View allAll Photos Tagged Disconnection
This week, I wrapped up my teacher's assistant scholarship program at Haystack Mountain School of Crafts and returned home with bountiful inspiration and time for introspection. A main priority of the program was to disconnect from our electronics and truly live in the moment.
Although I enjoyed this experiment, I am unintentionally continuing this electronic disconnection after yesterday's photoshoot. My camera took a plunge into the ocean after the tide swept away the sandbar underneath my tripod. I was able to recover my photos from the memory card by soaking it in fresh water and alcohol, but for my camera, no such luck. I cannot help but think of my carelessness in taking my most important tool for granted. I am hoping that the hard work that I put back into replacing the camera will reinstill a standard of cautiousness and sensory awareness for the changing environments that I shoot in.
Model: My unbelievable talented girlfriend Alyssa Riggi
Music: "Mermaid". Richard Orofino youtu.be/4leTY-wWmzg
"An emergency or tactical maneuver performed by Federation starships."
In this case it's the complete disconnection of the primary and secondary clouds... LOL
This is just as I took it, no AI or heavy editing. I have never seen a cloud like this. It looks like they were pulled apart and after they split, they separated vertically.
Here's another perspective of the famous lighthouse in Key Biscayne, this time from the Phantom 4 Pro. We're testing the P4 Pro against the new Mavic and this sunset we thought we would do the P4 Pro because we're more used to it. We suffered two disconnections (any of you that saw our live FB broadcast will remember), but I took a lot of "blind" photos, like when I used to attach a GoPro to earlier Phantoms. Anyway, continuing to test both of them and making a video today in Grand Cayman to compare the two.
#keybiscayne #rcmemories #florida #miami
Autorretrato que fiz ontem, utilizei uma técnica diferente pra fazer essa, não sei se da pra perceber qual é só pela foto :p
This frame was made of a set of old data, taken in January, 2023.
I could enjoy imaging of the comet, C/2022 E3 ZTF near Kotogawa Dam Yamanashi 山梨県琴川ダム. Ambient temperature was relatively low at the night for encroached Siberian cold air mass.
The comet came near and looked bigger. It drifted fast toward north northwest in Draco. Dust coma was small and round. Dust tail was spread widely both east southeast and west northwest ward, and bright part was thicker and toward west northwest. Bluish green Ion halo was round and beautiful. Ion tail was toward west northwest, showing abrupt widening near the coma due to disconnection. Faint part of the ion tail looked widely diffused and reaching deep into the right half of the frame. North is up, and east is to the left.
The comet taken with AP130GTX at the night:
www.flickr.com/photos/hiroc/52651990869
The comet taken on January 18, 2023 with AP130GTX:
www.flickr.com/photos/hiroc/52636805484
Sun Distance: 1.132 AU
Earth Distance: 0.364 AU
equipment: Sigma 105mmF1.4 "Art" and Canon EOS 6D-SP4, modified by Seo-san on ZWO AM5 equatorial mount, autoguided at a star nearby with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, GPUSB, and PHD2 with comet tracking on
exposure: 10 times x 240 seconds, 4 x 60 sec, and 3 x 15 seconds at ISO 6,400 and f/3.2
First exposure started at 19:42:38UTC January 25, 2023.
site: 1,466m above sea level at lat. 35 48 26 North and long. 138 39 24 East near Kotogawa dam in Yamanashi. 山梨県牧丘柳平
Ambient temperature was around -9 degrees Celsius or 16 degrees Fahrenheit. Wind was mild. SQML reached 21.13 at the night. Seeing was awful as usual in this season.
Here is a pic of the site and equipment at the night:
My uploads have been erratic lately, and it's been a long time since I've written anything substantive to accompany them. Rather than indicating a dearth of inspiration, the truth is that I've had a surfeit of the stuff. Life has lately been full of such wild and unpredictable changes and turns. People describe situations as 'surreal' so often that it now means nothing more than strange or unusual, but lately I have felt such a disconnection from my life that the word surreal has come to mind: that something is so bizarre or unexpected that I feel it's not actually happening to me, in my own life. I make it sound like a bad thing, but much of this has to do with an incredible (in the formal, as well as informal, sense of the word) happiness that has ambushed me. I've hardly had space - external or internal - to reflect and to make sense of this new reality; to make it feel real.
