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The NASA/ESA Hubble Space Telescope has observed the supernova remnant named 1E 0102.2-7219. Researchers are using Hubble’s imagery of the remnant object to wind back the clock on the expanding remains of this exploded star in the hope of understanding the supernova event that caused it 1700 years ago.
The featured star that exploded long ago belongs to the Small Magellanic Cloud, a satellite galaxy of our Milky Way located roughly 200 000 light-years away. The doomed star left behind an expanding, gaseous corpse — a supernova remnant — known as 1E 0102.2-7219.
Because the gaseous knots in this supernova remnant are moving at different speeds and directions from the supernova explosion, those moving toward Earth are coloured blue in this composition and the ones moving away are shown in red. This new Hubble image shows these ribbons of gas speeding away from the explosion site at an average speed of 3.2 million kilometres per hour. At that speed, you could travel to the Moon and back in 15 minutes.
Researchers have studied the Hubble archive looking for visible-light images of the supernova remnant and they have analysed the data to calculate a more accurate estimate of the age and centre of the supernova blast.
According to their new estimates, light from this blast arrived at Earth 1700 years ago, during the decline of the Roman Empire. This supernova would only have been visible to inhabitants of Earth’s southern hemisphere. Unfortunately, there are no known records of this titanic event. Earlier studies proposed explosion dates of 2000 and 1000 years ago, but this new analysis is believed to be more robust.
To pinpoint when the explosion occurred, researchers studied the tadpole-shaped, oxygen-rich clumps of ejecta flung out by this supernova blast. Ionised oxygen is an excellent tracer because it glows brightest in visible light. By using Hubble’s powerful resolution to identify the 22 fastest moving ejecta clumps, or knots, the researchers determined that these targets were the least likely to have been slowed down by passage through interstellar material. They then traced the knots’ motion backward until the ejecta coalesced at one point, identifying the explosion site. Once that was known, they could calculate how long it took the speedy knots to travel from the explosion centre to their current location.
Hubble also measured the speed of a suspected neutron star — the crushed core of the doomed star — that was ejected from the blast. Based on the researchers’ estimates, it must be moving at more than 3 million kilometres per hour from the centre of the explosion to have arrived at its current position. The suspected neutron star was identified in observations with the European Southern Observatory’s Very Large Telescope in Chile, in combination with data from NASA’s Chandra X-ray Observatory.
Credits: NASA, ESA, and J. Banovetz and D. Milisavljevic (Purdue University); CC BY 4.0
One May look at a flower and feel it's beauty, another may look at a flower and name its parts. The same object, different perspective.
As part of my architecture degree, my design studio class has been given some real world clients. The theme for this design studio is Design, Re-design and Adapt.
We are to re-design a families beach house which they have simply out grown. As a group, we conducted a detailed site analysis, which also ties in with my Architecture and Environment class.
The first part of this project is to design a micro dwelling to house two people while the main house is being built. The second part is to re-design the main house to suit the large families needs. Thirdly, there is an expectation that the new, larger house will undergo further changes in the future. Once the children have grown up, the parents would live there by themselves, possibly with the grandparents.
This is the view from the back yard
Sorry, but I do not know why I can not comment any picture .... and not answering comments .... Flickr only lets me put favs ... :( Happy Saturday friends!
When I first came to live on Merseyside in 1999 Avon buses operated a number of deckers but for most of the intervening years they have been an exclusively saloon fleet. Lately they have acquired deckers again. Y173 NLK, a Plaxton-bodied Volvo B7TL new to Metroline and preserved Ribble Leyland National TRN 808V, frame ex-First Alexander ALX400 buses with similar underpinnings in the operator's yard.
....
.....not so far from the ancient roman columns of San Lorenzo, in the heart of Milan (Italy)
you can find the artistic street art which represent all the history of this magic city through the main important characters and events...
the citizens of Milan love this place near Porta Ticinese, one of the most characteristic place of the city... they love its history...
this is the creative imagination, the magic hands describing the history....
...IN THIS PORTION OF THE GRAFFITI, YOU CAN SEE:
THE PERFORMANCE OF THE SECESSION WAR BETWEEN THE SFORZA AND VISCONTI FAMILIES (RULERS OF MILAN)........
The advent of the Visconti signoria was accomplished in ways not much different from those which saw the affirmation of signorial regimes in so many other cities at that time. The definitive breach with past practice seemed to come in the late thirteenth century, firstly with Napoleone Della Torre and then, after the victory at the battle of Desio in 1277, with the new signori Ottone Visconti, Guglielmo, marquis of Monferrato, and Matteo Visconti. Certainly, even during the Francesco Sforza era, Milan as the capital continued to enjoy a series of privileges in taxation and food-supply compared to other cities of the duchy. The defeat of Lodrisio Visconti at Parabiago in 1339 marked the definitive containment of Mastino II Della Scala ambitions in western Lombardy and the indisputable primacy of the signori of Milan.
for more informations:
booksandjournals.brillonline.com/content/books/b978900428...
for Viesconti family:
www.britannica.com/topic/Visconti-family
for Sforza family:
www.cliffsnotes.com/literature/p/the-prince/character-ana...
for the war:
books.google.it/books?id=8jDfydG6ReAC&pg=PA493&lp...
for the place where this work is located:
wikimapia.org/#lang=it&lat=45.458103&lon=9.181703...
