View allAll Photos Tagged Cyclical
Problems encountered with standard capacitors overheating and sometimes exploding with the more powerful weapon systems led to the development of a rifle with several capacitors, each taking turn.
This way by the time a single capacitor is used to fire again, it has sufficiently cooled down for almost unlimited usage potential.
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More laser shiz. Cause I can and it's just more fun to be honest.
There is a very brief timespan in late spring when grass and weeds begin to flourish before the trees leaf out. In these moments it's possible to capture both the overgrowth alongside a backdrop of (largely) bare trees. The grass has been dormant here since the killing frost last autumn. After that it was pressed flat by repeated snowfalls until it was about as flat as moss. In the past couple of weeks the grass has rebounded and gotten remarkably tall in un-mowed areas. Early evening found me here the other day. Low sun providing warm illumination of the foreground with a background of angry rolling clouds. Gusty winds blew the weeds which created a sense of animation in a place that is normally dead still. Funny it was the sky that brought me here but the weeds that caused me to linger. I realized there was not a moment to waste. The bare tree limbs are actually getting fuzzy as the branches fill with emerging buds. Leaves will develop within a couple of weeks, perhaps sooner. And inevitably someone will come trooping through this scene waving a wailing weed whip and the magic will dissolve into a mist of grass clippings. That's just the life cycle of the seasons. Artistically it's a matter of surfing in between the big waves.
freely inspired by:
youtu.be/5NEkJhBHh54?list=PLp7nLbzPSe5xZL0eH4qfUHjg4ujU8r9PT
Yesterday a child came out to wonder,
Caught a dragonfly inside a jar.
Fearful when the sky is full of thunder,
And tearful at the falling of a star.
And the seasons, they go 'round and 'round,
And the painted ponies go up and down.
We're captive on the carousel of time.
We can't return, we can only look behind
From where we came,
And go 'round and 'round and 'round in the circle game.
Then the child moved ten times round the seasons,
Skated over ten clear frozen streams.
Words like "when you're older" must appease him,
And promises of someday make his dreams.
nd the seasons, they go 'round and 'round,
And the painted ponies go up and down.
We're captive on the carousel of time.
We can't return, we can only look behind
From where we came,
And go 'round and 'round and 'round in the circle game.
Sixteen springs and sixteen summers gone now,
Cartwheels turn to car wheels through the town.
And they tell him, "Take your time, it won't be long now, 'Till you drag your feet to slow the circle down."
And the seasons, they go 'round and 'round,
And the painted ponies go up and down.
We're captive on the carousel of time.
We can't return, we can only look behind
From where we came,
And go 'round and 'round and 'round in the circle game.
So the years spin by and now the boy is twenty,
Though his dreams have lost some grandeur coming true.
There'll be new dreams, maybe better dreams, and plenty.
Before the last revolving year is through.
And the seasons, they go 'round and 'round,
And the painted ponies go up and down.
We're captive on the carousel of time.
We can't return, we can only look behind
From where we came,
And go 'round and 'round and 'round in the circle game.
(Joni Mitchell - The Circle Game (1970)
Dreams change with the seasons and the passing of the years, but the words remain the same. And the merry-go-round, which always returns to the same point, like the alternation of the seasons, also proposes the same dreams cyclically, either because they are rediscovered having been forgotten, or because they never come true. This is the circle of life, a theme also found in Gabriel Garcia Marquez's masterpiece One Hundred Years of Solitude. Or of the traditional English song
The song is also well known in the version, with a rockier and more accelerated arrangement, recorded by the Canadian-American singer-songwriter Buffy Sainte-Marie and included in the opening credits of the film Strawberries and Blood (The Strawberry Statement), released in the same year, only a few months later (June 1970).
From where I was having lunch I couldn't tell if it was "real work" or pilot training. Regardless it made for an interesting hour, (despite the edge of the building getting in the way and the window being a bit grubby). Taken from the "Liberator cafe".
G-BIOA belongs to a Hughes 369D helicopter and is associated with AH Helicopter Services Ltd.
Dunkeswell airfield, Devon, UK.
Located in the John Day Fossil Beds National Monument, and formed by ash from volcanic eruptions in the Cascade Mountains, the Painted Hills are an otherworldly display of kaleidoscopic colors that tell an ancient story of cyclical climatic conditions. Depending on weather and moisture, you can witness a large variety of light and colors here. Clearing clouds provided an ever changing display of dappled light on the landscape, and for a brief moment, a vibrant rainbow before the sun behind me dipped behind the clouds again.
Were there already jokes about... well, let`s say "the cyclicality of life" - the "broken" challenge after the "happiness" one?
Middle Fork Savanna FP, Lake County, IL 01/02/2021
Redpolls were one of those birds that the first time I saw one in a book as a kid I knew I had to see one. Due to their very cyclical nature of only showing up in our area in numbers every few years, I did not get my lifer Common Redpoll until 2001. The winter of 2020-2021 has so far been a good one for these birds in our area. I could just sit and watch these cool little birds all day long.
Thanks for the comments, faves and visits
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This photograph captures the quiet beauty of a wetland in the midst of autumn's transformation. A tree, resplendent in its golden foliage, stands tall and reflects upon the still water, creating a symmetrical dance of color and life. The surrounding vegetation, transitioning into the season's earthy tones, frames the scene with a textured mosaic of browns and yellows. Above, a small collection of clouds drifts across the azure sky, a testament to the passing of time and the changing of seasons. The wetland's waters, a mirror to the sky and trees, remind us of nature's cyclical beauty and the enduring grace of these vital ecosystems. This landscape is a serene study in contrast and harmony, where water and land, growth and dormancy, vividly coexist.
... as sure as the sun
*
Maybe we can't draw flesh from reverie nor retrieve a dusty spur, butwe can gather the dream itself and bring it back uniquely whole.” — Patti Smith
ये मेरे गीतों के मुखड़े
टूटे हुए सिसो के टुकड़े
मै इन को न जोड सकीय हाय
नयी नयी रात दिन की पहेलियाँ
मै अकेली कितनी सहेलिया
तन मन है क्या बस माटी का
कोई खिलौना है
सपना सलोना है
⛈
"We are together in a galaxy called Loss."
— Ellen Rachlin
•
“My brother used to ask the birds to forgive him; that sounds senseless but it is right; for all is like the ocean, all things flow and touch each other; a disturbance in one place is felt at the other end of the world.”
— Fyodor Dostoyevsky
◇
“The bright side of the planet moves toward darkness
And the cities are falling asleep, each in its hour,
And for me, now as then, it is too much.
There is too much world.”
― Czesław Miłosz, from The Separate Notebooks
when there are clouds in the sky
you'll get by...
if you smile
through your fear and sorrow
°
How lucky we are
That you can’t sell
A poem, that it has
No value. Might
As well
Give it away.
That poem you love,
That saved your life,
Wasn’t it given to you?
– from Gregory Orr’s Concerning the Book That Is the Body of the Beloved
△
THE PRESENT SPEAKS OF PAST PAIN
BY MAYA C. POPA
It’s that hour of dusk
when the sky is awash
in waning light, when, if we might
forgive each other, this would be
the hour for it.
I lay down beneath a yellow tree.
I understood I could hold onto the past
or be happy.
Then, nothing. You did not appear to me.
The sky filled with stars
that had been there already.
.
" I see darkness
alone
moves me as much as the planet moves me although I know
the light is coming too, at the same relentless speed."
– Eric Paul Shaffer
Where love has always been the culture
.
“My brother once showed me a piece of quartz that contained, he said, some trapped water older than all the seas in our world. He held it up to my ear. ‘Listen,’ he said, ‘life and no escape.”
― Anne Carson, Plainwater: Essays and Poetry
.
Worlds out of time still exist.
Worlds of achievement out of mind and remembering,
just as the poem lasts.
In the concert of being present.
—from “Arriving”
Linda Gregg
I saw this light art installation online and couldn't work out how big it was from the photos, so I thought it needed a sense of scale; waiting for these people in the shot to stand still during the 0.3 seconds' exposure with the colour changing lights hitting the right combination was tricky!
The blurb:
"This large light installation comes to the UK for the first time for Winter Lights at Canary Wharf. On entering OVO, visitors are surrounded by light and soundscapes. Its dynamic form is a combination of 24 crossed spiral pairs based on the Golden Proportion that is present everywhere in the universe, from infinitely small in the DNA helix to infinitely large in the cyclical movement of planets and galaxies. Four artists created OVO: Mostafa Hadi and Pol Marchandise (Odeaubois) designed the sculpture; Koert Vermeulen (ACT Lighting Design) conceived the lighting design and Marcos Viñals Bassols (Art Director) shaped the global scenography."
