View allAll Photos Tagged Absorption
try to capture the colour white.
I know it's not properly a colour, but it is "the color produced by the reflection, transmission or emission of all wavelengths of visible light, without absorption" but it is also "the color most often associated with innocence, perfection, the good, honesty, cleanliness, the beginning, the new, neutrality, lightness..." (wikipedia.org)
So what I'm asking you to do is to try to capture the essence of white.
Restriction: no black&white.
You can use desaturation and every other trick you want, but no B&W.
Here is my attempt at capturing the essence of the colour white. Here is "H" in her best dress with a cape out in -22 degrees Celsius and a windchill of below -30. (She was only out for a short time!!!) Little girls have a way of innocence, goodness, honesty, newness, and lightness. Also, there is a cleanliness in snow. In the Disney movie, Frozen, a princess has a very unique and special gift which she tries to hide for several years because of fear. When she runs away, she creates a beautiful ice castle in the middle of a storm. So, when we have had frigid weather this past week or two, "H" went out and stood on the huge pile of snow dumped in the park from clearing the street and sang her heart out, conjuring up castles in her imagination as the wind whipped snow and ice crystals around her.
In post, there was a crop, some levels adjustments and after selecting "H", I did a brightness/contrast effect.
“You have seen nothing yet”, asserts Sinead O’Brien in single Girlkind – and you are inclined to believe her. Building on her arresting releases since 2018, the multifaceted Irish poet, songwriter and performer is ascending into new territory with her debut LP, Time Bend and Break the Bower, released via Chess Club Records.
Demanding a visceral response from her audiences, O’Brien issues a challenge to those who would box her music inside a notion of tradition. Instead, the artist’s poetry – a constant, active absorption of how people speak, communicate and clash in the era we are living through – is an essential clarion call heard in the future.
Communing at the triangulation of words, music and image, O’Brien is a conjurer of powerful worlds: and none are more powerful, or as immersive, as those of Time Bend and Break the Bower. In the space that exists between her delivery – at once wry, silky, vicious, and self-assured – and the music – a dynamic, dancing call-and-response from her collaborators, guitarist Julian Hanson and drummer Oscar Robertson – lies the record’s productive tension. Using a method of creating on-instinct, in constant communication with multisensory cues, O’Brien carves out her own space as a musical oracle for an ever-shifting era. Treading her path as a poet, not a singer, is how O’Brien has forged an identity she feels is truly hers: it is, simply, how the artist has to communicate.
If O’Brien’s delivery alone issues a challenge of genre, of categorisation, what is she telling us with those words? Born in Dublin and raised in Limerick, there are no overtly explicit references to O’Brien’s home country to be found in the new record, but the atmosphere of its landscape is nonetheless found in its lyrical world..On tracks like ‘Girlkind’, and latest single ‘Holy Country’, the narrative builds from abstract memories of home, before O’Brien’s wild current drags us somewhere else entirely, issuing an urgent protest as much as an incantation. In ‘Like Culture’, she carries a poem she began writing when she was 17 – an ode to coming together with friends on dance floors – through with her into the current moment, where the healing power of movement matters now more than ever.
O’Brien wants each word to be heard – to make impact. And she is being heard. Since 2020, O’Brien’s releases – such as 2021’s ‘Kid Stuff’ single, and 2020’s ‘Drowning in Blessings’ EP – have garnered international critical acclaim, from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music, as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her prior US support from the likes of Seattles’ KEXP with appearances at SXSW – in virtual form in 2021, and as she brings her band to Texas itself in spring 2022.
O’Brien has also toured across the UK and Europe at a number of venues and festivals, where she has stamped her unforgettable performance style alongside her musical collaborators – an impact that has led to her being invited to tour with Belle & Sebastian later in 2022. On stage, the raven-haired artist commands attention, demonstrating a kinetic connection with Hanson and Roberston with every sentiment she voices. Live performance is a vital ingredient of O’Brien’s ongoing project – it’s here that her contemporary sonics transform into a unique on-stage vocabulary, one that both seduces and challenges.
With a background on the design teams for John Galliano and, later, Vivienne Westwood, O’Brien’s cultural touchstones also span a rich history of art, photography, film, and dance: from Helmut Newton femme fatales and Henri Cartier-Bresson’s bleak landscapes, to modern movement performance by Michael Clark and Michael Laub companies, to the writings of Virginia Woolf and Samuel Beckett. Recently tapped by Alessandro Michele’s Gucci to perform, it’s clear that O’Brien’s esoteric instincts are inspiring those in spaces beyond the music industry as well as within it.
Relentless, surreal, incendiary, O’Brien operates inside her own atmosphere even as she constantly forms her response to the contemporary world she moves through. In 2022, with the release of her debut album, festival circuit presence, and multiple tour dates, the artist is blazing a trail into the new – always questioning, and asking you to join her.
Iron Man Records will be looking after Tour Management for Sinead O'Brien on her tour dates through September and October. Come and see the band play. If you are already an Iron Man Records Patron, ask if you are after guestlist places. I might be able to find you a ticket or two.
