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it was a man-made lake
is what i’m saying
dug from the earth
just outside of a mid-western town
& filled with muddy water
from two rivers merging together
a home for bluegill, crappie & sun perch
and trout with no sense of self-esteem,
a strange place
for my father to take up fly-fishing
but that he did
& in the evenings
he would escape to the basement
of the brick duplex
in which we dwelled “off base,”
down there all hours of the night
tying flies, building rods & drinking whiskey,
all of which fueled loud rows
between him and my mother
& it was me being dragged by the arm
into the middle of it all,
required to smell his breath
and vouch for his sobriety
which me being a man and all
i dutifully did
well, on the weekends
me and the old man
we would pack the gear
into the back of the brown Buick
& go fishing at the lake
where he would promptly
strike out on his own
with fly rod in hand
for the outer, more remote regions
leaving me behind
to become involved in
what was arguably criminal activity
of one sort or another
now, let’s see,
well, as i was saying,
i appreciate the pristine art of fly fishing
and all that fucking bullshit
but what i remember the best
what has stayed with me
is one seemingly inconsequential summer afternoon:
it was hot
and the wind had dropped;
the flies was buzzing
over by the table where you cleaned the fish;
and the old man,
he looked down at me & paused,
as if he was weighing things out in his head;
finally, he says to me,
“why don’t we fish here in the shade of these trees”;
and so we dug up some earthworms,
(a sacrilege, i’m sure)
threaded them onto hooks
cast them out into the lake
cradled the rods
on forked sticks jammed into the ground
& lay there all afternoon
on a grassy bank
in the shade of them trees
not saying much of anything
looking out
at two red & white bobbers
riding on the water,
just him and me.
Bonhams : the Zoute Sale
Estimated : € 100.000 - 150.000
Zoute Grand Prix 2018
Knokke - Zoute
België - Belgium
October 2018
The first of countless upgrades to Porsches seemingly immortal 911 came in 1966, two years after production had commenced, with the introduction of the 911S, which featured stylish Fuchs five-spoked alloy wheels and a heavily revised and more powerful engine. Improved handling courtesy of a lengthened wheelbase arrived in 1969 and then in 1970 the 911's air-cooled, flat six engine underwent the first of many enlargements - to 2.2 litres. By this time the models on offer had stabilised at three: the entry-level 911T, middle-ranking 911E and top-of-the-range 911S, all of which were available as either a closed coupé or Targa convertible. With the 2.2-litre engine's arrival, a common type of cylinder head was adopted, the differing power outputs being determined principally by valve timing rather than valve sizes as had been the case hitherto. In 1972 all 911 variants received the 2,341cc (nominally 2.4-litre) unit, which in 'E' specification produced a maximum of 165bhp.
This Porsche 911E was built for the German market and sold new to an American pilot in Munich by Mahag who used it in Germany until his return to the USA, a common enough occurrence at that time.
Delivered in the very attractive colour scheme of blue metallic it retains today, the car is believed to be one of the very last 2.4-Litres built and therefore one of the very last examples of the F-model that by then had been in production for nearly 10 years, since the start of the 911 range. This Targa moved with the first owner to South Carolina where it is believed to have stayed for most of its life before moving to its second owner in Texas. It was in Texas that the current Swedish owner was able to buy the car in 2012. He is only the third owner.
By then the Porsche was in need of restoration, so the current owner commissioned a 'last nut and bolt' rebuild to the highest standards in 2013, which was carried out in Europe. The car was completely disassembled and gone through, the body returned to factory-fresh condition. A lot of attention was paid to panel alignment and welding to maintain absolutely correct specifications. The repaint was meticulous and the car's shut lines are said to be excellent – truly something to admire. Factory procedures were followed in the paint shop so the work would compliment that done at the works 40-plus years ago. In addition, extensive corrosion protection was applied to ensure the body remains in good shape for years.
Mechanical components were restored wherever possible, and any worn parts replaced with new ones. Attention to detail was maintained at all times, and all components and systems work and perform as they should. Overall it took 3,000-plus man-hours to restore the car to the quality it deserves.
Since completion, it has only done some 400 shakedown kilometres. This 2.4 E Targa has been displayed at a couple of events where it has won several concours prizes.. Accompanying documentation consists of a Porsche Certificate of Authenticity confirming the car's original specification (which it still retains today); old US title dated 2002; EU customs document confirming taxes paid; owner's manual; tool kit; and invoices and photographs relating to the recent meticulous restoration. Ready for any concours event, this stunning 911E Targa is worthy of a place in any important Porsche collection
Having disappeared and seemingly gone forever from the Mid-Cheshire Line, one small silver-lining of the Covid-19 pandemic has been the return of the much maligned Class 142 Pacers to the line.
The units have been dug out of store in the Northeast to bolster services in the Northwest and provide additional capacity to allow for greater social distancing.
Once again the "stop-gap" railbuses are doing a useful job for local communities after 35 years - and well over a year after they were all supposed to have been withdrawn.
A grab shot of Northern's 142004 (taken with incorrect / auto settings!) leaving Lostock Gralam on the rear of 2H36 19:00 Chester to Manchester Piccadilly.