The Great Barrier Reef is the world's largest coral reef system, composed of over 2,900 individual reefs and 900 islands stretching for over 2,300 kilometres over an area of approximately 344,400 square kilometres. The reef is located in the Coral Sea, off the coast of Queensland, Australia, separated from the coast by a channel 160 kilometres wide in places and over 61 metres deep. The Great Barrier Reef can be seen from outer space and is the world's biggest single structure made by living organisms. This reef structure is composed of and built by billions of tiny organisms, known as coral polyps. It supports a wide diversity of life and was selected as a World Heritage Site in 1981. CNN labelled it one of the Seven Natural Wonders of the World in 1997. Australian World Heritage places included it in its list in 2007. The Queensland National Trust named it a state icon of Queensland in 2006.
A large part of the reef is protected by the Great Barrier Reef Marine Park, which helps to limit the impact of human use, such as fishing and tourism. Other environmental pressures on the reef and its ecosystem include runoff of humanmade pollutants, climate change accompanied by mass coral bleaching, dumping of dredging sludge and cyclic population outbreaks of the crown-of-thorns starfish. According to a study published in October 2012 by the Proceedings of the National Academy of Sciences, the reef has lost more than half its coral cover since 1985, a finding reaffirmed by a 2020 study which found over half of the reef's coral cover to have been lost between 1995 and 2017, with the effects of a widespread 2020 bleaching event not yet quantified.
The Great Barrier Reef has long been known to and used by the Aboriginal Australian and Torres Strait Islander peoples, and is an important part of local groups' cultures and spirituality. The reef is a very popular destination for tourists, especially in the Whitsunday Islands and Cairns regions. Tourism is an important economic activity for the region, generating over AUD$3 billion per year. In November 2014, Google launched Google Underwater Street View in 3D of the Great Barrier Reef.
A March 2016 report stated that coral bleaching was more widespread than previously thought, seriously affecting the northern parts of the reef as a result of warming ocean temperatures. In October 2016, Outside published an obituary for the reef; the article was criticised for being premature and hindering efforts to bolster the resilience of the reef. In March 2017, the journal Nature published a paper showing that huge sections of an 800-kilometre stretch in the northern part of the reef had died in the course of 2016 of high water temperatures, an event that the authors put down to the effects of global climate change. The percentage of baby corals being born on the Great Barrier Reef dropped drastically in 2018 and scientists are describing it as the early stage of a "huge natural selection event unfolding". Many of the mature breeding adults died in the bleaching events of 2016–17, leading to low coral birth rates. The types of corals that reproduced also changed, leading to a "long-term reorganisation of the reef ecosystem if the trend continues."
The Great Barrier Reef Marine Park Act 1975 stipulates an Outlook Report on the Reef's health, pressures, and future every five years. The last report was published in 2019. In March 2022, another mass bleaching event has been confirmed, which raised further concerns about the future of this reef system, especially when considering the possible effects of El Niño weather phenomenon.
The Australian Institute of Marine Science conducts annual surveys of the Great Barrier Reef's status, and the 2022 report showed the greatest recovery in 36 years. It is mainly due to the regrowth of two-thirds of the reef by the fast-growing Acropora coral, which is the dominant coral there.
Slowenien / Nationalpark Triglav - Triglav
Triglav seen on the way from Viševnik to Veliki Draški vrh.
Triglav gesehen auf dem Weg vom Viševnik zum Veliki Draški vrh.
Triglav National Park (TNP; Slovene: Triglavski narodni park, TNP) is the only national park in Slovenia. It was established in its modern form in 1981 and is located in the northwestern part of the country, respectively the southeastern part of the Alpine massif. Mount Triglav, the highest peak of the Julian Alps, stands almost in the middle of the national park. From there the valleys spread out radially, supplying water to two large river systems with their sources in the Julian Alps: the Soča and the Sava, flowing to the Adriatic and Black Sea, respectively.
History
The proposal for the protection of the Triglav Lakes Valley area was first put forward by the seismologist Albin Belar in 1906 or 1908. However, the proposal was not accepted, as there was no legal base for it and the laws of the time prohibited any restriction of pasture. The strategic basis for the protection of the area, titled The Memorandum (Spomenica), and which explicitly mentioned the proposal of Belar, was submitted to the Provincial Government for Slovenia in 1920. The idea was finally implemented in 1924. Then, at an initiative by the Nature Protection Section of the Slovene Museum Society together with the Slovene Mountaineering Society, a twenty-year lease was taken out on the Triglav Lakes Valley area, some 14 km². It was destined to become an Alpine Conservation Park; however, permanent conservation was not possible at that time. The name Triglavski narodni park was first used in 1926 by Fran Jesenko.
In 1961, after many years of effort, the protection was renewed (this time on a permanent basis) and somewhat enlarged, embracing around 20 km². The protected area was officially designated as Triglav National Park. It was named after Mount Triglav, a symbol of Slovenia and of Slovene character. However, all objectives of a true national park were not attained and for that reason over the next two decades new proposals for expanding and modifying this protection were put forward.
Finally, in 1981, Triglav National Park was officially established in the modern form. A rearrangement was achieved and the park was given a new concept and expanded to 838 km². In 2010, the park expanded to include the settlement Kneške Ravne (Tolmin), according to wishes of its inhabitants, thus the new park area amounts to 880 km², which is 4% of the area of Slovenia.
Biodiversity
Flora
Systematic surveys of plants, especially of ethnobotanically useful species, in Triglav National Park have been carried out by Chandra Prakash Kala and Petra Ratajc covering various microhabitats, elevations, aspects, and terrain types. The park has over fifty-nine species of ethnobotanical values, of these 37 species (which contribute 62%) fall under four major categories of medicinal plants per the Official Gazette of the Republic of Slovenia such as H, Z, ZR and ND. Some important species such as Aconitum napellus, Cannabis sativa, and Taxus baccata are not allowed to be collected and used per the Official Gazette of the Republic of Slovenia.
Fauna
Triglav National Park is home to over 700 species of animals.
Hydrology
Waters in Triglav National Park consist of two watersheds: the Sava River watershed and the Soča River watershed. Many waterfalls can be found in the park, and most of them are located in the valleys of Soča River and its tributaries. The highest waterfall is Boka Falls (106 m). The Tolmin Gorges on the Tolminka River are located in the national park.
The lakes in the park are all of glacial origin. The largest among them is Lake Bohinj. Others are the Triglav Lakes (located in the Triglav Lakes Valley), Lake Krn, and Lower and Upper Lake Križ.
(Wikipedia)
Triglav (pronounced [ˈtɾíːɡlaw]; German: Terglau; Italian: Tricorno), with an elevation of 2,863.65 metres (9,395 ft 2+1⁄8 in), is the highest mountain in Slovenia and the highest peak of the Julian Alps. The mountain is the pre-eminent symbol of the Slovene nation, appearing on the coat of arms and flag of Slovenia. It is the centrepiece of Triglav National Park, Slovenia's only national park. Triglav was also the highest peak in Yugoslavia before Slovenia's independence in 1991.
Name
Various names have been used for the mountain through history. An old map from 1567 used the Latin name Ocra mons, whereas Johann Weikhard von Valvasor called it Krma (the modern name of an Alpine valley in the vicinity) in the second half of the 17th century. According to the German mountaineer and professor Adolf Gstirner, the name Triglav first appeared in written sources as Terglau in 1452, but the original source has been lost. The next known occurrence of Terglau is cited by Gstirner and is from a court description of the border in 1573. Early forms of the name Triglav also include Terglau in 1612, Terglou in 1664 and Terklou around 1778–1789. The name is derived from the compound *Tri-golvъ (literally 'three-head'—that is, 'three peaks'), which may be understood literally because the mountain has three peaks when viewed from much of Upper Carniola. It is unlikely that the name has any connection to the Slavic deity Triglav. In the local dialect, the name is pronounced [tərˈgwɔu̯] (with a second-syllable accent, as if it was written Trglov, with the dark L experiencing vocalization) in contrast to standard Slovene [ˈtɾíːɡlaw]. The highest peak is sometimes also called Big Mount Triglav (Slovene: Veliki Triglav [ˈʋéːliki ˈtɾíːɡlaw]) to distinguish it from Little Mount Triglav (Mali Triglav [ˈmáːli ˈtɾíːɡlaw], 2,738 meters or 8,983 feet) immediately to the east.