Listen here: sineadobrienpoetry.bandcamp.com/
Kacey O’Malley
Natural
“Why so Blue?”
Why are glaciers blue? The colors of the rainbow each have different wavelengths and different energies. Typically, light is seen as a combination of all of these colors and so it appears to be white, but when light enters a glacier, it is broken into its component colors by the ice crystals inside. The colors with the longest wavelengths have the smallest energies; therefore red and yellow are absorbed by the thick ice and are not visible. In comparison, blue has a short wavelength and a high energy, and is not absorbed by the ice crystals. This is why we see a blue color when we look at the heavily compacted ice. One might wonder why snow does not have this same blue color? It takes a very thick and condensed piece of ice because the light has to travel a long way inside it to absorb enough red light for this to occur. The blue color of the ice is thus a way to measure its strength and age. Early explorers and glacier climbers know that the bluer the ice, the more reliant it will be. In this picture, you can see the striations in the glacier of the deeper, bluer ice compared to the shallower, white ice.
Another interesting physics observation from this picture is the reflection of the glacier striations in the Alaskan water. This demonstrates the Law of Reflection, showing that the angle of incidence, or the angle that the lines in the glacier make with the water’s surface, is equal to the angle of reflection, or the angle that we see the lines being reflected in the water.
Sonata Vario Acoustic Absorbers Installed to the ceiling at at Kirkby Lonsdale Methodist Chapel to reduce reverberation with the main hall.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
This shows the transmission spectra of Burt's deep blue glass compared with a twilight sky's worth of ozone gas, both of which appear as a rich ultramarine blue with a deep red tint.
E. O Hulburt, was the first to appreciate the importance of the Chappuis band of ozone gas high in the atmosphere in determining the brightness and colour of the twilight sky. See his paper from 1953: "Explanation of the Brightness and Color of the Sky, Particularly the Twilight Sky", E. O. HULBURT, 1953, J. Opt. Soc. America, 43, 2, p113
Carbon dioxide (O=C=O) is a greenhouse gas, that absorbs at several wavelengths in the near infrared part of the electromagnetic spectrum. Starting with the linear molecule (top), asymmetric stretching (below top image) at 2349 cm-1 and bending (second from bottom) at 667 cm-1 (this data source Wikipedia). The bending is a degenerate pair mode (direction of vibration orthogonal to each other) and the stretching mode the more intense peak in the spectrum. There is also symmetric stretching (bottom; at 1388 cm−1), but is not detected in the IR spectrum.
The atmospheric infrared absorption causes these molecular vibrations and the molecule re-emits infrared heat in all directions, including downwards to Earth, causing extra warming (in addition to the Sun's radiation). Therefore, CO2 (and other greenhouse gases, e.g. methane from Arctic tundra) acts like a heat blanket. The dense atmosphere of Venus is mostly CO2, so the greenhouse effect is even more extreme, making the surface temperature even more uninhabitable.
It is now scientifically proven that the main cause of excess CO2, causing global warming (and climate change), is human activity: predominantly the burning of fossil fuels and deforestation. In addition, the excess CO2 is causing a slight decrease in seawater pH (by forming more dissolved carbonic acid), with the combined effect of increasing sea temperatures, affecting some marine life and ecosystems (e.g. coral reefs).
Workers make the necessary preparations during the unloading of an absorption tower off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
Dock workers grab some hooks so that they can be placed on the absorption tower so that it can be unloaded from off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
Giant cranes attached to a pair of barges place an absorption tower onto a barge at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
Giant cranes attached to a pair of barges lift an absorption tower off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
A Complete nutrition formula with no artificial colors or flavors and no synthetic vitamins. For all medium to large exotic birds. More than 40 ingredients. Beans are cooked and dehydrated for better nutritional absorption. Potatoes are cooked and dehydrated. Vegetables and fruits are dehydrated unless noted otherwise. Best served cooked.
INGREDIENTS: INSTANT BROWN RICE, WHOLE WHEAT, ROASTED CORN, ROASTED ALMONDS AND CASHEWS, PAPAYA, TOMATO PASTA, SPINACH PASTA, SUN DRIED TOMATOES, PINEAPPLE, BANANA CHIPS, APPLES, CARROTS, SESAME SEED, MANGO, SWEETENED CRANBERRIES, APRICOTS, GREEN CABBAGE, LOW HEAT CHILI PEPPERS, WHOLE CINNAMON STICKS, FREEZE DRIED SWEET GARDEN PEAS, SWEET POTATOES, WHITE POTATOES, WHOLE STAR ANISE SEED, COOKED AND DEHYDRATED ASSORTED BEANS, PEAS, ROASTED CHIC PEAS, SWEET PEPPERS, BEETS, SHELLED WALNUTS, GOJI BERRIES, SPINACH, FREEZE DRIED SWEET CORN, BLUEBERRIES, HIBISCUS FLOWERS, PAPRIKA, FREEZE DRIED BANANAS, BASIL, DRIED LACTOBACILLUS ACIDOPHILUS FERMENTATION PRODUCT, DRIED LACTOBACILLUS CASEI, FERMENTATION PRODUCT, DRIED LACTOBACILLUS PLANTARUM FERMENTATION PRODUCT, DRIED LACTOBACILLUS FERMENTUM FERMENTATION PRODUCT, DRIED ENTEROCOCCUS FAECIUM FERMENTATION PRODUCT, AND DRIED BIFIDOBACTERIUM LONGUM FERMENTATION PRODUCT. DOES NOT CONTAIN PEANUTS.
