
Tonnage:110,000
Passengers:2,974
Registry:Panama
Caribbean Princess in Port Ship Stats
Crew:1,200
Launched:2004
Decks:19
Tonnage:113,000
Passengers:3,080
Registry:Bermuda
SL Frees & Offers in Second Life
Credits: slfreeworldforall.blogspot.com/2012/10/forbidden-love.html
Fairy Closet
Trick or Treat Trail Hunt
AngelRED Haunted House Hunt
BCC. Halloween Mini Hunt
::Modish:: / +LALA Moon+ / Mayfly / ~.:.Hysteria.:.~ / :Wicked Tattoos: / Vero Modero / Death Row Designs - DRD / AngelRED / : Amorous : / : ) BCC. / Miss Murder
WetCat
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For a while we've wanted to offer workshops for children. At the end of March we had the opportunity to do so by participating in the Artists in Action! series at The Children's School* in San Diego. The school invited local artists to campus to share their work with the students. This was part of the ten-year anniversary of the Great Artists program in which each class spends six weeks studying one artist via activities in language arts, math, science and social studies as wells as art.
During our visit we used a slide show and about three dozen creations to describe the process we go through when creating new work. Then we proposed that the students work in small groups to submit ideas for a class mascot. They sketched individual body parts and faces for four different emotions: happy, sad, surprised, and angry. We also asked the students for suggestions for the color and texture of the fabrics to be used. We spent less than an hour with each class which wasn't enough time to produce a finished product so we decided to take all the drawings, ideas, and suggestions with us.
Back at our studio, we created one plush mascot per class that incorporated some of the drawings from each of the small groups. Every mascot has four faces in the form of double-sided oval discs which allow the students or their teacher to change the face to reflect the mood of the day. Each mascot has a hand embroidered label on one foot with the year and the grade of the class.
You can see them all here:
First Grade (group two): Gaga the 3-Eyed Monster
Fourth Grade: Super Green [or name-to-be-determined-yet]
First Grade (group one): Sea Monster Vader
There were drawings of lizards and other four-legged creatures, a snail, and a polka-dot giraffe, some cyclops and a claw-legged monster. We put it all together in this Sea Monster Vader (as they called it). The two-sided removable faces can be stored in the snail shell of this creature. See more photos of Sea Vader Monster here.
*TCS is the school where Rob teaches. See his sixth and seventh grade blogs for a better picture.
. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!
If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.
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The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").
The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to
CHRISTIANITY
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.
RELIGIOUS AFFILIATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
WIKIPEDIA
This is a photograph from the Clane and Rathcoffey Parishes annual 10KM and 5KM Road Races and Fun Runs which were held in Clane village, Co. Kildare, Ireland on Sunday 19th of October at 14:30. This year's event follows on from the very successful staging last year (see link to photographs below). The organisers offer both a 5km and 10km race and the event provides an opportunity for runners, joggers, and walkers of all abilities to take part in the event. The 5KM has a particular emphasis on family entrants. There was a wonderful atmosphere around the Village as both races started and finished on the main street outside the parish hall. The directly out-and-back routes provided an opportunity for a fast time on a good course and made for a great finish line atmosphere as runners, joggers, and walkers crossed the line. Great praise must be extended to the whole organising committee who organised a very efficiently run event. The events provide some runners with an opportunity to have a final race effort session in the week leading up to the Dublin City Marathon.
Event Management and Electronic Timing was provided by Irish company Precision Timing. Their website is here with links to results from the race www.precisiontiming.net/result/racetimer
This photograph is part of a larger set of photographs taken at today's event. Photographs were taken at the start, 400 meters gone, 400 meters to go, 1km gone, and at the 9KM/4KM mark. The URL of the full set of photographs is www.flickr.com/photos/peterm7/sets/72157636717081724/
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary and Logistics
Participants: There were about 200 competitors combined in the two events.
Weather: The weather was very changeable for all of the events. During the 10KM race there was a heavy rain shower around the area of the 6KM mark but this didn't actually fall in the town. There was a strong headwind against competitors in the 10KM on the return part of the course between 6KM and 8KM.