History
The first recorded ascent of Triglav was achieved in 1778, at the initiative of the industrialist and polymath Sigmund Zois. According to the most commonly cited report, published in the newspaper Illyrisches Blatt in 1821 by the historian and geographer Johann Richter, these were the surgeon Lovrenz Willomitzer (written as Willonitzer by Richter), the chamois hunter Štefan Rožič, and the miners Luka Korošec and Matevž Kos. According to a report by Belsazar Hacquet in his Oryctographia Carniolica, the ascent took place towards the end of 1778, by two chamois hunters, one of them being Luka Korošec, and one of his former students, whose name is not mentioned.
Triglav's height was first measured on 23 September 1808 by Valentin Stanič. The first to put the name of the mountain on a map, written as Mons Terglou, was Joannes Disma Floriantschitsch de Grienfeld, who in 1744 published the map Ducatus Carniolae Tabula Chorographica. The first map its name appeared on written as Triglav was Zemljovid Slovenske dežele in pokrajin (Map of the Slovene Land and Provinces) by Peter Kosler, completed from 1848 until 1852 and published in Vienna in 1861.
During World War II, Triglav symbolically captured the primary drive by the Slovene resistance to the Fascist and Nazi armies. The Slovene Partisans wore the Triglav cap from 1942 until after 1944.
Triglav was the highest peak of the now defunct Yugoslavia; it was both countries' highest and most prominent peak. The expression "from Triglav to the Vardar" (a river in southern Macedonia) was a common synecdoche for Yugoslavia, referring to two prominent features at the geographic extremes of the nation.
Landmarks
Aljaž Tower
At the top of the mountain stands a small metal structure, the Aljaž Tower (Slovene: Aljažev stolp). It acts as a storm shelter and a triangulation point. Along with Triglav, it is also a landmark of Slovenia and a symbol of the Slovenes and Slovene territorial sovereignty.
The tower's namesake was the priest, mountaineer and patriot Jakob Aljaž. In early 1895, he drew up, with a piece of chalk on the floor of his room in the parish of Dovje, plans for a cylindrical tower with a flag on its top. In April that year he purchased the summit of Triglav for the sum of one florin. Having done so, he secured himself the right to erect a building on the mountain top. The tower was constructed from iron and zinc coated sheet steel by Anton Belec from Šent Vid nad Ljubljano. He and four workers brought the parts of the tower to the summit of Triglav and put the tower together in only five hours on 7 August 1895. The opening took place that same day. Aljaž donated the shelter to the Slovene Alpine Society today Alpine Association of Slovenia.
In the beginning, there were three four-legged chairs, a summit register, a spirit stove, and the image Triglav Panorama by Marko Pernhart in the tower. It was later repainted and renovated several times by Alojz Knafelc and others. In the Communist era, as the highest point of the former Yugoslavia, it was painted red and decorated with a red star. However, it has now more or less been restored to its original appearance. The star was removed shortly before the dissolution of Yugoslavia. On the proclamation of Slovene independence in June 1991, the flag of Slovenia was raised on top of the tower.
Stanič Shelter
In 1895, due to a lack of space, Aljaž also commissioned the building of the Stanič Shelter. It is located 55 metres (180 ft) below the top of Triglav and is named after the poet and mountaineer Valentin Stanič. The shelter has dimensions of 2.4 m × 2.2 m × 2 m (7 ft 10 in × 7 ft 3 in × 6 ft 7 in) and has room for 8 people sitting or 16 standing. Originally it also had a wooden door, benches, a table, and a chair. Its significance diminished after the Kredarica Lodge was erected in 1896.
Triglav Glacier
The Triglav Glacier (Triglavski ledenik) was located below the summit on the karstified Triglav Plateaus (Triglavski podi), part of the northeastern side of the mountain. Covering over 40 hectares (99 acres) at the end of the 19th century, the glacier had shrunk to 15 hectares (37 acres) by 1946, and after further shrinkage had fallen into two parts by 1992. By 2011 it covered an area of only 1–3 hectares, depending on the season. It was no longer considered a glacier in 2019.
Geology
Geologically Triglav is composed of a sequence of Triassic rocks arranged as a stack of thrust sheets, the uppermost of these, forming the summit of Triglav, is the Zlatna klippe, an isolated fragment of the Zlatna nappe (also referred to as the Zlatenski plošči, Slatenskem pokrovu, Slatenskem narivu or Triglavskem pokrovu). In the Triglav area the Zlatna nappe has a well preserved sub-horizontal contact with the underlying Julian nappe which is dominated by a thick succession of more than 1000m of limestones including a cyclic sequence of Dachstein Limestone of Norian to Rhaetian age.
In the upper Vrata Valley, near Kozja Dnina about 2km NNE of Triglav's summit, a sequence of pelagic limestones of Carnian age is exposed. This has been known to paleontologists from the beginning of the 20th century and has produced a variety of excellently preserved fossils which include bivalves, brachiopods, echinoids, crinoids, asteroids, ammonites, belemnites, scleractinian corals, shrimps, lobsters, fish and thylacocephalans.
Cultural significance
Folk literature
The Triglav area is the setting of an old Slovene folk tale concerning a hunter seeking a treasure guarded by an enchanted chamois buck named Zlatorog (lit. 'Goldhorn', after its golden horns).
Arts
The earliest known depiction of Triglav is on the front page of the work Oryctographia Carniolica, written by Belsazar Hacquet. It was a copper engraving made in 1778 by C. Conti after a drawing by Franz Xaver Baraga. Among later visual artists who depicted Triglav, the most well known are Anton Karinger (1829–1870) from Ljubljana, Marko Pernhart (1824–1871) from Klagenfurt, Valentin Hodnik (1896–1935) from Stara Fužina, Edo Deržaj (1904–1980) from Ljubljana, and more recently Marjan Zaletel (born 1945), living in Ljubljana.
Among the musical works related to Triglav, a special place is held for the poem "Oh, Triglav, My Home" (Oj, Triglav, moj dom). It was written in 1894 by the priest and poet Matija Zemljič and quickly became very popular among Slovene mountaineers. In 2007, its first stanza, accompanied by a melody of Jakob Aljaž, became the official anthem of the Alpine Association of Slovenia. An instrumental version of the poem, written by Bojan Adamič, is part of the start and end credits of the annual ski jumping broadcasts from Planica. In 2023, the Slovenian industrial act Laibach released their rendition of the song, titled "O, Triglav, moj dom."
The first Slovene-language full-length film, recorded in 1931 by Janko Ravnik, was titled In the Kingdom of the Goldhorn (V kraljestvu Zlatoroga) and features an ascent by a group of students to the top of Triglav. The second Slovene full-length film, recorded the following year, was titled The Slopes of Mount Triglav (Triglavske strmine). It was directed by Ferdo Delak and was a romantic story featuring a wedding on the top of Triglav.
Since 1968, Triglav has become a theme of avant-garde artists. The first instance was a manifestation by the art group OHO, called Mount Triglav, which took place in December 1968 at Ljubljana's Congress Square. In 2004, the group IRWIN produced a series of paintings named Like to Like/ Mount Triglav. In 2007, an artistic performance was held atop Mount Triglav by the artists Janez Janša (director), Janez Janša (visual artist) and Janez Janša (performance artist) called Mount Triglav on Mount Triglav.
National symbol
A stylized depiction of Triglav's distinctive shape is the central element of the Slovene coat of arms, designed by the sculptor Marko Pogačnik, and is in turn featured on the flag of Slovenia. Alongside San Marino and Slovakia, Slovenia is the only other country in Europe and one of the few in the world to feature a mountain on its coat of arms. Formerly, it was featured on the coat of arms of the Socialist Republic of Slovenia.
The first to depict Triglav as the symbol of the Slovenes was the architect Jože Plečnik, who in 1934 put it besides other coats-of-arms of the nations of the Kingdom of Yugoslavia on the coat of the statue of the Mother of God in front of the parish church in Bled.
During World War II, the stylised Triglav was the symbol of the Liberation Front of the Slovene Nation resistance movement. The distinctive three-pronged caps worn by Slovene Partisans during World War II were known as triglavkas.
A relief map of the mountain is the design on the national side of the Slovene 50 eurocent coin.
The former Slovene president Milan Kučan once proclaimed that it is a duty of every Slovenian person to climb Triglav at least once in their lifetime.