Guaranteed Analysis: crude protein (min.) 13.75%; crude fat (min.) 7.5%; crude fiber (max.) 9%; moisture (max.) 5%; ash (max.) 7%
Refrigerate after opening to retain freshness.
DIRECTIONS FOR QUICK COOK:
1. Remove flavor fresh packet from container, add 1 1/2 cups of blend to 3 cups boiling water.
2. Stir, remove from heat and cover. Let stand until cool.
3. Stir again and feed. Refrigerate left over amount for up to 3 days.
Can be cooked ahead of time and frozen to be served at a later date.
The Ozone Hour.
Observed flux-calibrated spectra (blue and green lines) taken at solar altitudes of approximately -8° and -3° respectively. The models (red and orange lines) employ scattering of sunlight by molecules and aerosols in the atmosphere (as both source and sink terms) and ozone Chappuis band absorption. The solar spectrum used by this simple model is taken from the Hubble Space Telescope calibration database and represents the solar emission seen above the atmosphere. Note that water, O_2 and O_4 CIA absorption are not included in the model.
Note the sodium D-line emission in the early spectrum. This probably results from street lamp reflection by clouds close to the horizon.
The two photographs were taken at 07:23 (left) and 07:42UT (right).
The differences between the model and the observed spectra near the centre of the Chappuis band (notably the late spectrum) near 585nm is due to water absorption on the right and O_4 Collisionally Induced Absorption on the left.
I think the poor fit longward of 650nm is due, primarily, to having a too-simple single-path model.
Dock workers dismount off of the absorption tower so that it can be unloaded from the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
www.fature.net/release.php?id=26
"Stunning" is one word that best describes Babungus's first solo release with Faturenet Recordings. Knuckle Chunder delivers on virtually every level and has countless styles that take you on a new journey every time. His production is grade A and we think this will be an instant hit. Hopefully you will agree!
01.Knuckle Chunder
02.Nonexistent Existence
03.Rambunctious
04.Hydrogens Collide
05.Overclocked Atmosphere
06.Dizzy Highs
07.I Heard
08.Aye Yah
09.Wadded Beefd
10.Cosmostic Noodling
11.Bathing With Nettles KC remix
12.Fudding N Fapping KC remix
13.Strimmer
14.Flight of the Red Squirrel
15.Dud Dub Dud KC remix
16.Down To Brownout Town
17.Skull Hijack
18.Shedding Endometrium
Released: 31st Jul 2011
For this gentle and relaxing photowalk in my district, Lyon, France, I brought along my French TLR SEMFLEX Standard 3.5 camera (see below for details) loaded with a never-tried yet film Svema FOTO 100 made in Ukraine. The backing paper is black with white numbering and signaling symbols are easy to read across the small red window of my SEMFLEX.
For all the frames, my SEMFLEX was equipped with the original SEMFLEX squared shade hood a SEMFLEX yellow filter x2. The film was exposed for 50 ISO to compensate the light absorption of the yellow filter. Metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas or an opale dome for incident light integration.
View n° 1: 1/100s f/8 focusing @ infinite, SEMFLEX Yellow filter x2
Panorama sur les Monts du Lyonnais (Cols de Malval et de la Luère)
Parc de la Cerisaie - Villa Gillet ***, May 10, 2025
69004 Lyon
France
___________
*** ** PARC DE LA CERISAIE, WHOSE NAME COMES FROM THE PRESENCE, OLD, OF A CHERRY ORCHARD ALREADY BELONGS TO THE CITY OF LYON: SINCE 1976.
Previously owned by the Gillet family, precursors of silk dyeing at the beginning of the 20th century, the park and the Villa built in 1911 by the architect Joseph Folléa communicated at the time directly with their factory installed on the banks of the Saône. In the 60s, their vast industrial empire merged with the Rhône-Poulenc group of which Renaud Gillet was president from 1973 to 1979.
Very quickly, the City of Lyon chose to open this park to the people of Lyon and to direct its vocation towards the Arts. Thus, during the 2nd and 3rd sculpture symposiums of 1980 and 1982 the park hosted many works. Some of them are still there.
The villa, renovated in 1986, also became a place dedicated to the Arts. Initially, it was the headquarters of the Fonds Régional d'Art Contemporain (FRAC), the organization supporting creation, before it was transferred to the Institut d'Art Contemporain de Villeurbanne.