Race Course:
This summary includes information on both the 5KM and 10KM races.
Both races start in the same place - just outside the Race HQ on the main street of the town. The races then proceed north eastwards out the Dublin Road towards Straffan and Celbridge. Just after 400 meters the races take a left up a small local road and proceeds along this road until it takes a tight left hand turn at the end of the lane at Capdoo goo.gl/maps/aPo26 (Google Streetview). The route proceeds until it shortly meets the Clane-Kilcock Road - College Road R407 goo.gl/maps/SGcPa. Both races will divert into Clane Business and Industrial Park goo.gl/maps/EQMf0 . The 5KM turns around and returns on the same route to the finish. However the 10KM race continues (taking a left) back onto College Road. Soon afterwards it passes the famous entrance to Clongowes Wood College on the right the race takes the next left (goo.gl/maps/zUhrJ) and brings runners onto the road known locally as the 'Long Road' (R408 Between Rathcoffey and Prosperous) at this point goo.gl/maps/fHKr2. The race proceeds northward until runners meet the Clane Kilcock Road once again. With the exception of the partial run into the Industrial Estate the race returns to the finish on the main street in Clane via the same route as the outward part of the route.
Location Map:
Clane Parish Hall (Race HQ) goo.gl/maps/MgakJ
Start and Finish Location of both races goo.gl/maps/0wiZp
Refreshments:
There was a really wonderful array of refreshments provided in the parish hall after the race for all participants.
Some Useful Links Associated with this Race Event
Facebook Page of the Clane and Rathcoffey Parish: www.facebook.com/ParishOfClaneRathcoffey (May require Facebook login)
Homepage of the Parish of Clane and Rathcoffey: www.claneparish.com/2013/09/parish-run-sunday-20th-octobe...
Garmin Connect GPS Trace of the 2013 Clane 10KM Race: connect.garmin.com/activity/391624847
Garmin Connect GPS Trace of the 2013 Clane 5KM Race: connect.garmin.com/activity/381169067
Boards.ie Athletics Forum Discussion on the 2013 Race: www.boards.ie/vbulletin/showthread.php?t=2057062190
Our Flickr Set of Photographs from the 2012 Clane 5KM and 10KM Races: www.flickr.com/photos/peterm7/sets/72157631820732362/
Please note: These links are provided for information purposes. Some of these links might become obselete or dead links as time passess. We cannot be responsible for the content on these external websites. All websites were checked before posting here to ensure that they 'did what they said on the tin'.
Can I use these photographs directly from Flickr on my social media account?
Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.
How can I get full resolution copies of these photographs?
To prevent missue of these photographs there is a watermark embedded into the images. All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution without the watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, 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.
This also extends 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.
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 - 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 does take a significant effort. 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 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 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.
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 www.flickr.com/peterm7/sets
PARIGI ARCHEOLOGIA e RESTAURO ARCHITETTURA. Cleaning offers rare glimpse of Notre Dame statues in Paris. AP NEWS (11/04/2019) & AP News (15/04/2019).
1). PARIS (AP News) — Religious statues set atop Notre Dame Cathedral have come down for the first time in over a century as part of a restoration of the monumental Paris church’s towering spire.
A 100-meter-high (105-yard) crane lowered the copper statues representing the 12 apostles and four evangelists onto a truck, giving the public a ground-level look for the first time on Thursday.
The figures regular posts look over the Paris from Notre Dame’s 96-meter-high peak.
The 3-meter-tall statues are being sent to southwestern France for work that is part of a 6 million-euro ($6.8 million) renovation project on the cathedral spire and its 250 tons of lead.
Foto | fonte | source:
-- AP NEWS / USA (11/04/2019).
apnews.com/2ff8671d865b4f7c82a760a6f25e801c
2). PARIS (AP News) — The Latest: French leader vows to rebuild damaged Notre Dame. AP News (15/04/2019).
PARIS (AP) — The Latest on a fire at Notre Dame Cathedral in Paris (all times local):
11:35 p.m. -- French President Emmanuel Macron has promised to rebuild Notre Dame Cathedral and says he is seeking international help to restore the Paris landmark.