I write this from a hotel room in Singapore, where I'm due to start filming season three of The Big Shot. I find it hard to feel like a part of the world inside a hotel room; as though they exist outside of everything else. This makes them fine places for escape and reflection, but also for feeling desperately and crushingly alone. I hope to use mine for more of the former than the latter over the next two weeks.
(The influence of Hopper shines through in this photograph, I think.)
When something goes wrong
I'm the first to admit it
I'm the first to admit it
And the last one to know
When something goes right
Well it's likely to lose me,
It's apt to confuse me
It's such an unusual sight
Oh, I can't, I can't get used to something so right
Something so right
Paul Simon - Something So Right
London, 2012.
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The Ariane 6 launch pad at Europe’s Spaceport in French Guiana now hosts for the first time a fully assembled example of ESA’s new heavy-lift rocket, following the addition of an upper composite to the core stage and four boosters already in place. The upper composite – consisting of two half-fairings and a payload mock-up with the structural adapter needed to join it to the core stage – made the 10 km trip from the encapsulation building to launch pad on 12 October.
Assembly, transfer and installation of an upper composite validates the Ariane 6 assembly process. Now, over the next several weeks, teams from ESA, ArianeGroup and French space agency CNES will make the mechanical, electrical and fluid connections which join this test model of the Ariane 64 configuration to the launch pad.
With Ariane 6 fully integrated with the pad, so-called combined tests will validate the rocket, launch pad and shared electrical, fluid and mechanical systems as a complete system. The combined tests include tank filling and drainage operations which guarantee smooth-running of a launch sequence. Flight and control bench software will also be tested.
Then, the launch pad will serve as a test bed for static hot-fire tests of the Vulcain 2.1 core stage engine, including aborted firings and long firings with disconnection. Vulcain 2.1 is derived from Ariane 5’s Vulcain 2.
Separately, static hot-fire tests of the Ariane 6 upper stage and its all-new Vinci engine began in October on a purpose-built test bed at Germany’s DLR centre for engine and stage testing at Lampoldshausen.
The reignitable Vinci engine allows Ariane 6 to deliver multiple payloads to different orbits on a single launch. After payload separation a final engine burn deorbits the upper stage so that it does not become a debris threat in space.
The Ariane 6 launch pad at Europe’s Spaceport in French Guiana now hosts for the first time a fully assembled example of ESA’s new heavy-lift rocket, following the addition of an upper composite to the core stage and four boosters already in place. The upper composite – consisting of two half-fairings and a payload mock-up with the structural adapter needed to join it to the core stage – made the 10 km trip from the encapsulation building to launch pad on 12 October.
Assembly, transfer and installation of an upper composite validates the Ariane 6 assembly process. Now, over the next several weeks, teams from ESA, ArianeGroup and French space agency CNES will make the mechanical, electrical and fluid connections which join this test model of the Ariane 64 configuration to the launch pad.
With Ariane 6 fully integrated with the pad, so-called combined tests will validate the rocket, launch pad and shared electrical, fluid and mechanical systems as a complete system. The combined tests include tank filling and drainage operations which guarantee smooth-running of a launch sequence. Flight and control bench software will also be tested.
Then, the launch pad will serve as a test bed for static hot-fire tests of the Vulcain 2.1 core stage engine, including aborted firings and long firings with disconnection. Vulcain 2.1 is derived from Ariane 5’s Vulcain 2.
Separately, static hot-fire tests of the Ariane 6 upper stage and its all-new Vinci engine began in October on a purpose-built test bed at Germany’s DLR centre for engine and stage testing at Lampoldshausen.
The reignitable Vinci engine allows Ariane 6 to deliver multiple payloads to different orbits on a single launch. After payload separation a final engine burn deorbits the upper stage so that it does not become a debris threat in space.