(Wikipedia)
Der Nationalpark Triglav (slowenisch: Triglavski narodni park) ist der einzige Nationalpark Sloweniens. Die IUCN ordnet das Gebiet der Kategorie II (Nationalpark) zu (WDPA 2517). Die staatliche Nationalparkverwaltung hat ihren Sitz in Bled.
Geographie
Der Park liegt in den Julischen Alpen, im Nordwesten Sloweniens, an der Grenze zu Italien und Österreich, und hat eine Größe von 83.982 Hektar (839 km²).
Geschichte
1908 wurde erstmals vorgeschlagen, die Triglav-Region nachhaltiger zu schützen. Im Jahr 1924 dann wurde zunächst ein 1.400 ha großes Tal als „Alpiner Schutzpark“ ausgewiesen, der 1961 etwas vergrößert wurde und den Namen Nationalpark bekam. Seit 1981 gibt es den Nationalpark in der heutigen Größe und Form. Im Kernbereich des heutigen Nationalparks werden die Bestimmungen des Naturschutzes streng überwacht.
Im Park gibt es 7.000 km markierte und regelmäßig gewartete Wege mit Gasthöfen und Schutzhütten.
Der Nationalpark
Der Nationalpark ist benannt nach dem mit 2864 m höchsten Berg Sloweniens, dem Triglav, der fast im Zentrum des Parks liegt. Im Nationalpark liegen zahlreiche Gletscherseen, an Gesteinsarten dominiert Kalkstein. Besonders hervorzuheben sind - neben dem hochalpinen Gebiet - die Täler von Soča und Sava Bohinjka mit dem Wocheiner See (Bohinjsko jezero), dem größten dauerhaften See Sloweniens, welche sich eine sehr ursprüngliche Landschaft und Architektur bewahren konnten, sowie die waldreichen Hochebenen Pokljuka und Mežakla.
Die Nationalparkverwaltung sitzt in Bled, ein Informationszentrum Dom Trenta befindet sich in Soča und ein weiterer Infopunkt zum Nationalpark in Kobarid.
Fauna
Die Fauna des Nationalparks ist artenreich. Neben den üblichen Alpenwildtieren wie Steinbock, Gämse, Rothirsch und Auerhahn durchstreifen gelegentlich Braunbären das Gebiet, auch Luchse leben dort. In der Luft kann man Steinadler beobachten. Als Giftschlangen sind die Sand- und die Kreuzotter erwähnenswert. Von den zahlreichen endemischen Arten ist die Marmorataforelle erwähnenswert, die in der Soča sowie einigen anderen Zuflüssen der Adria vorkommt. Ihr Bestand ist noch immer durch die im Zweiten Weltkrieg ausgesetzten Bachforellen bedroht.
Flora
Auch die Pflanzenwelt des Nationalparks ist von Bedeutung. Aufsehen erregten zahlreiche endemische Pflanzenarten bei den Botanikern bereits im 18. Jahrhundert. Bekannt im Triglav-Nationalpark sind die (violette) Zois-Glockenblume, das rote Dolomiten-Fingerkraut sowie der gelbe Julische Mohn und das Alpen-Edelweiß. In den Höhenlagen ab 2000 m wachsen im Schutze von Latschen die als Almrausch bekannte Bewimperte Alpenrose sowie die Zwerg-Alpenrose (Heidekrautgewächse).
Tourismus
Touristisch bedeutsam ist für das Gebiet des Nationalparks, das von einem Netz von einheitlich markierten Bergpfaden durchzogen wird, das Bergsteigen etwa am Svinjak. Der Slowenische Alpenverein unterhält hier 32 Häuser und Hütten. Außerdem ist das Wildwasserpaddeln bedeutsam. Die Flüsse Soča und Koritnica sind ein Anziehungspunkt für Wassersportler, unter anderem wegen einiger herausfordernder Wildwasserstrecken.
Zur Erkundung des Inneren des Nationalparks eignen sich als Ausgangspunkte insbesondere die von Norden im Uhrzeigersinn aufgezählten Ortschaften Kranjska Gora, Bled, Kobarid und Bovec.
(Wikipedia)
Der Triglav ([ˈtɾiːɡlɐʊ]; übersetzt ‚Dreikopf‘, italienisch Monte Tricorno, deutsch analog zur slowenischen Aussprache auch Triglau) ist mit 2864 m. i. J. der höchste Gipfel Sloweniens und der Julischen Alpen. Er liegt im Zentrum des nach ihm benannten Triglav-Nationalparks, des einzigen Nationalparks des Landes.
Der Berg ist durch seine typische Form aus Distanzen von über 100 Kilometern erkennbar – zum Beispiel aus großen Teilen Kärntens. Imposant ist seine Nordwand über dem Vratatal, mit einer Breite von drei Kilometern und einer Höhe von 1500 Metern bis zum Gipfel eine der höchsten Wände der Ostalpen (nach der Ostwand des Watzmanns und mit der Nordwand des Hochstadels in den Lienzer Dolomiten). Die eigentliche Wand bis zum sogenannten Kugy-Band, über dem der Gipfelaufbau ansetzt, ist immer noch 1000 Meter hoch.
Der Berg ist eines der slowenischen Nationalsymbole und zentraler Teil des nationalen Wappens, das sich auch auf der Fahne des Landes wiederfindet. Slowenien, das am 1. Januar 2007 der Eurozone beigetreten ist und den Euro als offizielles Zahlungsmittel eingeführt hat, hat den Triglav auch für die nationale Seite der 50-Eurocentmünze ausgewählt.
Entstehung des Namens
Der Name bedeutet so viel wie „Dreihaupt“ oder „Dreikopf“. Die Entstehung des Namens ist unklar. Einer Legende nach thronte auf dem Berg eine alte slawische Gottheit, der dreiköpfige Triglaw, der mit einem Kopf den Himmel, mit dem zweiten die Erde beherrscht und seinen dritten Kopf dem unterirdischen Reich zuneigt. Andere meinen, dass sich der Name aus der Form des Berges ableitet: drei Gipfel wurden mit drei Köpfen assoziiert.
Balthasar Hacquet nannte den Berg 1783 mit dem Namen Terglou; Adolf Schmidl 1840 ebenso – er gab in Klammern Triglav an. In Herders Konversations-Lexikon 1857 schien nur Terglou auf; auch Julius Kugy verwendete 1876 diesen Namen. Meyers Konversations-Lexikon nannte ihn 1897 hinter Triglav in Klammern. Weitere historische deutsche Schreibungen sind Terglau und Terklou.
Geschichte
Der erste bekannte, aber gescheiterte Besteigungsversuch fand 1777 statt. Er wurde vom berühmten Erforscher der Julischen Alpen, dem Weltreisenden, Naturforscher und Physiker Belsazar Hacquet (1739–1815), in Begleitung von Minenarbeitern des Krainer Wissenschaftsförderers Sigmund Zois von Edelstein (slowenisch: Žiga Zois) unternommen.
Die Erstbesteigung erfolgte am 26. August 1778 durch Lovrenc Willomitzer (1747–1801) aus Stara Fužina mit Luka Korošec (1747–1827) aus Koprivnik, Stefan Rožič (1739–1802) aus Savica und Matija Kos (1744–1798) aus Jereka. Betrieben wurde die Besteigung auch diesmal von Belsazar Hacquet, damals Universitätsprofessor in Laibach, der selbst allerdings den Gipfel nicht erreichte.
Wege zum Gipfel
Beliebtester Ausgangspunkt auf den Triglav ist die Alpenvereinshütte Aljažev dom, die von Mojstrana aus über eine großteils unbefestigte Straße mit dem Auto erreichbar ist. Alternativ kann der Gipfel von Westen (Trenta) aus erreicht werden. Dabei sind 2200 Höhenmeter zu überwinden, für Hin- und Rückweg werden etwa 14 Stunden benötigt. Der Gipfel selbst ist im obersten Bereich von rund 300 Höhenmetern nur über einen Klettersteig mit vielen Eisenklammern und Haltebolzen erreichbar. Auch von Südosten lässt sich der Triglav besteigen, wobei der Zugang über das Krma-Tal führt.
