Dutch archaeologists, have discovered a 6,000 year old Stone Age burial, of a mother cradling a baby in her arm.
It was found in Nieuwegein, and is the oldest infant burial, ever found in the Netherlands.
They also discovered four other skeletons.
One of them was the skeleton of a young woman of 20-30 years of age.
At first they didnt realise there was an infant with the young woman.
It was the woman's right arm bent at an angle, that suggested there was something in her arms.
Archaeologists then discovered small bone fragments, pieces of a clavicle, skull and jawbone complete with milk teeth.
The teeth were so small, they deduced these remains belonged to a newborn.
The archaeological team hope to determine through DNA analysis, that the skeletons are that of a mother and her child.
Deanna Dikeman’s portrait series doubles as a family album, compressing nearly three decades of her parents’ adieux into a deft and affecting chronology.Photographs by Deanna Dikeman
Deanna Dikeman’s parents sold her childhood home, in Sioux City, Iowa, in 1990, when they were in their early seventies. They moved to a bright-red ranch house in the same town, which they filled with all their old furniture. Dikeman, a photographer then in her thirties, spent many visits documenting the idyll of their retirement. Her father, once a traffic manager at a grain-processing corporation, tended to tomato plants in the backyard. Her mother fried chicken and baked rhubarb pie, storing fresh vegetables in the freezer to last them through the cold. Every Memorial Day, they stuffed the trunk of their blue Buick with flowers and drove to the local cemetery to decorate graves.
At the end of their daughter’s visits, like countless other mothers and fathers in the suburbs, Dikeman’s parents would stand outside the house to send her off while she got in her car and drove away. One day in 1991, she thought to photograph them in this pose, moved by a mounting awareness that the peaceful years would not last forever. Dikeman’s mother wore indigo shorts and a bright pink blouse that morning; her father, in beige slacks, lingered behind her on the lawn, in the ragged shade of a maple tree. The image shows their arms rising together in a farewell wave. For more than twenty years, during every departure thereafter, Dikeman photographed her parents at the same moment, rolling down her car window and aiming her lens toward their home. Dikeman’s mother was known to scold her daughter for her incessant photography. “Oh, Deanna, put that thing away,” she’d say. Both parents followed her outdoors anyway.
In “Leaving and Waving,” a portrait series that doubles as a family album, Dikeman compresses nearly three decades of these adieux into a deft and affecting chronology. (In 2009, she published a portion of the series as a book titled “27 Good-byes.”) Each image reiterates the quiet loyalty of her parents’ tradition. They recede into the warm glow of the garage on rainy evenings and laugh under the eaves in better weather. In summer, they blow kisses from the driveway. In winter, they wear scarves and stand behind snowbanks. Inevitably, they age. A few of Dikeman’s portraits, cropped to include the interior of the departing car, convey the parallel progress of her own life. The hand that clutches her camera lens, sometimes visible in the side mirrors, eventually sheds its wedding band. Early photographs show the matted fur of an old dog’s ears and the blurred face of her baby son. In later shots, the boy is grown and behind the wheel, backing down the driveway as Dikeman photographs her elderly parents from the passenger seat.
Dikeman’s father died first, late in 2009, having appeared in the series for the last time that August. In his final image, he rests one hand on the grip of a quad cane and waves with the other, bracing himself between a car bumper and his wife’s side. “No more pictures, Deanna,” Dikeman’s mother told her after his death, a few weeks later. But it was a mild protest. Dikeman photographed her outside the house, sometimes accompanied by relatives, until 2017, when her mother relocated to a retirement facility. She kept waving for the camera as old age crimped her fingers. Later that year, she died in her sleep.
Most of the images in “Leaving and Waving” are offhand snapshots, captured in the brief moments of a car’s retreat. Only the final shot, of an empty driveway, allowed Dikeman more time. After her mother’s funeral, she set up a tripod on the street and shot fifty frames while her sister waited at a nearby Starbucks. Last spring, her son left her own home, in Columbia, Missouri, to drive east for his first job out of college. They loaded up his car with belongings, and, as it idled in the driveway, he looked at his mother and asked, “Aren’t you going to take a picture?” Dikeman, a bit surprised, rushed inside to retrieve her camera and, for the first time, accept a fresh role in an old ritual.
When collector Randy Guijarro bought some old photos back in 2010, one in particular stood out to him: a black-and-white picture of people playing croquet in the country side.
He had no idea, however, just how significant that photo was. Americana expert Kagin’s Inc. recently confirmed that the people featured in the photo are none other than legendary outlaw Billy the Kid and his gang of Regulators.
This is only the second known photo of Billy the Kid, and the first ever featuring the Regulators. In 2011, a photo from 1880 featuring Billy the Kid sold for $2.3 million at an auction. Guijarro’s photo, which dates back to 1878, is expected to fetch $5 million! Jeff Aiello, the executive director of a new Billy the Kid documentary called “Billy the Kid – New Evidence,” told Dale Yurong of ABC 30 that tehis photograph is “the rarest photograph in the world.” And here’s the best part: th price Guijarro paid for this historic photo? Two dollars…talk about a great investment!
I used to think we can’t have too much communication, but I have to admit that’s no longer the case. Between the cell phone we carry like physical appendages, and the televisions that hover in the background of our lives spouting the most dramatic bad news that comes across the net, we are drowning in communication. How does a writer find a way to communicate the unique thoughts, feeling, and vision that may be inside? How do we writers maintain the motivating belief that what’s inside us individually is important or even relevant? That is the most important challenge we writers face. And now that AI has asserted its ever-presence, how we face that challenge has never been more crucial to how we as humans continue to evolve. I’d love to hear your thoughts about this. Hurrah to the filmmakers!
The Egyptian film "L'ALTRA PAR", which lasted only 2 minutes, won the award for best short film at the Venice Film Festival. The director is 20 years old. The film describes how people get caught up in technology and forget about the best things in life, human coexistence with love and brotherhood.
at 1:22 PM