Today, the villa houses three cultural institutions: La Villa Gillet, which defines itself as a Contemporary Research Unit and is interested in all forms of culture (literature, human, political and social sciences, history, or contemporary arts), the Agence Rhône-Alpes pour le Livre et la Documentation (ARALD) whose objective is to promote the culture of writing and activities related to books, and the Groupe Musiques Vivantes de Lyon which works for the creation and diffusion of acoustic music.
_______________
After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 7 min at 20°C. The first view was shifted by about two frames leading to only 10 views on the film. This is clearly due to a quality problem. The backing paper was improperly positioned during the spooling of the film.
Digitizing of the remaining 10 frames, was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG together with some documentary smartphone pictures..
About the camera and lenses :
My French Semflex TLR year 1959-1960 is equipped with triplet 1/3.5 f=75mm SOM Berthiot lenses as descripted bellow.
The SEM company ("Société des Etablissements Modernes de Mécanique") was founded in France by Paul Royet in 1946, in the small city of Aurec near Saint-Etienne (Loire). The SEM camera's was known essentially for the TLR Semflex that were a great commercial success in France until the 70's. The camera's are constructed around an injected aluminum alloy chassis, very resistant and rigid permitting precise optical alignments. The focusing mechanism is made of a cam system like the Rolleiflex giving an accurate and smooth focusing. SEM constructed their own shutters called Orec with 5 leaves capable of the 1/400s to 1s with B.
Semflex received in majority French optics Berthiot with 3 or 4 lenses (Tessar type). Some camera's were also mounted with Angénieux lenses.
Semflex were trusted TLR camera's used by amateurs and for professional purposes. From 1949 to 1976, 171.000 Semflex were produced in many different types and versions.
My Semflex in a middle grade version Standard 3.5 type-10 (1959-1960). It was the last version mounted with the 3-lens SOM Berthiot 1:3.5 f=75mm. I got the camera with set of accessories and several documents including the user manual of the Semflex Standard 4.5 versions. The accessories include a leather SEM ever-ready bag, a Semflex push-on shade hood, a Semflex push-on yellow filter x2 in its original box, and close-focusing lenses. The 1D one is constructed with a prism for the finder lens that compensates the parallax in the zone 1m to 0.5m.
The decorative ring around each lenses can also receive push-on accessories in 36mm diameter as the FOCA or Leitz 36mm filter series. I adapted two protective lens caps from Kodak film canister snapped covers.
CO2 (O=C=O) asymmetric stretch and bends. Firefly 8.2.0 DFT B3LYP 6-311++G(d,p) geometry-optimized structure (energy minimum, no imaginary frequencies). C=O bond length = 1.16 Å. Gabedit 2.4.8 visualization. In a classical Newtonian sense, the atoms can be considered small weights on springs (covalent bonds) that vibrate at certain frequencies. The blue arrows represent the direction of atom movement within the molecule.
Carbon dioxide is an atmospheric pollutant, contributing to global warming and a mildly electrophilic acidic oxide, slightly reducing the pH in oceans by forming carbonic acid (CO2(aq) + H2O(l) → H2CO3(aq); reversible equation) which is affecting some aquatic life. There are global efforts to reduce CO2 formation and presence from combustion of fossil fuels and deforestation. The molecule absorbs and re-emits infrared radiation (heat) due to the asymmetric stretching and bending motions (the two asymmetric bending modes occur at the same frequency). There is also symmetric stretching, but is not shown here, as it is not detected in an IR spectrum. The dense atmosphere of Venus is mostly CO2, so has an uninhabitable surface temperature.
The Inner Harbor Canal Lock is on display at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
Friedhelm Jansen of Max Planck Institute (Hamburg, Germany) tunes the Differential Absorption Lidar (DIAL) lidar, which is used for continuous vertical profiling of moisture and aerosol backscatter.
Conducted from June to July 1999, Nauru99 was a field project whose purpose was to calibrate ARM's long-term climate monitoring station on the island of Nauru. Measurements recorded from the Japan Marine Science and Technology Center’s (JAMSTEC) Mirai and National Oceanic and Atmospheric Administration’s (NOAA) Ron Brown helped determine how representative the island measurements were of the surrounding ocean.
Terms of Use: Our images are freely and publicly available for use with the credit line, “Image courtesy of the U.S. Department of Energy Atmospheric Radiation Measurement (ARM) user facility.”
Two natural uncut emeralds and a Gilson synthetic cut stone. Like ruby and red spinel, emerald is coloured by chromium. Emerald contains beryllium as an integral part of its crystalline structure (Be_3 Al_2 (SiO_3)_6). Beryllium is a uniquely interesting element since, during the evolution of the universe from the Big Bang, it was not produced by nuclear reactions in stars and supernova explosions like most of the other chemical elements but by the interaction of cosmic rays with interstellar gas between the stars.
"The exhibition presents a selection from over forty years of Griffa’s paintings on un-stretched canvas and linen. Throughout the past four decades, Griffa has undertaken a practice that he describes as “constant and never finished”, adhering to “the memory of material”, and to the belief that the gesture of painting is an infinite one. Within the finite frame of his canvas, each artwork becomes a site of collaboration between painting and the painter as the hand works to reveal a constellation of signs and symbols. This relationship is further mediated by the materiality of the works: the absorption of the acrylic into the fabric from each stroke dictates the brush’s next move. The completion of a canvas functions as a suspension of this relationship. After the acrylic has dried, they are carefully and neatly folded into uniform sections and filed as a register of their collective life as a whole.