Hütten
Folgende Schutzhütten befinden sich am Triglav oder eignen sich als Ausgangspunkt:
Triglavski dom (Triglavhaus / Kredaricahütte)
Vodnikov dom (Vodnik-Hütte)
Dom Valentina Staniča
Dom Planika
Tržaška koča
Aljažev dom
Kovinarska koča
Koča pri Triglavskih jezerih (Hütte beim Triglavsee)
Koča na Doliču
Aljažev stolp
Auf dem Gipfel befindet sich der Aljažev stolp‚ der Aljaž-Turm, ein wichtiges Symbol des Landes. Er bietet bei Unwettern Bergsteigern kurzzeitigen Unterschlupf.
Der Aljažev stolp wurde am 7. August 1895 errichtet. Jakob Aljaž, ein Priester aus Dovje (Längenfeld), plante und baute ihn. Der zylindrische metallene Turm mit der Flagge wurde von Anton Belec aus Šentvid bei Ljubljana gefertigt und 1922 von Alojz Knafelc restauriert.
Triglav-Gletscher
Der Triglav-Gletscher umfasste zu Beginn der systematischen Messungen im Jahre 1946 eine Fläche von 12,66 ha, 1951 hatte er eine Ausdehnung von 17,78 ha. 1994 war der Gletscher auf ca. 4 ha abgeschmolzen, 2003 war die Eisfläche kleiner als 0,4 ha.
1954 wurde mit Wetterbeobachtungen auf der Kredarica-Hütte begonnen. Im Zeitraum 1961–2011 stellte man eine Erhöhung der durchschnittlichen Lufttemperatur um 1,8 Grad Celsius fest. Dabei war der Temperaturanstieg ungleichmäßig: Von 1961 bis Mitte der siebziger Jahre gab es kaum eine Veränderung, in den folgenden 20 Jahren stieg die Durchschnittstemperatur stark an.
(Wikipedia)
Stacked ribbon like sandstone bodies are visible from the Gooseberry Badlands overlook near Gooseberry Creek, Wyoming. This overlook lies along WY 431 and provides a glimpse of the badlands formations common in Early Eocene Willwood formation of the Bighorn Basin, Wyoming. The Willwood, famous for its mammalian fossils, consists of a series of cyclic fluvial (stream/river) and floodplain deposits. In the badlands visible from the overlook, ribbon-like thin channel sands thought to be avulsion channels or splays can be seen alternating with red paleosol and drab floodplain deposits. There are some thicker fluvial sands that represent the trunk or main stream channels. Intermittent, ephemeral streams have eroded these sediments into fanciful hoodoos, pillars; claystone castles; small arches and fluted walls often capped by one of the ribbon or thicker fluvial sands. A 1.5 mile nature trails winds into the badlands formations from the overlook giving hikers a glimpse into the rugged terrain that covers much of the central Bighorn Basin.
The AI CyberCanvas Collective
www.flickr.com/groups/cybercanvas/discuss/72157721921116839/
~
"wild creature featured" theme
beastie and none donestic wild creatures.
AI
~
"wild creature featured" theme
beastie and none donestic wild creatures.
AI
The phoenix is an immortal bird that cyclically regenerates or is otherwise born again. While it is part of Greek mythology, it has analogs in many cultures, such as Egyptian and Persian. Associated with the sun, a phoenix obtains new life by rising from the ashes of its predecessor.
“Out in the loading bay light
Watching the fog recede
Divided the flame you slowly gave to me
Sign of relief in my mind
But I only caught you the one time
Later, I'd watch you and wonder what it was like"
Phoenix - Big Red Machine (feat. Fleet Foxes and Anais Mitchell) (2021)
This 15m or so fissure represents the last rites of the Meradalir volcanic eruption, which began in south western Iceland on 3 August 2022. Unlike its big brother, Fagradalsfjall, which erupted for 6 months in 2021, Meradalir was over within 3 weeks. It stopped erupting just as I was flying out to photograph it, but them’s the breaks. After several hours of hiking up into the valley in the midst of the lifeless Reykjanes highlands, I was confronted by a smoking morass of cooling lava and an empty cinder cone. At the edge of the lava field, the foul stench of sulphur filled my lungs, but it was only as dusk dimmed the light that the final chapter of Meradalir was written. This last fissure, viewed with a drone, reminds me of a phoenix, that mythological, immortal bird which cyclically regenerates or is otherwise born again. The Reykjanes region is going through an exciting new period of intense volcanic activity, and there will be further eruptions - further flaming reincarnations. For me, however, the relief in my mind was tinged with deep frustration, for I only caught you one time, and later I’d watch you and wonder what it was like.
I was going for a dark, timeless mood. The rock is lit by the sun (fleeting light on the horizon) and moon (rising on the left) simultaneously, no artificial light was used. When I took this it was too dark to see which made the shot a challenge, especially when I dropped my filter and holder into the Lake. Luckily I had my headlamp.
As for the title, the granite stones appeared notched into one another as if clasping. Cold, warm, light, dark, wind and calm will cyclically wash over them as they gracefully make their journey bound to one another…more like one than two and so connected the rest of the world fades into the distance.
Thanks in advance for any comments, I really appreciate all the input lately.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
The red grouse, Lagopus lagopus scotica, is a medium-sized bird of the grouse family which is found in heather moorland in Great Britain and Ireland. It is usually classified as a subspecies of the willow ptarmigan but is sometimes considered to be a separate species, Lagopus scotica. It is also known as the moorcock, moorfowl or moorbird. Lagopus is derived from Ancient Greek lagos (λαγος), meaning "hare", + pous (πους), "foot", in reference to the feathered feet and toes typical of this cold-adapted genus, and scoticus is "of Scotland".[1]
The red grouse is widely known as the logo of The Famous Grouse whisky and an animated bird is a character in a series of its adverts. The red grouse is also the emblem of the journal British Birds.The red grouse is differentiated from the willow ptarmigan and rock ptarmigan by its plumage being reddish brown, and not having a white winter plumage. The tail is black and the legs are white. There are white stripes on the underwing and red combs over the eye. Females are less reddish than the males and have less conspicuous combs. Young birds are duller and lack the red combs.
Birds in Ireland are sometimes thought to belong to a separate subspecies L. l. hibernica. They are slightly paler than those in Britain and the females have yellower plumage with more finely barred underparts. This may be an adaptation to camouflage them in moorland with higher grass and sedge content and less heather.
It is identified by its 'chut!chut!chut!chut!chut!chuttt....' call, or the 'Goback, goback, goback' vocalisation. The wings make a whirring sound when the bird is disturbed from a resting place.
Grouse populations display periodic cycling, where the population builds up to very high densities only to crash a few years later, and then recover. The main driver of this cyclic pattern is thought to be the parasitic nematode worm Trichostrongylus tenuis.
However, in his book,[2] V. C. Wynne-Edwards suggests that the primary reason for mortality in grouse population is homeostasis depending largely on food availability and that the 'Grouse disease', due to the parasitic worm Trichostrongylus tenuis is a mistaken diagnosis of the after effects of social exclusion.
This image is included in a gallery "Blue" curated by Andy Montgomery.
Average depth : 22 to 30 m (72 to 98 ft)
Max. depth : 30 m (98 ft)
Inferno Crater Lake is a large hot spring located in the Waimangu Volcanic Rift Valley on the North Island of New Zealand, and the largest geyser-like feature in the world. The actual geyser is not visible, as it plays underwater at the bottom of the lake, however, fumaroles are visible on the lake's shore and the rock wall behind it.
The water temperature in the lake ranges from 35 to 80 °C (95 to 176 °F), with acidity up to pH 2.2, and lake levels that vary up to 12 metres (39 ft), following a complicated 38-day cycle that includes an overflow stage. White silica deposits grow up to the overflow level, and the lake's colour is a result of finely divided silica suspended in the water. At low water levels the lake can be a dull grey colour, changing to an intensely sky blue colour at higher lake levels, in particular after the overflow stage.
Inferno Crater was blasted out of the side of the locally prominent Mt Haszard as part of the 1886 Mount Tarawera eruption, which opened several craters along a 17 kilometres (11 mi) rift stretching southwest from Mount Tarawera to the nearby Southern Crater. Inferno Crater's trumpet-shaped lake bed is up to 30 metres (98 ft) deep when the lake is full, which is also when it reaches its highest temperature.
Since 1901 the lake occupying Inferno Crater has exhibited water-level variations closely associated with the Waimangu Geyser cycle. Inferno Crater Lake and its neighbouring Frying Pan Lake form a unique relationship and follow an interconnected rhythmic cycle of hydrology variations repeating itself over the course of roughly 38 days. When the water level and temperature of Inferno Crater Lake increase, the water level and outflow of Frying Pan Lake decrease. Comparable cyclic activity is unknown in other hydrothermal systems in the world.