Macron said after the French capital’s fire chief announced the emergency response had changed into a monitoring and mop-up operation, “The worst has been avoided although the battle is not yet totally won.”
Macron said a national fundraising campaign to restore Notre Dame would be launched Tuesday and he called on the world’s “greatest talents” to help.
The French leader credited the “courage” and “great professionalism” of firefighters with sparing Notre Dame’s facade and two landmark towers from being destroyed.
Fonte | source:
-- AP NEWS / USA (11/04/2019).
apnews.com/cbeca024d24d429c9ba0dea598d1d3e0
S.v.,
-- VATICANO ARCHEOLOGIA e RESTAURO ARCHITETTURA. Brucia la cattedrale di Notre Dame a Parigi (1163-2019 a.D.,) Santa Sede: shock e tristezza. VATICANO NEWS (15/04/2019). S.v., “Rome embrasse Paris” - Virgina Raggi | Facebook (15/04/2019), & INCENDIE DE NOTRE-DAME: « tristesse » et « solidarité » au sein de la communauté internationale. Le Monde (15/04/2019). wp.me/pPRv6-4Xc
Spotted and shot by the Boy Wonder in Tesco's, Minehead.
Anyone who doesn't get this shot should apply for a job with Tesco immediately!
Pandit Vijay Guru, Head Priest at the Jyotiling Mahakaleshwar Temple, Ujjain, offers Baba Rampuri's book, now titled "Autobiography of a Sadhu - a Journey into Mystic India," to Baba Mahakal Himself.
ENAI SWIM offers swimming and survival skills lessons for babies and young children with real results in as little as 4 weeks. Lessonsn offered in Thibodaux and Houma, Louisiana.
ENAI ofrece clases de natacion y sobrevivencia en el agua a bebes y niños con resultados reales en tan poco como 4 semanas. Las clases las damos en Monterrey, NL, Mexico.
Inca market excursion offered by nofrills excursions
Tickets: www.nofrills-excursions.com/excursions-tours-thingstodo/p...
Wentworth Michael Foster Collection
BCD member Michael Foster has been collecting Wentworth jigsaw catalogues from their earliest times.
I believe this offer went to Wentworth Club members in Oct 1999, with Whimsy Issue 7.
The letter addressed to members dated 29Oct 1999 which also reported members views on whether or not they should be producing limited edition puzzles - members replied a resounding no! They report that the special edition, 'Wentworth 800' (the velour box with the plastic 'tooled leather bookend') issued in Whimsy 6, 'Rosie at Kew' signed by Paula Nightingale was selling steadily.
They note that the Malcolm Root Millennium Series no2 is shown as a sketch, because the painting was not finished in time for the printing date.
"A brief reminder that the Club Selection puzzles are featured in pairs, each pair sharing the same new cut. The other puzzles, of course have their own new cuts."
The Whimsy newsletter now consisted of 6-side A4 fold out leaflet, with a shaped top edge on the first page.
Whimsy Issue no7 1999 Nov Christmas, 10% off if 3x 250pc jigsaws bought (Club selection only, excluding Thorburn series).
Jigsaws offered: All 250pc, £19.99:
670W Village Snowman by Willhelm Meyerheim
671W Suitor's Sleigh Ride by Alonzo Perez
672W Testing the Vintage by Walter Sadler (Dendy ?Walker Sadler)
673W Wartime Reminiscences by Isadora Kaufman.
674W The Letter by Charles Baugniet
675W The Three Graces by Vittorio Reggianni
676W Labrador Puppy
677W Badgers copyright Alex Williams.
678W The Forced Abdication of Mary, Queen of Scots at Lochleven Castle by Charles Lucy.
679W The Coronation of Queen Victoria by Edmund Parris
680W Road Meets Rail by Malcom Root.