The artworks from the late 1960s and 1970s display the use of an “anonymous” sign, the simple and repetitive movement of the artist’s paintbrush to create uniform task-like marks that serve to record the process of painting. These early, minimal compositions began with ordered horizontal and vertical lines that eventually gave way to the use of sponges and fingerprints. While this period displays a shift from the anonymous to the personal, it is united through the consistency of deliberate end points or breaks in pattern and reveals the construction of the paintings as an action interrupted.
Griffa’s paintings actively resist perspective and narrative, instead favoring a cyclical connection to the memory of painting as an action. Time is present through aesthetic shifts in the work that are most notable by decade. These mark making variations reveal an awareness of the artist’s surroundings and provide evidence of the time within which he was working. For example, in the 1980s Griffa’s practice evolved to include expressive forms and brighter tones, coexisting with discordant arrangements of unfinished planes of color. He began to utilize a more concrete set of references in the “Alter-Ego” series (1978 – 2008), in which Griffa aspired to come to terms with aspects of painting’s memory within the works of other artists, such as: Matisse, Merz, Klein, Tintoretto, Beuys as well as imagery of the Romanesque and international Gothic periods.
This shift, from ordered marks towards a broad range of gestures, eventually led to the inclusion of numerical systems into his artworks in the 1990s. Still characterizing his paintings today, the “Canone Aureo” series displays Griffa’s interest in mathematic and scientific structures that underlie our natural world. These infinite sequences, such as the Fibonacci series and the Golden Ratio, act as a parallel to Griffa’s practice, and additionally function as punctuations in the work’s vocabulary. They also determine and organize the signs within a work. Despite these varied trajectories, it is the act of painting that always remains at the forefront. Griffa said in a recent interview with Luca Massimo Barbero: “If these works have the power to speak and to listen, I’ll let them do it themselves.”"
“You have seen nothing yet”, asserts Sinead O’Brien in single Girlkind – and you are inclined to believe her. Building on her arresting releases since 2018, the multifaceted Irish poet, songwriter and performer is ascending into new territory with her debut LP, Time Bend and Break the Bower, released via Chess Club Records.
Demanding a visceral response from her audiences, O’Brien issues a challenge to those who would box her music inside a notion of tradition. Instead, the artist’s poetry – a constant, active absorption of how people speak, communicate and clash in the era we are living through – is an essential clarion call heard in the future.
Communing at the triangulation of words, music and image, O’Brien is a conjurer of powerful worlds: and none are more powerful, or as immersive, as those of Time Bend and Break the Bower. In the space that exists between her delivery – at once wry, silky, vicious, and self-assured – and the music – a dynamic, dancing call-and-response from her collaborators, guitarist Julian Hanson and drummer Oscar Robertson – lies the record’s productive tension. Using a method of creating on-instinct, in constant communication with multisensory cues, O’Brien carves out her own space as a musical oracle for an ever-shifting era. Treading her path as a poet, not a singer, is how O’Brien has forged an identity she feels is truly hers: it is, simply, how the artist has to communicate.
If O’Brien’s delivery alone issues a challenge of genre, of categorisation, what is she telling us with those words? Born in Dublin and raised in Limerick, there are no overtly explicit references to O’Brien’s home country to be found in the new record, but the atmosphere of its landscape is nonetheless found in its lyrical world..On tracks like ‘Girlkind’, and latest single ‘Holy Country’, the narrative builds from abstract memories of home, before O’Brien’s wild current drags us somewhere else entirely, issuing an urgent protest as much as an incantation. In ‘Like Culture’, she carries a poem she began writing when she was 17 – an ode to coming together with friends on dance floors – through with her into the current moment, where the healing power of movement matters now more than ever.
O’Brien wants each word to be heard – to make impact. And she is being heard. Since 2020, O’Brien’s releases – such as 2021’s ‘Kid Stuff’ single, and 2020’s ‘Drowning in Blessings’ EP – have garnered international critical acclaim, from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music, as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her prior US support from the likes of Seattles’ KEXP with appearances at SXSW – in virtual form in 2021, and as she brings her band to Texas itself in spring 2022.
O’Brien has also toured across the UK and Europe at a number of venues and festivals, where she has stamped her unforgettable performance style alongside her musical collaborators – an impact that has led to her being invited to tour with Belle & Sebastian later in 2022. On stage, the raven-haired artist commands attention, demonstrating a kinetic connection with Hanson and Roberston with every sentiment she voices. Live performance is a vital ingredient of O’Brien’s ongoing project – it’s here that her contemporary sonics transform into a unique on-stage vocabulary, one that both seduces and challenges.