The system has been the subject of studies since monitoring equipment was installed in the area in 1970. Four distinct phases can be recognised in its cycle: First, the lake level rises steadily from its lowest level by a total of almost 5 metres (16 ft) over the course of 8 days, and then it commences oscillating. The average lake level keeps rising over the course of the oscillations of the second phase until it reaches overflow level. At that point, the lake's volume has increased by 45,800 cubic metres (1,620,000 cu ft). Next, the lake overflows for about 51 hours at a rate of almost 80 liter per second, discharging on average 140,000 cubic metres (4,900,000 cu ft) of over 70 °C (158 °F) hot water down a temporary overflow stream into Waimangu Stream in the valley below. The last stage sees the lake recede to its low level over the last 13 days of the cycle, its water temperature also falling to the low point. During that stage, around 30 million liters of water drain back under Mt Haszard.
Inferno Crater Lake is accessible via a side track with 50 steps off the main Waimangu walking track. It is one of three lakes filling craters created in the vicinity during the 1886 event. (Wikipedia)
Another little baby boy is born ...
Final entry for Brickscalibur's in the Farmstead Figures category. I've always wanted to do a model with a cyclical nature, and thought this was the perfect opportunity. Not only the seasons go around and around, but in this figbarf so does family, as we watch a young, ginger boy grow up on the farmstead through the seasons.
Red Foxes provide such a pleasurable splash of color amid the otherwise relatively monochromatic landscape of winter. I've been watching the fox population up here for decades and it's interesting the way that every five years or so, the fox community undergoes a shift in color .... For a few years, they will all be Red, as now. In some years, you begin to see numerous foxes with coats of many colors, a sort of calico of black, red and white .... Then for a number of years you see only black foxes.
This, at first look, seems like maybe it would be simple genetic drift within the population, but it appears to be cyclical and therefore one might suspect some variable influence within the environment.
This year, fox and lynx populations are low, an effect of an extremely low ebb in the amount of snowshoe hares available for dinner.
Interestingly, and this is an established fact, albeit one which has never been adequately explained ..... The abundance of rabbits in the northland follows a regular rise and fall, more of a boom and crash, which is closely correlated with the 11 year cycle of sunspot activity. This year, along with a nearly total lack of magnetic storms on the 90 million mile distant sun, we have almost no snowshoe hares ... they are rare.
At other times, during solar maximum, they are virtually everywhere .... At those times, in the course of a drive along the Alaska Highway, you will see literally hundreds of rabbits. Now, virtually none.
Not gonna lie. The reason I don’t post here as much is because of the inactivity of the platform. I get that it’s kinda cyclical because I’m not active in the community but it’s also just the limitations of this site. Instagram has just been a greater source of inspiration and an easier platform in general to communicate and grow on. This is a little petty but in 5 months I’ve already surpassed my sub count here plus their active subs so that’s nice. Anyway, after I’ve finished the E-100 I’m leaving:/
John Muir believed that his beloved Yosemite valley was formed by glaciers of the past. This theory met with stiff opposition from his peers and contemporaries. But unlike his distractors, Muir spent hours and days lying on valley rocks with ‘patient brooding’ to ask questions, whose answers could be his riposte: ‘Where did all that ice come from and where did it go?’ To find answers, Muir invested many summers in Alaska, where he visited and ‘discovered’ the Glacier Bay in ‘the end of October, 1879’.
“If my son comes not back, on you will be his blood.” ~ Mother of Kadechan, a Muir expedition crew-member
To discover the glaciers of Glacier Bay, Muir had an outdated chart (created by the HMS Discovery captain Vancouver in 1794), a crew of four that included an evangelist and three Sitka Indians, and a canoe that had room for very little after seating these five men. Local Indians didn’t approve of this trip. With winter right around the corner and limited provisions available to the party further up the bay, this trip sure seemed destined for the doom. Crew members’ mothers and wives didn’t held their angst back. It took the evangelist’s assurance for people to calm down and the journey to begin.
“Muir must be a witch to seek knowledge in such a place as this, and in such miserable weather” ~Toyatte, the expedition captain (by virtue of being the canoe-owner).
Within a few days, the tour faced substantial challenges that discouraged Indian crew members severely. They were shocked by Muir’s adventurous spirit that ventured out into icy mountains and waters even when thunders rolled over. Dreading the ‘treeless, forlorn appearance' of the area, they considered heading back. With every passing storm, the dissent grew. Then, Muir made a speech to his crew that was laced with deep Muir-ish sentiments that we all have come to admire today. That speech, which called for trusting the ‘heaven’ and putting fear away, galvanized the crew and made them sentimental. They decided not to care even if the 'canoe were to get crushed by icebergs' because on their way to the next world they would have excellent companions. Thus reinvigorated, the crew moved further north towards mighty glaciers that no human eyes from the developed world had ever seen before.
“It presents… many shades of blue, from pale, shimmering, limpid tones in the crevasses and hollows, to the most startling, chilling, almost shrieking vitriol blue on the plain mural spaces from where bergs had just been discharged.” ~John Muir (The discovery of Glacier Bay)
The party reached the head of the bay, where mighty glaciers blocked their view and path forward. While others set up camp, the ecstatic Mr. Muir ran out to climb a mountain in the sleety rain to get a ‘broader outlook’ of that icy empire. From his vantage point, he saw and sketched ‘ineffably chaste and spiritual heights’ of the Fairweather Range, and several great glaciers that flow from those mountains. That night, the happy crew sat by a large fire celebrating their success amidst ‘thunder of the icebergs, rolling, swelling, reverberating through solemn stillness’. They were tired, but too happy to sleep.
PS: Glacier Bay, as we know it today, didn’t exist when Vancouver charted the area in 1794. A century later, Muir found glacier-lines had receded by 18-25 miles from lines in Vancouver’s chart and called Glacier bay ‘undoubtedly young’. Today, most glaciers in the bay have receded and rest behind Vancouver's lines by scores of miles. If not impaired by global warming, these glaciers may return because it is their nature to cyclically recede and burgeon in geological time. Above, you may see two glaciers: Johns Hopkins–the wide one, and Gilman–the petite glacier underneath Mt. Abbe. Muir didn't see them; these are 30-40 miles north of the glacier line during Muir’s expedition. Exceptionally, the handsome Johns Hopkins glacier – whose mile-long face you see above but can’t see it wearing many stripes of medial moraines like a fashion conscious urbanite – is currently advancing every year. While there, I was absolutely enthralled by those thunderous claps of glaciers calving, but was saddened at not being able to witness Muir’s ‘crowds of bergs packed against the ice-wall’. Today, due to much warmer water temperature in this area, icebergs have disappeared. What was once an icy and spiky outer curtain wall of several thousand icebergs that defended the snow-white Fairweather Range, is today a dilapidated garden of growlers (smaller fragments of ice).
Monday night bike ride was back on tonight and the missed past 3 weeks showed.
More cyclical light art. Nice and quick set up and execution.
Catch you tomorrow.
Bees!
Wonderful part of ecosystem for million years, in symbiosis with flowers and other crops, constantly in evolution with certain aspects like time for ripening harvests, blooming of flowers and continue to work incessantly, cyclically.
As humans, it's important to understand that the preservation of bees directly correlates to our ecosystems surviving. Bees not only pollinate the flowers that we admire, but they fertilize our crops that we rely on the production of to eat. Because of this, time has allowed both bees and flowers to evolve and become more efficient throughout its lifecycle - directly benefiting the human population. Without the great relationship between flowers and bees, we would lose out on about two-thirds of our food supply.
OM1 300f4-MC14
1/3200, f5.6, ISO1600
I am reposting this message and creation from my December 2019 post
Although this was written in 2019 I knew something big was going to take place on earth in the months ahead.
It is as relevant today as it was back in 2019 because it relates to today in 2021
I underestimated the severity of this message. In saying this I was extremely unsettled for many months and prayed as I knew something was going to happen but I did not know exactly what.
I had endured many months of suffering knowing. Through this process things became crystal clear to me and with that an understanding of the higher picture and ultimately a sense of surrendering to 'what is' and a sense of Peace and Calm came with this, along with so much gratitude for being guided and shown. A blessing and a curse
To add to this, many souls have sacrificed themselves - knowingly and unknowingly to wake up humanity.
We can never know the soul agreement that each of us has made when we birthed into this world.