Class 150, 150131 was the leading (and PRM compliant) unit.
01-01-2015
denver, co
New year, blank slate.
Well kind of. There's this infrastructure but it's not immediately helpful. It's more like an empty template.
The arrangement of the infrastructure appears to be random; seemingly placed without thought. Of course, that's really not the case. This piece is here because the available HVAC capacity is most efficiently utilized when distributed in this spot and that piece must go there because it services the room above. That other piece—well, it was supposed to be over there but we made a mistake.
The infrastructure, as we see it now, is the way it is because it is the sum of some specific set of events progressing towards some goal that can only be met if specific constraints are met. That goal, its constraints and the formative events are never directly communicated to onlookers.
Expectations, traditions and preconceptions are projected onto the template with stunning fidelity yet none of them quite match what the template is or what it will be. The fact is, these expectations come from a place of external (from the perspective of the template) desire. Traditions come from a time when the rules were only partially defined and mostly unknown. Preconceptions come from a pattern recognition algorithm trained using only patterns exhibited before those external desires even existed and before we solidified and discovered the rules we currently know.
But, just like the unexplained state of the infrastructure, failure to match these projections inevitably seems to draw criticism. Onlookers won't recognize the template for what it is until it finally becomes a finished product, if or when that happens.
Seeing yourself in all of this from a third-person perspective is jarring and uncomfortable. Criticism from onlookers isn't particularly useful. The projections don't cede any comfort because you don't identify with them—they're not what you are or want to be.
It's not really clear how this additional input should influence progress towards achieving a goal. Processing these external opinions can call into question the tradeoffs that resulted in this empty template, thus endangering forward movement.
There's a fine line between self-acceptance and stalemate. There's also a fine line between working towards achieving goals and not being overwhelmed by the opportunity costs of participating in society. The intersection of these lines is a locale at the apex of Maslow's hierarchy that few even have the opportunity to find.
Perhaps in search of this intersection you've found what looks to be a good compromise. But then you take stock of the landscape revealed by your new vantage point and realize suddenly that the only thing you've got to show for your *31 years on this planet* is a wash basin and only a wash basin, in a not particularly useful or aesthetic location. If not heart breaking, this realization certainly induces anxiety.
Explaining the context of the infrastructure and its slapdash state becomes exhausting but leaving details to the imagination of those around you is alienating. The feeling that you need to build up so much background before you can talk or interact with someone on a meaningful level—even family or someone who you've known forever—is crippling. It's a positive feedback loop that shuts you off from the world.
Perhaps more frustrating is the fact that the mental model that many people use as a representation of you is a finished product. Along with this representation is a set of expectations that can be completely unfair and unrealistic. Knowing that there are those who are judging you based on the haphazard state of your infrastructure can decimate self-confidence.
The extent to which long-term investments are undervalued in our society is a crying shame. It is of course very important see projects through to completion and to carefully weigh costs and benefits. Still, we need to retrain ourselves to be much less averse to the long slog.
So if you're out there in the world looking at people looking at the state of their infrastructure, see what you can do to make sure that the version of the ugly duckling unfolding before your eyes resolves with the happy ending. Stop dismissing your friend who's writing a novel. Ask the other friend about the completion status of that project, but don't be judgmental about it. Don't assume that the ultimate goal of that girl's hobby is to make a business of it. If you're asking questions about some ethereal desire, "I don't really know," is a completely acceptable answer.
If you're out there in the world feeling bad while looking at the state of your infrastructure, try and shake it off but do whatever it takes to not get stuck. Take a snapshot at precise intervals and devote time to looking at the snapshots. It's pretty amazing how progress seems to sneak in right before your eyes.
A seemingly forgotten, frozen-in-time, abandoned Super Stop & Shop along Beverage Hill Road in Pawtucket, and a stone's throw from the Rumford town line. This store closed up around 2010 and sits vacantly today in a half-dead Narragansett Park Plaza.
Not without effort, the town still has a bombastic plan to redevelop into a multi-mixed use site.
Now seemingly the vehicle of choice as the relief bus for when 998 is being recharged (or if a non-electric driver is on the route), the Ub.1 free campus shuttle service has got Burnley Starship liveried Optare Solo MX54 KYF running around the campus - seen here at Heslington Hall on the last run of the day. the rear number blinds have been rolled round to read UB1 now.
Lane seemingly leading towards a gothic-shaped gate, but that could only be a church of trees at Beeckestijn estate, Velsen-Zuid, Netherlands.
Seemingly, it's an original Romanian-delivered Avantime, one of 2 in the country. Pretty cool, right?
Seemingly a one off casting for several years until its return for the 2022 Case B assortment. Not an amazingly well executed model if i'm honest with its lack of interior, slightly off proportions and slightly clunky feel but already proving popular with many collectors. One of several found recently at Tesco. Mint and boxed.