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“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
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Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
The covid-19 pandemic could set back gains in gender equality, according to a report by UN Women. With more people around the world staying at home due to lockdowns and other restrictions, the need for household chores has increased, says the report. But analysis of data from 38 countries suggests that, while all people have increased their unpaid workloads, “women are still doing the lion’s share”. The report also found that women are taking on a greater intensity of care-related tasks compared to men. “Everything we worked for, that has taken 25 years, could be lost in a year,” UN Women deputy executive director Anita Bhatia.
La pandémie de covid-19 pourrait faire reculer les progrès en matière d'égalité des sexes , selon un rapport d'ONU Femmes. Avec plus de personnes dans le monde restant à la maison en raison de verrouillages et d'autres restrictions, le besoin de tâches ménagères a augmenté, indique le rapport. Mais l'analyse des données de 38 pays suggère que, bien que tous les gens aient augmenté leur charge de travail non rémunérée, «les femmes font toujours la part du lion». Le rapport a également révélé que les femmes assument une plus grande intensité de tâches liées aux soins que les hommes. «Tout ce pour quoi nous avons travaillé, qui a pris 25 ans, pourrait être perdu en un an», a déclaré la directrice exécutive adjointe d'ONU Femmes Anita Bhatia.
Leica MP
Leica Elmarit 28mm f/2.8 III
Ilford Delta 100
Ars Imago FD 1+59
5 min 45 sec 20°C
Scan from negative film
Flickr Analysis... I don't know if any of you have studied what's going on with the folks that you follow but every year or so I do just that and this is what I have found. The first time that I did this, I found that hundreds of people that I follow had not uploaded a single photo in more than 2 years so I decided that anyone that has been inactive for more than 1 year, I unfollow them... then 1 year later I made the same study finding that hundreds once again had landed into the more than 12 months inactive (see attached). So, once again, I am unfollowing those that have been inactive for more than 12 months.
If you want to take a look at the status of the people that you follow, click the "You" pull down menu, then click "People", then click "List" on the page, then click the column header "Last Uploaded" twice to put the list in reverse order by date. So on this same page, you can right click on the name to open in another tab to review the information or just click "Edit" to unfollow,
What's a "Fall photo?" It's not just a photo made in Fall. It's not that simple. If I took a photo of my kitchen sink in October, that wouldn't meet a viewer's expectations of a Fall photo. It needs to show what Fall is. It needs to meet certain expectations. It might actually need to have at least one colorful leaf.
There is a difference between photos made in Fall and photos made of Fall. I don't think it's a discrete one or the other. I think there are photos that are a little in between. For instance, this photo here, I think it's probably 70% Fall photo, since it's more about texture than color to me.
I've been thinking about this because I have been working on winnowing down my set of Winter photos. There are some good photos that I made in Winter, that don't necessarily scream "Winter." Are those Winter photos or something else? It's not clear.
Last year, I set myself up on a schedule. I told myself I would sit on photos for one season and release them the next season or let them go (at least for now). So in Winter, I'd finish up and release my Fall batch, and in Spring I'd release my Winter images, etc. The system was designed to keep me moving and to know when to let go of old images. It would force me to focus on my curation. But with any system, it has flaws. The seasons might not be perfectly balanced. After a year - which is admittedly a short sample size - it seems like Fall and Winter are my most productive seasons. Also, there are a lot more photos on the margins than I anticipated. For example, foliage photos from higher elevations in Summer, and Snowy peaks in Fall. Do I organize them by date or by feel?
I've decided to employ a bit of flexibility and grace on the parameters of the rules and adhere to the intent of the system even if it means breaking the rules a bit. I'm a pragmatist, not a textualist. So I've categorized by feel, rather than calendar date. And I am going to run a few weeks late on my schedule getting my winter photos out, because I have a few more Fall images I think I need to get off my chest before moving on.
Chalamain Gap filed 30ft deep with avalanche debris. This did not feel like a safe place to hang about taking photos; a steep slope of ice and snow that had not yet fallen stretched 200 metres further back behind me along the gap.
The crown wall of the avalanche can be seen on the top right off the photo, roughly 2 meters high, starting halfway through Chalamain Gap and continuing for 300 meters along the North East ridge.
Time to go.