681W London Bus copyright Alex Williams
682W His Favourite Bin by Walter Sadler
683W Bottles of Champagne, Bread, Biscuits & Cakes by Jules Larcher
CHRISTMAS DISCONTINUED 684W Father Christmas & His Sleigh by Jane Sullivan
CHRISTMAS DISCONTINUED 685W The Nativity by Botticelli
MILLENNIUM SERIES No2 686W 1250-1500 Industry & Trade by Malcolm Root
WENTWORTH 800 687W Springtime by Leopold Kowalsky
VINTAGE CAR SERIES 688W no1 Vauxhall by Malcolm Root
Key Wentworth Company timeline
1991-2 founding date according to their 30th Anniversary claims. (Dormant company registered 30.12.1991, two name changes)
1994 Name changed to Wentworth Wooden Jigsaw Company Ltd. Sept 1994 first jigsaws produced.
1994-5 Earliest known brochure supplied to MF, hand dated by company staff – 40pc, 75pc, 140pc, 250pc, 425pc (clueless), 63 thumbnails of designs 001A – 063D included (“a selection from our autumn range”).
1995 Founding date from 10th anniversary claims in Xmas 2005 Whimsy Magazine
1996 Nominated for Toy of the Year award, highly commended.
1996/7 Personnel: Kevin Preston Managing Director, John Snoxall Technical Manager, John Phillips Marketing Manager. Address The Dairy Farm, Pinkney Park, Malmesbury, Wilts, SN16 0NX.
Personal Puzzles from a photo (Mega 426pc £34.99, Maxi 250pc £24.99, Midi 140pc £14.99).
1997 five puzzle sizes(40 - 425pc) – personal puzzles also available, orders by 24-hour phoneline & fax. Personnel: Kevin Preston (the founder), John Snowall & David Rossant.
Undated Contract Marketing leaflet with nine themed whimsy cuts (Animal, Artist, Church, Equestrian, Garden, General, Heritage, Marine, Music)
1997 First (Christmas Edition) Whimsy leaflet. Club with exclusive selections & exclusive series, periodic limited editions, personal puzzles (140pc £14.99, 250pc £24.99, 425pc £39.99 all incl pp). Prize £25 for best personal puzzle.
1998 May Wentworth Club formed.
1998 Sept. Wentworth Wooden Jigsaw Club Whimsy Newsletter 2. Order 3x250pc jigsaws save 10% (excluding Thorburn series). 5 exclusive jigsaws.
1998 Nov Christmas Wentworth Wooden Jigsaw Club Whimsy Newsletter 3.
1999 March Wentworth Whimsy Issue no4, 7 jigsaws offered, price drop 250pc at £19.99.
1999 May First Anniversary of Wentworth Club.
1999 June Whimsy Issue no5, 8 jigsaws offered, 10% off if 3x 250pc jigsaws bought (excluding Thorburn series).
1999 Aug Whimsy Issue no6, 18 jigsaws offered. Last of first Thorburn series, Malcolm Root Millennium Series (4x250pc) and first Wentworth 800pc series (tooled leather bookend packaging format) launch.
1999 Nov Millennium Christmas Issue no7. Vintage Car series starts.
(Wentworth Wooden Jigsaw Club address 51, Staplegrove Rd, Taunton, TA1 1DG – Editor Michael Graham.)
Radar Hill Off-Highway (OHV) Area offers plenty of fun with easy highway access and a nearby full-service community in southeast Oregon. Nearly 13.5 miles of looped trails travel across a mix of dirt, sand, gravel and cinder/clay rock and through rolling climbs, play pits, steep hills, and straight stretches. Most trails are easy to moderate, but a few challenge more practiced riders. This year-round site amid juniper and sagebrush is open to all users and perfect for any age or skill level. Whether on a motorcycle, ATV, mountain bike, horseback, or on foot, Radar Hill OHV Area will give you that outdoor experience you’ve been looking for!
Know Before You Go:
•Radar Hill OHV Area is open year-round with the best riding in fall and spring;
•Open to All Motorized Uses including quads, motorcycles, side-by-side ATVs, jeeps, snowmobiles, and other 4x4 vehicles;
•Open to All Non-Motorized Uses including hiking, bicycling, equestrian, sledding and cross-country skiing;
•No fees;
•Vault restroom available; and
•Loading/unloading dock, gravel staging area, and ample parking available.