Well. Here is what I have been working on for a seemingly two week stretch of inactivity on my photo stream in Flickr. I have photographed my redesigned MOC of a P-51 Mustang (in light bluish-gray), my MOC of a Dodge WC Utility truck from World War II, and my A-26 Invader plane (primarily in dark green). I'll start with the simplest one: the Dodge WC. I just constructed a representation of the average WC out there pertaining to World War II based off some images I found. It features Brickmania printed star tiles, as well as a simulated tarp able to house crates. The close second to the most complex would have to be the Mustang. This one was a LOT of failed experimentations, but I am proud of the final product. It features dihedral, an angling of the wings sideways as well as a slight backwards slant via balljoint techniques, and working landing gear on all three wheels. I was very proud how I was able to fit the minifigure in there too (:. Lastly, the Invader, the largest MOC here, was probably the most complex almost entirely due to its engines (which were some of the most convoluted sections I have ever created on a LEGO plane), the fully functioning landing gear, and the demand for a light bluish-gray blend at its belly to the fuselage color of dark green. Man, this was a lot of work done over some two weeks. But I hope you like it!
Also... check out Cooper Shaffner's stream on Flickr, as he has started a discord inclusive to all LEGO military builders. He is tagged in this photo, and his advertisement is on his page posted just recently.
Okay, that's all for now. Cheers (;.
Seemingly in constant use positioning mainline locomotives, smart duty tractor SM03-268 lies in wait fronting the smaller of PKP CargoTabor's roundhouses at Ostrow Wlkp.
This large facility demonstrates PKP Cargo's sucessful business, projecting it's advanced technical abilities on this day of visit.
30th April 2018
A seemingly abandoned Proton found across the street from a friends, surprisingly it's on SORN. Looks to have sat here for a few years. All I know is that it hasn't moved since September.
Seemingly the preferred tender design of the Union Pacific, this is is the reason that UP Steam Specials will throw and odd axle count at defect detectors.
-Union Pacific 4-8-8-4 Big Boy #4014
-UP Seven Axle Serpentine Truck Tender
-UPP #809 "Jim Adams" Auxiliary Water Tender
-UPP #814 "Joe Jordan" Auxiliary Water Tender
-UP SD70M #4015
-UPP #6334 "Art Lockman" Baggage Car
-UPP #209 "Howard Fogg" Power Car
-UPP #5714 "Lynn Nystrom" Baggage Car
-UPP #5817 "Pony Express" Baggage Car
-UPP #8004 "Colorado Eagle" Dome Diner
-UPP #7015 "Challenger" Dome Coach
-UPP #5752 "Promontory" Baggage/Exhibit Car
-UPP #200 "Omaha" Sleeping Car
-UPP #2066 Power Car
-UPP #9005 "Walter Dean" Dome Lounge
-UPP #5011 "City Of Denver" Diner
-UPP #119 "Kenefick" Business Car
-UP (ex-MKT) Cherokee Sub, near MP U392
-Queens Rd Crossing, S of Parsons, KS
-August 12, 2021
TT1_2443_edited-1
I spotted a bird on a seemingly unused building across from our hotel, near LAX. I took a closer-up photo where the bird was more or less visible, flic.kr/p/ooj3u9 then a wider angle to emphasize how alone it was amid the dark windows and pattern that reminded me of a punch card. flic.kr/p/oouQWL
I used the second image as a point of departure. Neither is 'flat' so I selected 8 columns by some number of rows and created a big field of windows. Then edited it down to the 12 X 80 of a punch-card. Put in the boundary markings for a card, and pasted a fragment containing the bird into row 0, column 7, where data would normally begin. (Columns 1-6 are reserved).
Normally I'm a share and share-alike guy, with attribution, and that's what the source photo and its smaller version are. But this is an original piece of art, and its all rights reserved. Fair use including personal copies are fine, but reproduction, other than for review, etc., requires permission. I'm happy to work something out, but I'm asserting that this is my personal work, I made it and it belongs to me.
Having bested a seemingly endless horde of husks, The Revenant stood injured but victorious. Her entire strike-force had been slaughtered in the sudden and brutal ambush within the confines of the narrow corridor, and only Kincade and a single assistant of his had escaped the ravenous claws that swarmed them.
Having boarded the ship with a team of six troopers and four scientists, a single corridor had become akin to a meat grinder for the Cerberus team.
Exhausted but holding firm, The Revenant awaited Kincade's orders. Should they press on in search of the artifacts, or should the meager remnants of their boarding party fall back to their dropship?
Kincade was indecisive. He stammered in terror as his assistant pleaded for him to sound the retreat. On one hand, he was now utterly terrified beyond words at the horrors they had just survived - on the other it was possible that The Revenant had cut down the majority of monstrosities aboard, and could no doubt handle what remained. Surely an operative as lethal as her could protect them long enough to complete their task - and Kincade so deeply wished to impress The Illusive Man.
A shrill, metallic shriek from the far end of the corridor snapped him from his deliberations.
The hulking, skittering mass now blinking towards them in violent bursts of Biotic clouds was unlike anything he'd ever seen. A nightmare taken form, it screamed once more as it towered over The Revenant.
Kincade very suddenly remembered the dossier had mentioned the lead scientist assigned to the Schofield was an Asari,
Kincade had never heard the operative speak. In all the time he'd known and worked with her, not a single word.
She glanced over her shoulder at the scientists, speaking the first and final word he'd ever hear her say.
In a voice made hollow by the filter on her helmet, she simply said...