Credits: ESA-Manuel Pedoussaut
•°°○°The man-eating lion of shripur°○°°•
the emperor of the forest covered all the questions and yet any conclusion this crowned character reached were unresolved by another one.
since the different elements in the forest resonate with one another, they created an atmosphere for your glory. as everyone of us seemed to be tied by our secrets and lies, no one asked for answer to the questions nor anyone wants to give them! all-together, the supreme wish in the self keeps the nature of accumulation. the force to purloin that desired thing, even if in a skewed way never brings coherence and honesty to the answers, as the hard questions keep up with the exceeding score. and when you romped through the questions and collected the pleasure in certain minor moments, you don’t necessarily know what causes your major and minor emotions; and what patterns stay, of presences and voices held in a captive cycle - closed enough, like a narrowing down spiral in which you get closer to the center, each time with the repetitive cycle - to the selfish beginning by which you fleshed a few things out. keeping busy with survival, each assessment brings the same result subject to the pressures and contingencies of space and time - tugged in conflicting directions by your own identity. so many battles lost to greed, showing you ultimate hollowness of power. in retrospect you question yourself, of how you tried to come out of this center, "i sewed in further nodes of connections, like burnt threads only to emerge forty-seven or one hundred pages later."
the dreams of creating new nodes of connection through powers of deduction - i.e; wisdom gained from each of the past cycle can seem like furthering of contrivances and play of symbolic gestures and in effect, reductive; simply because that abandonment of the self did not happen, which echoes the voices of the captive cycle.
that self in front of a mirror, that is held to be the inmost essence of truth, only hears words enacting a certain condescension —“I the mirror, am looking into your mind and see all your inner thoughts, impulses, tendencies, all the conflicting inner desires, delusions, debilitating drives, deeds of shame, suppressed dreams and all the regrets and know them much better than you do (for that reflects ambiguity).” and you cannot break this mirror nor embrace its intimidating reflection, that is being accompanied with blind arrogance of the subtle mind. inaudible condescension is usually present, just underneath the surface, of supposedly the right guide under the guise of friendship. your inner self could truly sense this tone of disconnection and knows that the rhythm which creates harmony in mind & gratefulness in heart is something different; that which your projected identity could not hold it and so you continue to shine the accumulated self in 'mirror of surface'. the flame of millions of suns of your soul cannot be killed, but can stay hidden for long by the enormous clouds. the Heart within feels the music clear♪, soon clouded by invisible walls of the undernourished mind (+ paucity in the mind of different contexts) who riots everything out. it is mind's identity which does not want to belong but occupy, trouncing the heart which always serves. refusal to take on the old ways of seeing, for the mind's identity likes to continue the grip on operational kingdom born of the body ∞⃝.
there is the root to the truth we don't want to see. burning at each end of the body as well as the mind swept, the soul still returns to occupy the body; this body made up of the endless labyrinth of accumulated body of information - threadbare and stained. each transgression to next life, remembered; memories form the triadic waves that bring in tempestuous emotions and brings out tremulous motions of a familiar but a timorous self, in the moment when you hear the rustling noise in the bushes.
"Do not be afraid of your own heart beating
Look at very small things with your eyes
& stay warm" - Bernadette Mayer
this graceful moment was to go out of the frontier of self as well as out of this weariness of mine and courageously come out of all the hiding places so that you enter a central conversation where transformation is possible through a kind glance and graceful intimacy. to be far away from yourself, from your kingdom, so that you are in touch with moments of truth, this divine conversation, the core correspondence, so as to never return back to any indulgent moments, nor be alone again, in the night of indifference. never returning to those answers which created locus of concealment, but sharing heart of those answers which brought to you eternal peace. roaring with laughter for your belief filled to the brim - "some dark chocolate and faith in the poison and you're golden!". theories, speculations, stories, impostures but not seeing that the sun will not just shine only for me!" it was lot about what we enabled when we deliberately looked away from something.