With a background on the design teams for John Galliano and, later, Vivienne Westwood, O’Brien’s cultural touchstones also span a rich history of art, photography, film, and dance: from Helmut Newton femme fatales and Henri Cartier-Bresson’s bleak landscapes, to modern movement performance by Michael Clark and Michael Laub companies, to the writings of Virginia Woolf and Samuel Beckett. Recently tapped by Alessandro Michele’s Gucci to perform, it’s clear that O’Brien’s esoteric instincts are inspiring those in spaces beyond the music industry as well as within it.
Relentless, surreal, incendiary, O’Brien operates inside her own atmosphere even as she constantly forms her response to the contemporary world she moves through. In 2022, with the release of her debut album, festival circuit presence, and multiple tour dates, the artist is blazing a trail into the new – always questioning, and asking you to join her.
Iron Man Records will be looking after Tour Management for Sinead O'Brien on her tour dates through September and October. Come and see the band play. If you are already an Iron Man Records Patron, ask if you are after guestlist places. I might be able to find you a ticket or two.
Listen here: sineadobrienpoetry.bandcamp.com/
Cholesterol is needed in the body to:
•make up the structure of the membrane (outer layer) of every cell in the body,
•insulate nerve fibres,
•make hormones, such as sex hormones and steroid hormones, and
•make bile acids, which are needed for the digestion and absorption of fats.
'Good' and 'bad' cholesterol
Cholesterol cannot travel around the body on its own because it does not dissolve in water. Instead, it is carried in your blood by molecules called lipoproteins.
The two main lipoproteins are LDL and HDL.
•Low-density lipoprotein (LDL). LDL is the main cholesterol transporter and carries cholesterol from your liver to the cells that need it. If there is too much cholesterol for the cells to use, this can cause a harmful build-up in your blood. Too much LDL cholesterol in the blood can cause cholesterol to build up in the artery walls, leading to disease of the arteries. For this reason, LDL cholesterol is known as 'bad cholesterol', and lower levels are better.
•High-density lipoprotein (HDL). HDL carries cholesterol away from the cells and back to the liver, where it is either broken down or passed from the body as a waste product. For this reason, it is referred to as 'good cholesterol', and higher levels are better.
The amount of cholesterol in the blood (including both LDL and HDL) can be measured with a blood test.
Triglycerides:
Your doctor or nurse may also measure your level of triglycerides. Triglycerides are the fats you use for energy and come from the fatty foods you eat, and you store what you do not use in the fatty tissues of your body. Excess triglycerides in the blood also increase heart problems.
Blood cholesterol is measured in units called millimoles per litre of blood, often shortened to mmol/L. The government recommends that cholesterol levels should be less than 5mmol/L.
Evidence strongly indicates that high cholesterol levels can cause narrowing of the arteries (atherosclerosis), heart attack and stroke.
There are many factors that can increase your chance of having heart problems or stroke if you have high cholesterol. These are called risk factors.
•Some risk factors, such as an unhealthy diet and smoking, can be changed by altering your lifestyle.
•Some risk factors, such as having diabetes or high blood pressure, can be treated with medication.
•Some risk factors, such as having a family history of stroke or heart disease, cannot be changed.
Though it sounds like something a Federation captain may yell shortly after adjusting the phase variance, reversing the polarity, or redirecting something through the deflector array, this is actually the name of delicious food!
I took some nice, large, field mushrooms (champignon, if you're picky and French), and sliced them, then added a bit of salt, and put them in a hot, dry pan long enough to give up a lot of their water and start to get fragrant.
I then added some fresh garlic (from a jar, but it's still good), and the onions, along with a shot of olive oil. I also immediately added the ground meat (mince, if you're a Brit, I suppose). In this case I used pork, but beef or a pork/beef mix would be fine too. Chicken would be interesting, but I've never tried it. I seasoned the meat with pepper (there was already quite a bit of salt from the mushrooms and the onions), and then let it all cook.
When the meat was done to my liking, I added a box of salsa di pomodoro (that's 'tomato sauce' in Italian -- it's a little thicker than a canned sauce, and is really just tomatos, nothing else). I also added a bunch of water. I put in some parsley and some oregano (I was out of basil, so I didn't add it, though I normally would have), and stirred it up. Once it started to bubble, I added my shell pasta to the sauce.
"But you!" I hear you say, "You didn't tell us about pre-cooking the pasta!"
That's because I didn't. Dry pasta goes into the sauce. Leave it there long enough to cook (refer to your package directions). Check and stir every once in a while, make sure there's enough liquid, and add more if too much has boiled off. Keep it covered until the pasta is cooked, then crank the heat and uncover it until the sauce is at the consistency you prefer. Remove from heat, put into a serving dish, sprinkle with grated mozzarella cheese, and enjoy with a side of garlic bread.
By cooking the pasta in the sauce, it absorbs the flavours much better, and is very good. It almost reminds me of lasagna, and I suppose a lot of lasagna these days isn't pre-cooked, but rather cooks in the sauce, so the connection is clear.
Technicians using atomic absorption spectrophotometer (AAS) - cation analysis in soil-plant-water samples.