"Run"
Seemingly from nowhere, the office walls were covered in these Emperor Moths. Here, we call them Mopani Moths and the large juicy caterpillar considered a delicacy - but not to my fragile and delicate palate/stomach!! Give me a haggis any time.
Seen in the car park at Stockwood Park, at the 2021 Luton Festival of Transport, but seemingly not on display is this superbly restored ex-United Counties early Bristol VR, with ECW Body, no.757, UBD 757H.
Seemingly afraid of the downpour, 31165 sits beneath Church Road bridge, on the Up Filton Main, for a crew change.
Note her wonky dominoes...
September 26th 1982
Jan Vermeer (1632-1675), active in Delft
The Art of Painting, to 1665/66
In the Art of Painting, one of the masterpieces of Western art, Vermeer uses a seemingly realistic studio scene to convey an allegorical meaning. In this case, the Delft master breaks with the existing tradition to present the Allegory of Painting in a single figure. The painter sits at his easel and begins the laurel wreath of his model, costumed as Clio, Muse of History, to capture on the canvas. Since its creation, iconography and technique of the painting have evoked countless interpretations. The historically handed down - probably stemming from Vermeer himself - title The Art of Painting makes clear that here a concept is represented. Until the mid-20th century, the image but preponderantly was received as ordinary studio scene. With the identification of the model as Clio the interpretation of the image as an allegory asserted itself increasingly. Whether the content aspect (the allegorical meaning) or the formal aspect (the startling illusion) of the image, that are rightly praised equally, is important, under art historicans is discussed to this day.
Jan Vermeer (1632-1675), tätig in Delft
Die Malkunst, um 1665/66
In der Malkunst, einem der Hauptwerke der abendländischen Kunst, bedient sich Vermeer einer scheinbar realistischen Atelierszene, um einen allegorischen Sinngehalt zu vermitteln. Dabei bricht der Delfter Meister mit der bestehenden Tradition, die Allegorie der Malerei in einer Einzelfigur darzustellen. Der Maler sitzt an der Staffelei und beginnt, den Lorbeerkranz seines als Klio, Muse der Geschichte, kostümierten Modells auf der Leinwand festzuhalten. Seit seiner Entstehung haben Ikonographie und Malweise des Gemäldes zahllose Interpretationen hervorgerufen. Der historisch überlieferte - wohl von Vermeer selbst stammende - Titel Die Malkunst verdeutlich, dass hier ein Konzept dargestellt wird. Bis zur Mitte des 20. Jahrhunderts wird das Bild jedoch mehrheitlich als gewöhnliche Atelierszene rezipiert. Mit der Identifikation des Modells als Klio setzte sich die Interpretation des Bildes als Allegorie zunehmend durch. Ob nun der inhaltliche (der allegorische Sinngehalt) oder der formale Aspekt (der verblüffende Illusionismus) des Bildes, die zu Recht gleichermaßen gerühmt werden, bedeutender ist, wird unter Kunsthistorikern bis heute diskutiert.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Just outside the caravan park we were at in Woolgoolga, the trees alongside the road were lined with seemingly thousand of these bats, making the trees seem alive with these mischievous little creatures
Throughout the Bible, God reveals that He is always in control over His vast universe and even our seemingly insignificant lives. Here is a true-life story from a member of the persecuted church:
“I was the only convert of a man who died thinking he was useless to God. Both our crimes were for violent robbery and we actually shared a prison cell together.
“He told me about how—by mistake—he had been placed into a cell with a group of Christians. They were singing hymns at night and praising God together. He saw them as a soft touch and robbed them of their food parcels. He even beat them to show who was boss. For the first time in years he felt powerful again. But somehow they were not afraid of him and repeatedly shared their faith in Christ.
“One day in a fit of anger he took his knife to kill one of them. But something—or Someone—blocked him from bringing down the knife. For the first time, he was up against a force more powerful than himself, and one he could not understand.
“At that moment he put his trust in Christ. The prison authorities realized he had been allocated to the wrong cell and they moved him to solitary confinement. There he pleaded with God, ‘Lord, let me witness to Your power and love before I die.’
“One night the prison was overcrowded and I was put into his cell. I could see he was far-gone, barely conscious. He beckoned me close to his lips told me all about Jesus and how He loved me and wanted to save me.
“When I woke up in the morning, he was cold and dead. I was to be moved to a hard labor camp that day but the truck that was to take me there broke down. So I ended up in another cell—the one full of Christians.
“My truck was delayed a week. In that time the Christians told me the whole story about this man. They were delighted to learn he had witnessed to me before he died. The night before I was moved, I too trusted Christ.
“That’s the strength of suffering for Christ. It kept a dying man going because he wanted to witness. It kept those Christian prisoners buoyant all through their captivity. It gave me hope when I looked ahead at eight years of hard labor camp. I would have died if not for Christ.”
Standing Strong Through The Storm (SSTS)
A daily devotional message by SSTS author Paul Estabrooks© 2011 Open Doors International.
Seemingly something of an overkill in terms of motive power for a single PFA flat being moved from Crewe Coal Sidings to Eastleigh Arlington on 28th June 2022. DRS Class 68 68016 leads rather grimy Class 37 37069 and the single wagon through Warwick
Seemingly impossible window sills. Designed by M.C. Escher? The illusion is caused by shadows cast by the sun from narrow window sills. This Florentine Renaissance styled "Finance Center Building" opened in 1927 on the corner of Montgomery and California in San Francisco, now owned the Omni Hotel.