this great meeting, this revelatory moment... when you are gifted to see the abundance within, so beautifully reflected in this kind and compassionate moment. that supreme source of abundance does not destabilize you as you presumed, nor cuts through you; cutting through everything you felt - ignored, impenetrable and disorienting darkness, numbness, isolation, illness, ignorance; nor a self-regard that causes to transgress personal boundaries, but simply forms a connection and takes you Home. this is not that worldly supremacy ushered into prejudice, that only offers you a place in the kingdom whose might is strength in numbers and whose spread is systemic, pervasive, insidious, pernicious and soul-damaging. true supremacy lies in constant offering of selfless love, of everything a soul needs and with great gentleness, offering a forever space in own Heart which is the abode of peace.
listening to that Generous Master Song, you feel the warmth of a loving glow and as your senses calm, your honest prayers glow the words, "Thank You"
I could enjoy imaging of the comet, C/2022 E3 ZTF near Kotogawa Dam Yamanashi 山梨県琴川ダム. Ambient temperature was relatively low at the night for encroached Siberian cold air mass.
The comet came near and looked bigger. It drifted fast toward north northwest in Draco. Dust coma was small and round. Dust tail was spread widely both east southeast and west northwest ward, and bright part was thicker and toward west northwest. Bluish green Ion halo was round and beautiful. Ion tail was toward west northwest, showing abrupt widening near right edge due to disconnection.
The disconnection event was analyzed and reported by researchers of astronomy as below. I could contribute the study a bit, and I am so happy now.
"Observations of a Disconnection Event and Other Large-Scale Disturbances in the Ion Tail of Comet C/2022 E3 (ZTF)" by Wellbrock A and Jones HG 2025:
agupubs.onlinelibrary.wiley.com/doi/epdf/10.1029/2024JA03...
The comet taken on January 18, 2023 with the same equipment.
www.flickr.com/photos/hiroc/52636805484
Sun Distance: 1.132 AU
Earth Distance: 0.364 AU
equipment: AstroPhysics 130GTX "Granturismo," Field Flattener at f/6.7 focal length 873mm, 22.1mm Spacer, EOS Adapter, Kipon EOS-EOS R adapter, and Canon EOS R-SP4II, modified by Seo-san on ZWO AM5 equatorial mount, autoguided at a star nearby with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, GPUSB, and PHD2 with comet tracking on
exposure: 3 times x 480 seconds, 1 x 240 sec, 1 x 120 sec, 1 x 60 sec, 1 x 15 sec, and 1 x 4 seconds at ISO 6,400 and f/6.8
First exposure started at 19:41:47UTC January 25, 2023. Guiding quality was awful due to bad atmospheric turbulence and frequent gust as you see.
site: 1,466m above sea level at lat. 35 48 26 North and long. 138 39 24 East near Kotogawa dam in Yamanashi. 山梨県牧丘柳平
Ambient temperature was around -9 degrees Celsius or 16 degrees Fahrenheit. Wind was mild. SQML reached 21.13 at the night. Seeing was awful as usual in this season.
Here is a pic of the site and equipment at the night:
⭐ 8 years ago I started blogging at www.igotit.es, I found my place, my reason in Second Life. Since then, I have learned a lot, I have had fun like a child. I have been lucky enough to blog for a LONG list of brands & events like Kustom9, TMD, N-Twenty1, The Arcade, SaNarae, The Fantasy Collective, Spirit, Kitja, Sallie, Vive Nine, Blues Hair, Olive Hair, MINA, Nerido, ::C'est la vie!::, OPALE Hair, · evani ·, Moon, Bleich, Gaia Aloha, Pumec, Sintiklia, Ricielli, RAMA, DIRAM, Zenith, Monso, Foxy, LAZYBONES, Navy and Copper, OSMIA, Tableau Vivant, Lelutka, Miss Chelsea, Stealthic, Glam Affair, DDL Accessories, TETRA, DOUX, MINIMAL ♥, Blueberry, Addams, Pixicat, Bolson... (OMG lol) and I just only can say THANK YOU for trust in me, for walking by my side and respecting me during all these years.