Barnard 228 is an absorption nebula which is part of the Lupus molecular cloud. B228 is located in the southern constellation Lupus at 500 ly, hence it's named Dark Wolf Nebula.
The image was recorded as a 4 panel mosaic with a total imaging time of 20hrs
Don't know how to use Strong Absorption Baby Diapers ? Here are the steps you need to follow. We have explained each step in detail. Read carefully, follow and make feel your baby comfortable.
Origin: Damasraya, West Sumatera
The three 404nm laser-excited spectra illustrate the effect of self-absorption of the fluorescence signal since the red amber absorbs the blue light so strongly even from a shallow depth.
Chard stems are coloured principally by betalain pigments ( en.wikipedia.org/wiki/Betalain ) which appear in a number of plants, including the beets.
A good picture of rainbow chard stems can be seen at: www.thespruceeats.com/all-about-rainbow-chard-2216051
which I did not include in the image above for copyright reasons.
The plot shows the reflectance spectra of the various stem colours. There is some residual colouration due to chlorophyll but most results from betacyanins (red to violet) and betaxanthins (yellow to orange).
Line graph showing the relative amount of light absorption for the Carotenoid family of photosynthetic pigments at different light wavelengths. Feel Free to use the photo but please don't forget to give credit to www.ledgrowlightshq.co.uk.Thanks!
This is a shot of one of the igloo-shaped rooms inside the Aurora Ice Museum @ Chena Hot Springs Resort. The museum has many rooms and is basically a gallery of ice sculptures created by ice carvers -Steve and Heather Brice. It's open year round - one of a kind. It stays cold in the summer months by way of a patented absorption chiller. Very cool - literally!
Operation of atomic absorption spectrometer in analytical laboratory
Obsluha atomového absorpčního spektrometru v analyzační laboratoři
A red giant whose spectrum is dominated by strong absorption bands of carbon-containing molecules. The Swan bands of C2 are especially prominent, with absorption by CN, CH, C3, SiC2, and C aII present to varying degrees, with often a strong sodium D line.
Carbon stars, also known as C stars, have carbon/oxygen ratios that are typically four to five times higher than those of normal red giants and show little trace of the light metal oxide bands that are the usual red giant hallmark. They resemble S stars in their relative proportion of heavy and light metals, but contain far more carbon in their upper layers. The carbon is likely the dredged-up ashes of nuclear helium burning in the stellar interior. Carbon stars lose a significant fraction of their total mass in the form of a stellar wind which ultimately enriches the interstellar medium – the source of material for future generations of stars.
Carbon stars were previously classified as stars of spectral type R (hotter, with surface temperatures of 4,000 to 5,000 K) and N (up to 10 times more luminous but cooler, with a temperature of about 3,000 K). They are typically associated with some circumstellar material in the form of sooty shells, disks, or clouds.
www.daviddarling.info/encyclopedia/C/carbon_star.html
Distance: ~32,615 light years, Magnitude Range: +7.1 to +8.5, Colour Index B-V: +3.9, Period: 340 Days, R.A. & DEC: 19 28 47 +46 02 38, Spectral Type: C4 (N3)
Image details: Date: 17th March 2016
R-Bessell Photometric Filter: 20 seconds x5 exposures, flat fielded, aligned and median combined
G-Bessell Photometric Filter: 39 seconds x5 exposures, flat fielded, aligned and median combined
B-Bessell Photometric Filter: 86 seconds x5 exposures, flat fielded, aligned and median combined
B-V-R folder images were then aligned and stacked to give Master B, V and R images; these were then colour combined in CCDSoft v5
Cherryvalley Observatory (MPC/IAU Code: I83)
CCD Operating Temperature: -37 Degrees Centigrade, Field of View: 46 x 37 arcmins, Pixel Array: 1280 x 1024Pixel Size: 16um x 16 um, Plate Scale: 2.17 arcsec/pixel, 0.2-m SCT+SBIG STL 1301E CCD, f/ratio: 7.6
Date: 17th March 2016
A hook is attached to one end an absorption tower during its unloading off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
Dock workers place some cables onto a giant hook that is attached to a crane during the unloading of an absorption tower off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
The Hague
April 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely i will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
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Sonata Vario Acoustic Absorbers Installed to the ceiling at at Kirkby Lonsdale Methodist Chapel to reduce reverberation with the side room.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
Sonata Vario Absorption panels in 'Stone' installed within the school hall at St Bernadettes School. Installation of the panels to the ceiling was carried out by Floorscan Acoustics Ltd. Reverberation within the hall was considerably reduced using this treatment.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
AirDrain Agronomic Natural Grass Drainage at the Chesapeake Energy Roof Top Sports Field
74,000 sqft. Natural Grass Field
Benefits of AirDrain in a green roofing system include:
AirDrain creates and helps maintain a constant Gmax for artificial turf (See below)
Thickness and resin consistency of AirDrain provides uniform shock absorbency
Shock absorption reduces the strain on joints and ligaments
AirDrain is only limited by the drainage capacity of the profile above it
Installation time measured in days instead of weeks
AirDrain can be reused when the artificial turf must be replaced
Water harvesting reclamation and reuse
Helps qualify for LEED and other green building credits
A smaller carbon and development footprint with reduced site disturbance
100% vertical drainage under the entire field surface
Minimizes water related injuries / Less infill migration due to superior drainage
AirDrain is a 100% recycled product
Less infill migration due to superior drainage
GMAX Information Existing Conditions for Testing
Turf - 2 1/2” Slit Film, in filled with 50% Green Rubber Infill and 50% Silica Sand.