I am eternally grateful to the many souls who have endured hell on earth, lost their lives to awaken the masses to the reality of this world.
There are many people at this time on earth who are struggling with all that is happening in our world.
I was guided with this message and design back in 2019 - it started many months before it was completed by December of that year.
I hope that this message will bring some understanding and comfort to anyone who is struggling right now.
Despite her name Black Winged Goddess, she does bring a message of Hope and Unity to humanity.
We are living in times of great destruction of the world as we know it, earth changes, fires, floods, earthquakes.
Here alone in Australia we sit in horror at the extent of the fires rampage across the country. Unprecedented fires and weather in the history of our existence (well what is on record)
Whilst horrific - the earth we live on has always been full of cyclic changes.
Ancient cities have been discovered under the sea, we are naive to think that the world as we know it will remain the same.
What continents exist now may no longer exist. What coastline exists now is slowly being swallowed up by the ocean.
Volcanic eruptions are changing the face of the planet as are earthquakes - the list is long.
We cannot stop the force of Mother Nature. We live on a planet that has always endured such destruction.
We have pole shifts taking place - all kinds of catastrophic events happening across the Globe. We are but a spit in the ocean to the wide Galaxies that we know of. Yet we think we are precious in some way.
I cannot help but wonder why I was so drawn to create this "Black Winged Goddess" let alone give her the name of Black Winged Goddess. But I was drawn, my soul was pushing me for weeks with a "slight vision" of what I needed to create. It now makes total sense to me why I was so drawn to create The Black Winged Goddess, given the state of our world and humanity.
My soul as always when I listen guides me with powerful messages and reminds me to just 'be' to accept 'what is'.
We may not like the current state of our world, but it is what it is and all we can do is stay strong within ourselves and hold the power of 'love' in our hearts despite seeing so much being played out on the planet.
Kali (Hindu) - was known as a deity of the Fearsome Demon destroying Goddess who represents death and rebirth - so her name means "Black One".
We can never truly comprehend or understand the power of mother nature - we have abused her for centuries, taken her for granted and she is a living breathing consciousness so powerful that we dare not go up against here.
In recent years we have seen the influence of the feminine energy on earth which for eons has been dominated by the male energy.
So it makes complete sense to me that we are witness to so much destruction on the planet.
We are witness to the destruction of our societies as we know it, breakdown of families, law, politics.
So much of humanity is at war with the 'system', the injustices, and the lack of balance within our society. The homeless, the abused, the forgotten souls, the mental health issues that seem to have become rampant, the rise of Corporate wealth while humanity is trapped in slavery. We have learnt nothing as a humanity over the past how many hundred years?
In order for rebirth, for new growth, a culling needs to take place - hence the energy of the Black Winged Goddess she is both the Destroyer and the Giver of New Life.
We have elected to be here at this time on the planet - despite the suffering we witness or endure - I know at a higher level it is absolutely necessary for real change to take place.
Our world is a very different place to the one we have known - and whilst we have believed we have had a safe and reasonable planet in which to live, the reality is much Evil has existed and people have been brainwashed to the point of being zombies. There has been so much suppression imposed upon humanity even to the extreme of vaccinations and fluoride to our water supply. All of these chemicals act as suppressants to our brain! It has been a deliberate agenda of the existing power on earth. Their agenda has always been to rule, control and suppress the populous.
Humanity is awakening and with this will be uproar, dis - ease, a culling if you like. It is time for humanity to step out of fear and into their true power which is within each and every one of us.
New growth, new beginnings but not before the dismantling of the old - it has to be this way.
These times we are living through were written in history.
So I have created "The Black Winged Goddess" she is available in different styles, inside a Dome with beautiful etched glass or stand alone. She will rotate or can be static.
She is available on MP in the Stand Alone version (rotating) or can be seen in world at my store.
****This POST IS NOT to promote my MP. I will not put my MP link here for this reason. If anyone does not have the money and would like a version of her please send me a notecard in world with your full name and I will happily send one to you. This is NOT about promoting my MP it is about assisting humanity at this time***.
I hope you enjoy and embrace 'The "Black Winged Goddess' and rather be in fear of her - understand she brings 'New Life" but first the old has to die for the new to be born.
How appropriate for a New Year of 2020 fast approaching.
Interestingly and unconsciously I created 4 of these Black Winged Goddesses.
The year 2020 equates to the number 4 in Numerology.
The #4 represents a Universal energy. (see below for a deeper understanding of the #4)
The # 2 - Is the most feminine and often underestimated when it comes to power and strength. She is always gentle, tactful, diplomatic, forgiving and understanding. She likes to keep peace and likes to avoid confrontation. # 2 is the survivor and extremely resilient force. Her shape looks as though she is bent back on a knee with head bowed in humility and service. However when enough pressure is applied to the # 2 energy. Some would perceive her as weak and powerless due to this servitude shape. However never underestimate the power behind #2 because she represents the power (double) #1 who is the all powerful warrior who will shake and destroy no matter what. So #2 brings the balance but never underestimate the power of 2 Energy.
The #4 Energy in more detail
The 4 is without a doubt masculine, reflecting strength and stability. His chief characteristics are dependability, productivity, punctuality and obedience. He is trustworthy, patient, conventional and a traditionalist.
Tend to be rule followers. 4 is the area of sciences, upholding the law (such as Government and the military). The #4 represents Disciplined, systematic, Dependable, Strong. Loyal
Four is the basis of all solid objects. Four points are used in constructing the simplest solid and thus four is the number symbolizing the way of construction. In many religions, four is seen as the number for earth, and representing the four elements, Air Earth, Water and Fire.
At its extreme 4's can tend to overreact to violence.
So 2020 seems to have more challenges ahead and I suspect we will be seeing more uprising across the planet (#2 energy) with totalitarianism (#4 energy) being played out like never before. Perhaps more of what the world has witnessed in Hong Kong this year.
It is as if the two energies Masculine & Feminine are battling against one another. But at the same time, I cannot help but feel and acknowledge UNITY - and this is what I will remain focused upon during the year ahead. We must stand united. We are after all 'one humanity'
We are without doubt living in very challenging times.
May peace be with you!
Copyright December 2019 Chant Lyric
Please share with anyone who you believe may take some comfort during these days - not because I want awards, in fact I do not want awards. This is for humanity and was given to me through the Grace of God
This post is NOT about promoting my MP - she is available there for anyone who wants to purchase her. For anyone who truly feels drawn to her and the strength and comfort she brings to me, and do not have the money to purchase her. Please contact me in world with a notecard, give me your full name and I will happily send her free of charge to you.
My original posts can be seen here www.flickr.com/photos/58903384@N04/49251189433/in/datepos...
www.flickr.com/photos/58903384@N04/49251186488/in/photost...
Wikipedia: The MG 42 (shortened from German: Maschinengewehr 42, or "machine gun 42") is a German recoil-operated air-cooled general-purpose machine gun used extensively by the Wehrmacht and the Waffen-SS during the second half of World War II. Entering production in 1942, it was intended to supplement and replace the earlier MG 34, which was more expensive and took much longer to produce, but both weapons were produced until the end of World War II.
Designed to use the standard German fully-powered 7.92×57mm Mauser rifle round and to be cheaper and easier to manufacture, the MG 42 proved to be highly reliable and easy to operate. It is most notable for its very high cyclic rate for a gun using full-power service cartridges: it averaged about 1,200 rounds per minute, compared to around 850 for the MG 34, and 450 to 600 for other common machine guns like the M1919 Browning, FM 24/29, or Bren gun.
" You, who cannot stop the thoughts that race in your mind for two seconds, let alone conjure the willpower to slice between them and know how many are implanted by culture…. instead you naively think your regurgitated cud amounts to original thoughts of your own.
You, who have not stopped to consider that all “chains of events” are actually cyclical, not linear… your toss-away actions lead you nowhere meaningful. It’s as if you believe the water and air do not flow in cycles- do not travel from origin to distance remote locales and back… it’s as if you don’t believe in anything at all (not even yourself truly), but in shadows and vague outlines of human beings, of impressions and simulacrum.
You, who talk more than you listen, and do not stop to consider that if one talks more than they listen the quality of what comes out of their mouths is in direct proportion to the lack of what goes in their ears.
You, who wait in long lines and fight over inanimate and insignificant possessions on sale.
You, who spend more effort on ignoring anything to do with the conflict in Iraq, Afghanistan and beyond, than you do on understanding how the political process in your own small community works.