Seemingly still waters but in reality this part of the balinese coastline is quite rough come sundown with the incoming tide!
A seemingly almost endless amount of new recolours have been furnished upon the cute Majorette Suzuki Jimny. Its tiny but chunky Defender-esque styling has been captured faithfully with the nice features you'd expect from Majorette such as working suspension and clear lense headlights.
Found recently at ASDA.
Mint and boxed.
seemingly, closed and empty shop windows in Dunfermline are now home to various 'exhibitions' in an attempt to brighten up the town.
Seemingly a different casting to the 2017 equivalent I'm more familiar with though a casual glance has left me wondering why they bothered retooling it.
A recent charity shop found gift which I believe originally came from a 2010 Nightburnerz five vehicle set.
10.05.88
Seemingly crept into the show, did this. It didn't hang about, arriving later and leaving early. Myself nor those I spoke to ever did see the owner of this Stellar, but it drew in an enthusiastic crowd.
The first example I've ever knowingly seen, I thought the wide-and-flat appearance made the car look quite American.
The Gold Medal special edition trim was offered at the time of the 1988 Seoul Olympic Games, based on a top-spec GSL, I'm not too sure what additional spec was included bar a lot of stick-on vinyl.
How many left: Hyundai Stellar 1600 GSL, 6 taxed & 10 SORN, though how many of these bear Gold Medal stickers is unknown!
The Stellar 1600 GSL is also the most 'common' trim of Stellar remaining.
Seemingly failed its MOT on some very minor points back in 2010 and hasn't been taxed or re-tested since.
✗ Untaxed
Tax due: 01 February 2010
✗ No MOT
Expired: 01 February 2010
Vehicle make: VOLVO
Date of first registration: January 1993
Year of manufacture: 1993
Cylinder capacity (cc): 1986 cc
Adult seemingly being told off for not bringing fish to its nestling in the tern colony at Cemlyn Bay, Anglesey. Observers are kept at a sensible distance from the birds by a simple rope along the top of the beach, giving fantastic views of entirely undisturbed birds: indeed they come whizzing past your head on their way to and from the sea to fish and don't take a blind bit of notice of you. Which is nice.
Anticipation, that's my initial sensation, while waiting for the "Dumbarton Oaks" Concerto by Igor Stravinsky. Such an intimate setting for the orchestra, clustered tightly as a small ensemble, seemingly so on the large stage at Heinz Hall. It began as a warm round of applause, as conductor Hannu Lintu appeared on stage without baton in hand; this would be conducted with hands only. The 'principals only' crew, arrayed around our guest maestro, in a compact semi-circle, commenced.
The beginning was perhaps like something that would be envisioned as an event at the Olympics, but no, that's too big, perhaps a race at the park. The sound was obviously not as large, but was lyrical and pleasant, as most of the phrases went from high to low, marching in rhythm, the pulse and beat of the envisioned race, continually flowing with the occasional brief pause, and ending slowly. Between movements a bout of coughing suddenly burst forth from the audience, it seemed as if a quarter the audience was coughing in what seemed to be mocked and feigned, perhaps to say once and for all: please, no more coughing during the performance. Conductor Lintu turned part way towards the audience, and laughter burst forth, all this happening in the few moments between the first and second movement; Not a typical scene, and worth noting.
This brief look at Lintu's humor aside, he next commenced the second movement with another flourish. This slow movement was quiet and tentative. The melody seemed to me to suggest these lyrics: "Count two, count three, stay airy and carefree; jaunty, frolic, but never catch a bee, I'm lucky and breezy." The whole Stravinsky concerto was pleasant, and was a good choice as a companion to the Prokofiev concerto, both having the same sense of perpetual motion.
Conductor Lintu did a spectacular job this evening, filling in at the last moment. His technique and energy were contagious. I enjoyed watching his conducting style, sometimes stern, others expressive, and always full of zest and pizazz. If the PSO were so inclined, I would like to see him again at the helm.
Yuja Wang played a magnificent rendition of Prokofiev Piano Co. No. 2, along with the Pittsburgh Symphony Orchestra. I saw it on the internet prior, but that just doesn't do this composition justice. It must be experienced in person, in a large concert hall like Heinz Hall. The sound is much bigger and grand. Watching the soloist was a treat. She not only played with stunning detail and amazing ability, her movements were spirited and accented many phrases with vitality. She seemed to meld with lyrical romantic parts, and race with spunky, get up and go, spirited passages.
Here is a video, same music, same pianist, but not the same orchestra www.youtube.com/watch?v=Z-OUnF4IS_8.