Directions: From city center in Burns, Oregon, drive south for 2.5 miles on U.S. Highway 20. Turn west onto the Hines Logging Road/County Route 127 for three miles. Radar Hill OHV Area is directly to the south.
Point of Interest: Radar Hill is a great place whether you are local or visiting. Choose your travel mode and spend a half hour or half day. Come often to experience the changing seasons.
Contact:
Burns District
28910 Highway 20 West
Hines, OR 97730
(541) 573-4400
📷 Pest Controller Pittsburgh offers complete Pittsburgh pest control, termite control, bed bug... t.co/1bIawBrGGn (via Twitter twitter.com/ajames070389/status/741787608204902400)
Hagerstown, Indiana (September 10, 2012) The new Model T Ford Museum is slated to hold its grand opening during Richmond’s Octoberfest on September 28 at 6 p.m. The museum which was previously located in Centerville, Indiana near the Warm Glow Candle Factory for 5 years moved just a few miles east to Richmond, Indiana’s Historical Depot District this past spring.
Since the move to Richmond volunteers have been steadily preparing the museum’s new home, displays and vehicles for the event.
Today, a photo shoot for the Model T Museum’s newly acquired 1930 Pietenpol Sky Scout was held at the Hagerstown Airport.
The plan arrived at the airport around 10:00 a.m. this morning and was assembled by Model T enthusiasts and many of them brought their own Model Ts to use during the photo shoot.
One of the people there today was Mr. Jay Klehfoth who is the CEO and publisher of the Vintage Ford Magazine.
Jay is a walking encyclopedia when it comes to all things Model T. I was to learn he’s pretty knowledgeable in a lot of areas too. During our walk around of the plane Jay pointed out one of the parts for the engine had been made by a former factory in Richmond of all places. And there are many other special things about this airplane I’m sure he’ll be writing about in the next issue of the the Vintage Ford Magazine. He not only knew a lot about the Pietenpol Sky Scout plane that was being photographed for the magazine cover. He’s pretty sharp when it comes to airports too. He said that the Hagerstown airport were today’s photo shoot was done has the longest grass landing strip in the United States which to me made it the perfect place for today’s event.
This Pietenpol that will be on display at the museum is powered by a 20 HP Model T engine which was modified to include dual-ignition which is used in aviation. According to an article in the AntiqueAirfield.com website from September 10, 2012 there was only one original Pietenpol Sky Scout built by Bernard Pietenpol himself, and just two replicas. The article also said that all 3 were still flying.
The new Model T Ford Museum is going to be an exciting addition to what is one of Indiana’s grandest historical areas and a must in this part of the Midwest.
Richmond is a perfect place for any day trip. But, if you want to see all that Richmond has to offer you’ll need to plan on staying several days.
The Model T Ford Museum is located in Richmond’s Historic Depot District at 309 N 8th St, Richmond, IN 47374 - 765-488-0026.
Model T Ford Museum website: www.mtfca.com/clubpages/museum.htm
Additional Information:
The Model T Ford Club of America has nearly 8,000 families worldwide. Members are from all 50 states and 41 other countries.
The Vintage Ford Magazine is published bimonthly by the Model T Ford Club of America, 119 W. Main Street, Centerville, Indiana and is mailed to all members. Subscription rates are $35.00 per year (six issues) in the United States ($42.00 Canada and $44.00 elsewhere) and include member ship in the club.
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THE MODEL T FORD CLUB
OF AMERICA
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Raw Video: Prepping Pietenpol Sky Scout For Photo Shoot youtu.be/7_JnszAF8GA
Video: Pietenpol Sky Scout Photo Shoot youtu.be/h3m6ZWgNJMg
Video: Model T Ford Museum Grand Opening Set youtu.be/OwIiE5O1UQk
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Today I was invited to an interesting event at the RDS and I got to meet Richard Branson and I also discovered that from next Monday UPC in Ireland will be known as Virgin Media.
I am a UPC subscriber and have been for a very long time so I was pleased to learn that they are rebranding themselves as Virgin and that I will get three months of its unlimited mobile package for free and for a fee of €25 from thereafter. Currently I am with Three but hopefully it should be easy to switch as Virgin Media has built its mobile service using the Three Ireland network.