The drainage/shock pad and turf underlying substrate consists of a concrete deck/rooftop, coated with a waterproof membrane and 10 ounce 100% recycled polyester geo-textile filter fabric.
The Standard Test Method for Shock-Absorbing Properties of Playing Surface Systems and Materials (ASTM F1936-98 American Football Field) testing locations and procedure were preformed. The tests were performed using a Triax 2000 A-1 Missile, tripod mounted Gmax registration unit(www.triax2000.com). This report presents background information on the test procedures, existing conditions, test results and observations in football, baseball, softball, soccer, lacrosse, and field hockey artificial sports fields.
The environmental impact of a green roof is undenyable, and adds significantly to the LEED Point system designed by the USGC in all five major areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. Green roofing replaces the green space displaced by a building, prevents excess storm water drainage, reduces the temperature of a building and the urban heat island effect, protects and extends the useful life of a roof, and reduce energy demands.
What's more, a green roof incorporating AirDrain means your design includes renewable, recycled, and locally obtained materials. We know you have a choice in designing a green roof, and we hope you consider the many benefits of AirDrain.
A typical AirDrain green roof
Color of Life note
Biofluorescence results from the absorption of electromagnetic radiation at one wavelength by an organism, followed by its reemission at a longer and lower energy wavelength, visually resulting in green, orange, and red emission coloration. Many species of mantis shrimp, for example, make use of fluorescent body parts when in threat display in order to intimidate or confuse either a predator or a competing male.
Ref: Color sources, California Academy of Sciences Docent program May 2015
PLOS one Biofluorescence journals.plos.org/plosone/article?id=10.1371/journal.pone...
TAXONOMY
Kingdom: Animalia
Phylum:Arthropoda
Subphylum: Crustacea
Class: Malacostraca
Order: Stomatopoda
Family: Odontodactylidae
Genus/species: Odontodactylus scyllarus
GENERAL CHARACTERISTICS: Beautifully colored in peacock colors of greens, blues, and reds. Has a green body, blue head, green antennal scales, red limbs. The body is elongated with a long, flattened , blue tail and ranges in size from 3–18 cm (1.2-7.0 in). Highly noticeable is the pair of clubbed-shaped, praying mantis-like claws.
DISTRIBUTION/HABITATS: Indo-Pacific Habitat: warm salt water and builds U-shaped burrows in gravel substrates. Depth ranges from 3-40 m (10-131 ft).
DIET IN THE WILD: Feeds on other shrimp, worms, snails, crabs, mollusks. Lies in wait for prey in front of burrow, then swims out and quickly crushes prey with a strong, powerful smash. The claw moves so quickly it generates cavitation bubbles, which explode with a second powerful burst. The speed with which the claw moves through the watergenerates a force 100 times the shrimp’s body weight.
REPRODUCTION: Monogamous. O. scyllarus mate, spawn, brood, and hatch their eggs in their burrows.
LONGEVITY: Often live in pairs for their entire lifetime (4-6 years).
PREDATORS: Yellow Fin tuna
CONSERVATION: IUCN Not Evaluated
REMARKS: Large peacock mantis shrimp generate forces powerful enough to crush the shell of a large conch, and have been known in captivity to break the glass of their tanks! Striking speed of 50+ mph.
The amazingly complex eyes of mantis shrimp detect 12 base colors (compared to our 3). They also can discern ultraviolet, infrared frequencies, and the polarization of light!
Water Planet Sensing AQJ16
References
California Academy of Sciences Steinhart Aquarium Water Planet, Senses Cluster (Sight) 2016
Animal Diversity Web animaldiversity.org/accounts/Odontodactylus_scyllarus/
Ron's Wordpress shortlink wp.me/p1DZ4b-We
Ron's flickr www.flickr.com/photos/cas_docents/sets/72157608602469734/
9-8-11, 4-22-13, 8-17-15, 2016
Pulse oximeters measure light absorption in the finger to noninvasively monitor oxygen saturation and pulse rate.
www.amazon.com/Masimo-Oximeter-Connector-Sensor-Android/d...
Infrared spectroscopy (green line) of a biodegradable 'plastic' cup, seen in the centre of the photograph, compared with two samples of conventional clear plastic food-wrapping boxes (red and brown line spectra).
The cup is made from corn starch converted to polylactic acid (PLA): see: en.wikipedia.org/wiki/Polylactic_acid
The PLA shows a rich blue fluorescence under LW (UVa) light in contrast with the plastic that glows a pale greenish white.