
Cows at the Coon Brothers' farm munch on molasses feed until they feel the need to mosy to the brand-new robotic milkers that automatically extract milk from their udders.
Photo by Leila Hawken
Cows at the Coon Brothers' farm munch on molasses feed until they feel the need to mosy to the brand-new robotic milkers that automatically extract milk from their udders.
AMENIA — Amid unanimous favorable reports from the herd, Coon Brothers dairy farm in Amenia held an open barn on Sunday, Dec. 1, inviting contractors and friends to visit the cows and see their new automatic milking system that has brought robotics to the modern dairy industry.
Coon Brothers has used GEA equipment for milking over the years, so co-owners Peter and Amos Coon indicated that GEA Dairy Robot equipment was chosen to automate their operation, requiring a long period of construction.
The preceding year had been given to renovating the barns in preparation for installation of the robotic equipment that began in the spring and continued into July. Six robotic milking stations have been installed and all are now kept busy throughout the day.
Fully automated milking systems have been installed at Coon Brothers Farm in Amenia. Computers at each milking station monitor quantity and quality. Visitors were invited to an open barn tour on Sunday, Dec. 1, to see the new systems at work.Photo by Leila Hawken
Each cow decides for herself when to go in for milking, the decision prompted by discomfort. Observation showed that the cows placidly await their turns without disagreements or jostling for position.
“The difference is the cow’s comfort,” Amos explained. “Now they are getting milked when they want to,” he added.
The farm has a population of 600 animals with 350 milk cows, including Guernseys and Holsteins, divided between two barns, Peter Coon said.
“The system is better for the cows and it will save labor,” said Coon. “and the cows seem to like it.”
The computerized system monitors each cow, recognizing individuals by a computer chip attached to the cow’s collar. During each milking session, the cow’s milk production and quality of the milk are instantly measured and tested, with any problems detected and dealt with.
The system isolates and collects data from each quarter of the cow’s udder.
Cows residing in the milking barn are there all the time, Amos Coon said. “The new system has changed how we do everything.”
In the barn the cows munch on molasses flavored silage but get a treat in the milking stall in the form of custom grain.
Milk output is measured in pounds, not gallons. One cow can produce 20 pounds of milk in a single milking session, Amos explained. They go for milking more than once a day; some cows may give as much as 140 pounds of milk in a single day. Genetics contribute to a top-producing cow, Amos said.
A cow that has recently calved gives more milk, with increased production lasting 50-200 days. A newborn calf will only suckle for 12 hours before being shifted to manual feeding of bovine colostrum which is separated from the cow’s milk production by the robotic system.
In the event of a power outage, a generator keeps the systems going.
A large 6,000 gallon milk collection tank holds the milk until a tanker truck takes it away.
Robotic milking is not new to the area. Freund’s Farm in East Canaan has also installed automated milking with good results.
SHARON — Angela Derrick Carabine, 74, died May 17, 2025, at Vasser Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino
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