Some thoughts while watching and listening:
Pensive, then whirling like a march. Themes perhaps from Liszt and Tchaikovsky. Like a cascade, accelerating near the bottom of the falls, alarming and rejoining the orchestra. 2nd movement, with reverb, quick and fast like a chipmunk spinning and darting. 3rd movement, like a theme to a Hitchcock movie, interwoven with more themes from Liszt. Somewhat like the 2nd, but all grown up, now more like an elephant, with the conductor directing, arms and baton out like the trunk, rearing up the wind section, strings marching quite along. Reciting lyrics, mnemonic techniques remembered and revealed, almost whimsical, many voices, creatures scurrying all around. Now the cello versus the piano, a dramatic counterpoint, other instruments join in: don't be alarmed with my syncopated rhythm. Crossed arms now on the piano, with beautiful low pitched keys, blending into finale.
A seemingly inquisitive moai tilts his or her head while pondering an observation for centuries on Easter Island. The island was once a paradise, but as many as 10,000 inhabitants used up all the the island’s resources, leaving Easter Island as a cautionary tale and poster child for ecological disaster
Seemingly long forgotten, former Manchester Ship Canal locomotive 4001 moulders away at Winfields of Haslingden. This loco was built by Hudswell Clarke & Co. of Leeds and was powered by a 430 b.h.p. National Gas & Oil Engine Co. power unit. The MSC bestowed the name "Alnwick Castle" on the loco. It's sister, 4002 (HC D1076 / 1959) is still in service on the East Lancashire Railway. Many of the parts from 4001 have found their way onto the working survivor.
It's true that every storm runs out of rain
Hope for the suffering, seemingly in endless pain.
Thunder claps and the clouds turn dark
But a shape looms on the horizon, and it isn't a shark.
A glowing ball of gas, more commonly known as the sun,
Rises up above the horizon and it's not just for fun.
It brings life, and warmth, chasing darkness bringing light
Putting an end to the storm and the dark of night.
Amazing redemption, saving grace, a fresh start
The best fact is these are only 24 hours apart.
Everyday beauty as good as you'll see,
To the creator, the one who pulls the sun up, be the glory.
ODC: THE EVERYDAY
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The Tibetan Monks seemingly continue to spread their wings
In the past years they have grown in population, while their followers have increased globally
If Tibetan Buddhism were taken as a lake, Lhasa would be an island in its center. When the wind blows, the lake ripples with gentle waves spreading out to the eastern tip of the Qinghai-Tibet Plateau. That part of the world is home to Tibetan, Tu and Han ethnic groups and boasts 29 monasteries of Tibetan Buddhism.
This onne was of a group of five visiting the Hoover Dam, possibly to see the ripples upon Lake Mead, which has islands that were covered with water last in 1986.
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FOR MORE PHOTOS PLEASE PEAK INTO THE ALBUM (VAMPYRE)
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Caessandrea, the curse of a teenage vampyre
Like some vampyric treasure huntress, she fed on the thrills the pursuit offered. Seeking out and stalking her type of fertile prey helped to quench the seemingly overwhelming desires that would engulf her. The trophies she attained, even though they supported her family financially, where actually quite trivial, even anti-climactic, when viewed through Cassandreas’s cunning eyes.
Coming soon
The curious chain of events that led up to an Occurrence at the Moonstone Formal
Kate, who had a private room in a corner of her family’s right wing, entered it at around 3 am. Exhausted from the prom, she laid back for a few moments to reflect on the rather hectic, and somewhat confused, events of the evening.
It all had happened at the Moonstone formal, an annual event put on by the trustees of an exclusive school that once was for poor children, but now catered to the sons of the very wealthy. And here is where, on the cusp of falling into dream, Kate’s contemplations grew.
Slowly Kate drifts off into a deep slumber. At first her dreams are happy and sweet, but soon, like the events that had taken place at the formal, they take on a darker tone.
As she thrashes in bed, a shadow moves over her, a ringed hand goes to her shoulder and Kate is once again calm. Silently, softly the shadowy form pulls Kate’s silky long hair away from her throat….
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Flashback to the Moonstone Formal earlier in the evening.
A girl with long reddish hair wearing a glittering copper coloured gown is dancing in the arms of a young man wearing a shiny grey satin shirt, and black Dockers. He is a stranger amongst the crowd, but whose natural charm soon let him win over the girls present, if not so much their male counterparts.
As the man smiles into the girls slightly slanted eyes, he holds her attention, as slowly he moves a hand from around her waist. The hand is clasped, holding onto a diamond bracelet that he had only minutes before removed from the delicate wrist of his current partner. The girl smiles back, seemingly swept up in his charismatic magnetism. He slips the bracelet into his pocket just as the song ends. Must you go she asks. Yes he said, I have one more lady on my dance card, not nearly as pretty as you, but then I must go, curfew you know. The pretty girl in the shimmering copper gown smiles, she knows he is fibbing, but appears not to care. Skip her, she purrs, that will give you fifteen minutes more, I’ll meet you out in the back garden, and will make it worth more than a single dance with some overly made up tart….
He smiles, go on first, I’ll give her my regrets he lies. The reddish haired copper gowned girl leaves him, and heads out towards the door.
Caess, short for her given name of Caessandrea, did not leave. Darting into a dark side corridor in a flurry of flashy copper, she took up a concealed position to watch. Sur enough, the bastard had taken Kates hand and was leading her to the dance floor. Caesswatched as the fluid satin of Kate’s gown poured and moved along her wiggling figure, happy that she had snared a dance with the dashing stranger with the heavy foreign accent.