My understanding is that an unlimited plan will be made available to existing UPC/Virgin Media customers, which will offer infinite data, calls and texts.
The offering will be free for three months to existing phone, broadband and TV customers, and will cost €25 a month after that.
Non-Virgin Media customers will be able to avail of a range of price plans starting at €20 a month, but full details will not be available until Monday's launch. There will be no prepay offering, but post-pay contracts will be short.
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English:
When I was offered this commission immediately I regretted that would be an opportunity just to make money, show some carving skills and assembling designs. Fortunately I was wrong. I hate making replicas, specially of my own stuff from my past life, but that sculpture work was not the case.
The "carnavalesco" (director of art for the parade) asked me to do something clearly inspired on the Pietá on Saint Peter's Basilica, to evoke that art work, but with differences. That was the nicest work situation for me: I was being asked to repeat my own work of the past with the freedom to propose new proportion relation between the mother and her son's dead body and to recreate lots of details. The only annoying limitation would be the cutting of the sculpture in parts for the assembling technique needed for the float.
The Pietá theme, which origin was from northern europe (german), has the well known knotty esthetic problem: "the awkward contrast between the ungainly male body and the smaller woman holding it". The solution that everyone can notice on the Saint Peter's Pietá is that the Virgin is bigger than his dead son's body surrounded by drapery cascading. This is known as pyramidal composition (I can't remember from where I took it but I assure you that I was used of that solution for Virgin's images). This Pietá for a carnival work was the opportunity to check out if the Virgin could follow at least the same proportion of Christ's dead body (or even be a little smaller).
Beyond the classic art challenge, this Pietá would be almost three times bigger than the original. That should be enough to defy anyone's sculpting capacity when you would be working in a so crowded and unhealthy place: thermal sensation about 60ºC (stated by experts), breathing resin and surrounded by woven fiberglass. Worst: with less than a month to do it, I was always being remembered by jealous people that my work would be compared with one of the most famous work of art on the planet. Well,… here is my response to them.
Português:
Quando me ofereceram essa Pietá para fazer, imediatamente lamentei porque seria apenas para ganhar dinheiro e mostrar algumas habilidades de escultura. Felizmente, eu estava errado. Odeio fazer réplicas, especialmente do que realizei na minha vida passada, mas este trabalho não era o caso.
O carnavalesco me pediu para fazer algo claramente inspirado na Pietá da Basílica de São Pedro, para evocar aquela obra de arte, mas com diferenças. Essa situação de trabalho era bem agradável: eu estava sendo convidado a repetir o meu próprio trabalho do passado mas com a liberdade de propor uma nova relação de proporção entre a Virgem e o corpo morto do Cristo, e poder recriar muitos detalhes. A única limitação irritante seria ter que cortar a escultura em partes para a montagem necessária no carro alegórico.
O tema Pietá, com origem do Norte da Europa (alemão), tem um problema estético complicado: "o estranho contraste de tamanho entre o corpo masculino e o da mulher, menor, a segurá-lo". A solução na Pietá da Basílica de São Pedro é que a Virgem é maior do que o corpo de seu filho morto, emoldurado pelo tecido em cascata. Isto é conhecido como composição piramidal (não me lembro de onde eu tirei isso, mas garanto que estava acostumado a esta solução para as imagens da Virgem ). Esta Pietá em um trabalho de carnaval era a minha oportunidade para verificar se a Virgem poderia ter pelo menos a mesma proporção do corpo de Cristo (ou até ser um pouco menor).
Além do desafio de arte clássica, esta Pietá seria quase três vezes maior do que a original. Isso seria o suficiente para desafiar a capacidade de escultura de qualquer um quando você está trabalhando em um lugar cheio de gente e insalubre: sensação térmica de cerca de 60ºC (afirmado por especialista), respirando resina e cercado por tecido de fibra de vidro. Pior: com menos de um mês para fazer a obra, eu ainda sempre era lembrado por pessoas invejosas que o meu trabalho seria comparado com uma famosa obra de arte. Bem,... eis a minha resposta