You, who cannot wait to talk about who some flash-in-the-pan celebrity just fucked with your friend on the phone tonight, but abhor discussion about the epidemic of AIDS in Africa.
You, who would rather text someone about what’s happening later tonight than learn about what’s happening in the world today.
You, who think that you alone cannot make a difference in the world, yet paradoxically think you matter more than everyone else around you.
Though many have come before you and have also been ignorant, they have in time grown to understand and appreciate themselves and the world they live in, sooner or later. You, on the other hand, cannot. Like this, you are doomed to forever live lives sheltered from who you really are, and what life is really about.
You who were born and have lived your lives on top of the mountain: cannot appreciate its view.
Come down from there, now. We’re waiting for you."
Dale Mugford, www.matthewgood.org/
The Great Barrier Reef is the world's largest coral reef system, composed of over 2,900 individual reefs and 900 islands stretching for over 2,300 kilometres over an area of approximately 344,400 square kilometres. The reef is located in the Coral Sea, off the coast of Queensland, Australia, separated from the coast by a channel 160 kilometres wide in places and over 61 metres deep. The Great Barrier Reef can be seen from outer space and is the world's biggest single structure made by living organisms. This reef structure is composed of and built by billions of tiny organisms, known as coral polyps. It supports a wide diversity of life and was selected as a World Heritage Site in 1981. CNN labelled it one of the Seven Natural Wonders of the World in 1997. Australian World Heritage places included it in its list in 2007. The Queensland National Trust named it a state icon of Queensland in 2006.
A large part of the reef is protected by the Great Barrier Reef Marine Park, which helps to limit the impact of human use, such as fishing and tourism. Other environmental pressures on the reef and its ecosystem include runoff of humanmade pollutants, climate change accompanied by mass coral bleaching, dumping of dredging sludge and cyclic population outbreaks of the crown-of-thorns starfish. According to a study published in October 2012 by the Proceedings of the National Academy of Sciences, the reef has lost more than half its coral cover since 1985, a finding reaffirmed by a 2020 study which found over half of the reef's coral cover to have been lost between 1995 and 2017, with the effects of a widespread 2020 bleaching event not yet quantified.
The Great Barrier Reef has long been known to and used by the Aboriginal Australian and Torres Strait Islander peoples, and is an important part of local groups' cultures and spirituality. The reef is a very popular destination for tourists, especially in the Whitsunday Islands and Cairns regions. Tourism is an important economic activity for the region, generating over AUD$3 billion per year. In November 2014, Google launched Google Underwater Street View in 3D of the Great Barrier Reef.
A March 2016 report stated that coral bleaching was more widespread than previously thought, seriously affecting the northern parts of the reef as a result of warming ocean temperatures. In October 2016, Outside published an obituary for the reef; the article was criticised for being premature and hindering efforts to bolster the resilience of the reef. In March 2017, the journal Nature published a paper showing that huge sections of an 800-kilometre stretch in the northern part of the reef had died in the course of 2016 of high water temperatures, an event that the authors put down to the effects of global climate change. The percentage of baby corals being born on the Great Barrier Reef dropped drastically in 2018 and scientists are describing it as the early stage of a "huge natural selection event unfolding". Many of the mature breeding adults died in the bleaching events of 2016–17, leading to low coral birth rates. The types of corals that reproduced also changed, leading to a "long-term reorganisation of the reef ecosystem if the trend continues."
The Great Barrier Reef Marine Park Act 1975 stipulates an Outlook Report on the Reef's health, pressures, and future every five years. The last report was published in 2019. In March 2022, another mass bleaching event has been confirmed, which raised further concerns about the future of this reef system, especially when considering the possible effects of El Niño weather phenomenon.
The Australian Institute of Marine Science conducts annual surveys of the Great Barrier Reef's status, and the 2022 report showed the greatest recovery in 36 years. It is mainly due to the regrowth of two-thirds of the reef by the fast-growing Acropora coral, which is the dominant coral there.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
Located in the John Day Fossil Beds National Monument, and formed by ash from volcanic eruptions in the Cascade Mountains, the Painted Hills are an otherworldly display of kaleidoscopic colors that tell an ancient story of cyclical climatic conditions. Depending on weather and moisture, you can witness a large variety of light and colors here. Clearing clouds provided an ever changing display of dappled light on the landscape, and for a brief moment, a vibrant rainbow before the sun behind me dipped behind the clouds again.
The scrub has gotten higher over the last few years, but the shot is still there for now. The overpass at Highway 550 near Shalona Lake on Hermosa Hill / Shalona Hill near Rockwood provides a great vantage to the barking uphill trains of the Durango and Silverton as we catch train #261 led by K-36 480. I don't know the first time I saw this shot. It could have easily been the famed (infamous) 1984 C.W. McCall Durango and Silverton promotional video... But, also, in third grade (perhaps?) one of my math text books had a shot of a Durango & Silverton winter excursion making its way through the snow here.
Time is cyclical, and here we are once again.
One in three young persons is unemployed !
Unemployment occurs when people who are without work are actively seeking paid work.The unemployment rate is a measure of the prevalence of unemployment and it is calculated as a percentage by dividing the number of unemployed individuals by all individuals currently in the labor force. During periods of recession, an economy usually experiences a relatively high unemployment rate. According to International Labour Organization report, more than 200 million people globally or 6% of the world's workforce were without a job in 2012.
There remains considerable theoretical debate regarding the causes, consequences and solutions for unemployment.Classical economics, New classical economics, and the Austrian School of economics argue that market mechanisms are reliable means of resolving unemployment. These theories argue against interventions imposed on the labor market from the outside, such as unionization, bureaucratic work rules, minimum wage laws, taxes, and other regulations that they claim discourage the hiring of workers.
Keynesian economics emphasizes the cyclical nature of unemployment and recommends government interventions in the economy that it claims will reduce unemployment during recessions. This theory focuses on recurrent shocks that suddenly reduce aggregate demand for goods and services and thus reduce demand for workers. Keynesian models recommend government interventions designed to increase demand for workers; these can include financial stimuli, publicly funded job creation, and expansionist monetary policies. Its namesake, economist John Maynard Keynes, believed that the root cause of unemployment is the desire of investors to receive more money rather than produce more products, which is not possible without public bodies producing new money.
In addition to these comprehensive theories of unemployment, there are a few categorizations of unemployment that are used to more precisely model the effects of unemployment within the economic system. The main types of unemployment include structural unemployment which focuses on structural problems in the economy and inefficiencies inherent in labour markets, including a mismatch between the supply and demand of laborers with necessary skill sets. Structural arguments emphasize causes and solutions related to disruptive technologies and globalization. Discussions of frictional unemployment focus on voluntary decisions to work based on each individuals' valuation of their own work and how that compares to current wage rates plus the time and effort required to find a job. Causes and solutions for frictional unemployment often address job entry threshold and wage rates. Behavioral economists highlight individual biases in decision making, and often involve problems and solutions concerning sticky wages and efficiency wages.
More candids here
www.flickr.com/photos/23502939@N02/albums/72157622769131641
More France here
The only excuse is lack of time
for want of a better line
with gnathic chatterings at dawn
from sleep to health finely worn
of a fashion so very hard to define
we come gift wrapped and guaranteed
only, our choices can decide
if reason is also warranted;
then let the play not be mordanted
this time, with hope it is righteously alongside
we came to see and to see we speak
up to the world in which so much rests
sleeping on the job that weaves dreams
so the day is never as it seems
and there lies the citizens work for the failures it arrests
we are believing too much rot in a world full of half-starved zest
falling like flies under the boot polished by blood
it's patent our punishment for unseen wealth
squandered is the opportunity for a clean bill of health
wasted like the food for thought drowned by the flood
the climate changes in the minds of motivational greed
for cyclic moods of the weathering kind are the norm
for obstinate political fronts are still more destructive
denying rights and killing sights so fundamentally seductive
everyone's faith now has one hell of a miracle to perform
sometimes we are uncannily like our forebears
blind alleys and identical mistakes identify
the déjà vu of modern day pay-per-view
highlights the sound bites in newsreels rendez-vous
such complexity meets head-on with all we can fecundify
so let it be this day, this moment, we hold aloft
a final paean championing a hospitality so sweet-
participation in gathering oneself together
walking the Earth proudly and equally whatever the weather
science prevails but our spirit is one of Nature complete.
by anglia24
09h00: 08/05/2008
©2008anglia24