You should have left Caess hissed through the pointed canine fangs that had grown in accordance with her seething feelings. Casessandrea would have let him go with her bracelet if he would just have taken the opening she had given him. But now she have to put a stop to his antics. The bastard should have left well enough alone, but now he was after Kate’s jewels, and that simply would not be tolerated.
And sure enough, once Kate’s eyes were locked into her charming partners, he let a hand work its way up her back side, and with a simple flick of his fingers flicked op the clasp of the ruby necklace, that Kate had borrowed from her wealthy Mother. Whisking it magically away from the unwary girl in his grasp.
As soon as Caess saw what was happening she took action, turning away and marching to a group of young men hovering around a nearby table, a group that played for the school’s rugby team.
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End of Flashback, once again in Kate’s bedroom, where a shadow lurks.
The waning moon peeks from behind a heavy cloud, bathing the room in a misty bluish caste.
The waning moon peaks from a cloud, illuminated Kate’s Bedroom in a soft, misty blue light. The form hovering over her takes on colour. A copper coloured gown and long reddish hair outlines the young girl silently examining the now bare neckline of the soundly sleeping Kate.
Caessandrea, now in full vampyre mode, bends down, her long fangs hungrily sink themselves into the sweet, young flesh. It only lasts a minute, and replenished, Caess lifts up her head, looking around slowly, before bending down once again over Kate’s inert, still fancy dressed figure. .
The night stalker that now was Caess looked down upon her victim, the valuable ruby necklace, still draped around the sleeping girls throat. Its shiny redness almost matching the two bloody incisions just above the glittering rubies and diamonds of the expensive bauble Kate wore. Caess’s eyes sparkle as much as Kate’s jewels. The night is hers, and she is very much alive and in tune with all it’s secrets.
He should have left well enough alone, Caess again reflected, the arrogant rogue was given the opportunity to leave well enough alone, and escape with a profit, as it was….
The boys from the rugby team had caught up to him just as he was leaving. Unceremoniously emptying his pockets, and when the discovered what he had been doing, pretty much beat him to a pulpy mess.
The foreign accented strangers astounding haul was returned to their rightful owners, all women, consisting of a brace of bracelets, a pair of necklaces, and a large sparkly diamonded broach.
Not much time, the sun was just sending its awakening streaks into the horizon. Casessandrea lifted the clasp of the necklace Kate was wearing, and opening it, she slipped it off the dead to the world young lady. Then she took one of her twin bracelets. Giving attention to her open jewel chest, Cass selected three valuable pieces. Normally she would have only taken just the necklace, but the greedy rogue had opened a window of opportunity, and Cass was going to use every bit of it for her needs.
Caess left by the way she came, gliding noiselessly along the corridor and winding staircase. Out in the gardens she smiled wickedly to herself. The bastard had been so intent on lifting Casessandrea’s bracelet that he never felt Caesslift his wallet. She left it there, along the path, planting the evidence that pointed to him being the night burglar…..
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Casessandrea’s saga
Or
How she became a seventeen year old vampyre
Casessandrea had been born to thye manor. The first born of an old noble family, who occupying what was actually a medieval castle on a hill overlooking a small blue lake. When Caess was almost seventeen her father had been taken away from them at an all too young age, dying while fighting in the service of the king. Her family, forgotten by the courtiers had found themselves living a hardscrabble existence, barely maintaining ownership of their home.
Casessandrea’s family consisted of her dowager Grandmother, her frail Mother, younger siblings, a sister and twin boys who were not as yet of age. As the oldest, eleven though she was only just turning seventeen, Caess had felt obligated to find a way to support them, and keep the manor intact for the eldest of the twins. It was in search of fulfilling that obligation that Caess fell in with Brahme Davilen and his coven of vampires.
Caessandrea let Brahme turn her into a vampire when she realized her powers could be used to support her newly impoverished family, thus saving her family, along with their ancient castle. For her families honor and existence, she sacrificed a normal life for herself, keeping her sweet curse a secret, forever a teenager in appearance, but something much more in reality.
Caess still shivered deliciously as she remembered the hungering desire in Brahm’s red eyes as he bent down over her prostrate figure to make her one of his own. Sweeter than any lovers embrace, more tingling than ones first passion, Caess found herself on the cusp of almost all consuming ecstasy as his sharp fangs penetrated, and drank. Fire coursed through her veins as the metamorphosis consumed her, changing her into something that made Caess feel exhalted.
Caess now survives by befriending and feeding on the vibrant blood of teenage girls such as herself, picking nothing but the wealthy ones ;so she can steal some of their jewels which she successfully used to keep her family from ruin.
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DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
***************************
July 2, 2016 in Kentucky and it's seemingly 90 degrees. I traveled with a buddy through here on my way to West Virginia. A typical holiday weekend as we saw an increased police presence. "There's our buddy", one of us would remark when we saw motorists pulled over. Yea he's got another paying customer. Other times we'd say "...I wonder how much tickets to the policeman' ball are today?".
Now to the reason for this photo.
My friend and I parked in a parking lot across the street from here. I walked across the street and braced my knee on a guard rail to take this shot.
Another siren and flashing lights are about a quarter of a mile up the street. At first I didn't pay much attention. My friend says "...Paul... we are his customers." Knowing that I wasn't doing anything wrong, I took this shot.
The policeman got out of his car and asked why we were taking a picture of their bridge. I'm dumbfounded he was even asking such a question. "In case you haven't heard, we are in a heightened state of terrorism." "What are your names?"
I was cooperative but had to wonder if I should have given him a class on Probable Cause. I wish I'd not left my GoPro camera in the car so that you guys could have seen and heard this ridiculous encounter. There was no crime here.
Now I'm not being critical of ALL law enforcement officers as my brother is a police officer and a good one. He cares about his family and those he serves. Where do we go from here?
Ralph* is a 28-year-old student and police officer in the Gok area of the Greater Lakes region.
But there is something wrong in this seemingly promising picture of a gainfully employed young man making progress in life. About a week ago, Ralph began to serve a six-month-long prison sentence in Cueibet. The young bachelor was caught committing adultery.
As another two men were involved in this unlawful sexual encounter, the customary fine for adultery, seven cows (paid to the woman’s husband), was divided among the culprits, with Ralph requested to provide three of the bovines due.
“I could only afford two cows, so now I’ll be here in prison for the next six months,” Ralph says, adding that finding a wife of his own would probably have been a better idea.
The latter admission elicits howls of laughter amongst a group of fellow inmates and a couple of prison wardens surrounding us.
Considering the dire conditions of those forced to spend time at the Cueibet Prison, the predominantly male prisoners are jovial and in good spirits. Ralph, who has been a police officer for four years, is hopeful of a successful return to his work, and to his community.
“I’ll use myself as a warning example. What happened to me, as a police officer, will show people that nobody is above the law.”
The prison in Cueibet, recently renovated by the United Nations Mission in South Sudan as part of its Quick Impact Project programme, holds more than 200 male and juvenile inmates and nine women.
Some 120 of them are crammed into two cells in a building measuring approximately 120 square metres in total. The no-frills structure (bare walls and a roof) was intended for 30-50 inmates, which goes to show that, with its current population, swinging a cat about is hardly an option. Another 100 or so prisoners inhabit a similar abode, with the nine women enjoying a comparatively spacious hut.
Yet, conditions used to be worse. The UNMISS-funded renovation included fitting windows (with bars) onto the cell walls.
“At least now we can breathe and not worry about suffocating or picking up respiratory diseases from each other,” one relieved inmate says.
Serving one meal a day, a late 3 pm lunch, offering no leisure or educational activities and with fourteen hours a day (from eight in the morning till six in the evening) spent inside, a night at Cueibet prison is still not likely to feature on anyone’s bucket list anytime soon.
The precarious facilities may offer an insight as to why a number of inmates have wanted, and successfully attempted, to make a dash for freedom. They have managed to escape despite the inclusion of a two-metre-tall fence, topped with a bit of barbed wire, in the Quick Impact Project renovation, and despite the eleven armed and watchful prison wardens lurking on the outside of the perimeter.
“This prison needs a higher fence, actually a high, proper wall,” Ralph says, with his peers behind bars voicing their agreement.
Prison Director Ambrose Marpel pinpoints the problem:
“The people of this area are Nilotic. They are very tall and can jump very high,” he says, adding that two prisoners escaped just a couple of days before our visit.
Overly congested cells, not enough food, insalubrious sanitary conditions, a lack of sports or other available outdoor activities and the absence of possibilities to use their time in prison to learn a new vocation are all items featuring on the inmates’ long list of grievances.
“Prisoners need to pick up new skills, like carpentry or something similarly useful, to prepare themselves for their return to civilian life. The rehabilitation part of being imprisoned is very important,” Ralph stresses.
Other, primarily younger, inmates miss being able to study, and want to go back to school.
Chol*, an 18-year-old boy, is one of them.
“I have to go back to school, because I want to become a politician and work in the local government in my area,” he says.
There is a hitch, however: Chol has been sentenced to capital punishment for murder.
A group of other prisoners approach us with a different kind of problem. Displaying a variety of skin rashes and vigorously scratching their genitalia, they are unhappy with the hygienic standards of their seemingly infection-infested ablution units.
“We want them to bring doctors to circumcise us. This will help us keep diseases away, as we share the same urinals,” one inmate believes.
According to Isaac Mayom Malek, minister of local government, better times lie ahead for those in captivity, with both sports activities and vocational trainings being considered.
“Insecurity was our biggest problem in the area. Now that we have peace, many government programmes will be implemented, including activities for the prisoners who are here,” he says, admitting that he does not, as of yet, have a time frame for this to happen.
“We have talked to doctors and they are organizing to come here to circumcise everyone who wants it done,” adds Mr. Marpel, commenting that two inmates underwent the procedure during the last medical visit to the prison.
The incarceration facilities in Cueibet hold a number of people on remand, charged with but not convicted of murder and other serious offences. Some of them have been here for more than two years without appearing before a judge, and they share a sentiment of “justice delayed is justice denied”.
The root cause of these extended detentions is that, till August this year, Cueibet did not have the kind of high court needed to try these cases.
Photo: UNMISS / Tonny Muwangala