🌷 Now, for a few months, many RL projects have come into my RLife, with my own Content Studio, and it is time to close a chapter here.
💕 My blog www.igotit.com is still open but with no deadlines or commitments that I cannot meet (sorry if I failed sometimes). I will post when I really want, feel and have time to do it.
💙 I will closely follow the work of many SL creators whom I admire and will always be faithful to because they are creative and very hardworking.
☮ Perhaps I'm a little dramatic with this text (or speech for the oscars lol), but seriously, blogging these years in SL has become, in many moments of my life, a calm, safe, creative and mental disconnection place
.
Special thanks to Jorge Fernández (aka Ors Quan) for always being here and there. And thanks to the beautiful people who have always written to me and shared this experience with me (long live SL bloggers! 💜).
And if I were 8 years younger, I would repeat it over and over again, all the hours opening boxes, editing shapes, creating cosmetics, going shopping, decorating, creating scenes, taking a billion photographs, the hours of editing and creativity...
👉 Dear creators, you work so hard here but the bloggers of this game deserve SO much gratitude, it's not easy, not everyone finds enough motivation or perseverance, value your bloggers A LOT. ♀
I'll shut up now (and sorry my fdgflkjh#?!fj english), good nigh! 😘✌️
xx so much loveeeeee xx
besooooooos
Marta-
In ‘The Genesis Exhibition: Do Ho Suh: Walk the House’, Korean-born, London-based artist Do Ho Suh invites visitors to explore his large-scale installations, sculptures, videos and drawings in this major survey exhibition.
Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.
With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.
Source: www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibiti...
Nest/s (2024)
Nest/s is connected to an ongoing fabric architecture series Suh calls ‘Hubs’. They form what he describes as an ‘impossible’ architecture. The Hubs serie is based on threshold, such as corridors or entryways, from spaces Suh has occupied throughout his life. In Nest/s, each section is drawn from rooms Suh has inhabited, which together create a continuous passageway. Unlike most building materials, the translucency and delicacy of the textile conveys impressions of the original space rather than acting as a precise replica. The work is made through centuries-old techniques of working with fabric in Korea. The polyester material is today used for traditional Korean summer clothing, emphasizing Suh’s interest in the relationship between architecture and the body. Nest/s breathable and porous quality allows in the surroundings of the museum and the sight of visitors passing through it, blurring the boundaries between inside and outside? Suh considers the fabric architectures to be ‘activated’ once occupied.
Source: Info in the exhibition, right next to the work
This painting of Virgin Mary by Joseph Stella caught my attention because of how much is going on in just one piece.It contains very natural everyday objects such as fruit and flowers,but also uses something religious and profound like the Virgin Mary at the center of attention.This painting easily draws the eye because of how well the different colors work together.Although this is part of the Infinite Blue collection,there are many subtle,yet bright colors along the edge of the painting ensuring that the viewer focuses not only on the Virgin Mary,but all the details that comes with it
Looking closely and analyzing more intently,the viewer realizes the connection that the artist tries to make between the fruit and Virgin Mary.Just by naming the piece The Virgin,Stella inflicts a sort innocence and purity not only on Virgin Mary,but also on the piece itself.This is further displayed by Virgin Mary's gentle face and youthful appearance.The artist incorporates this idea of fertility throughout the painting with the use fruits and flowers.Although there is a connection of purity and naturalness between Virgin Mary and the objects that surround her,a disconnection also arises when the viewer questions why Virgin Mary has her palms resting on her chest in this painting.This arouses the idea of being concealed and arouses the question of what she is hiding beneath the perceived innocence.The artist attempts to hint at this with the fact that the Virgin Mary is covering her breast specifically and the fullness in them,which contrasts the innocence and maturity going on in this piece.-Allison Wu os.macaulay.cuny.edu
Taken from New Mexico Skies Observatory using an SBIG STL-11000 camera and Takahashi FSQ 106 telescope on a Software Bisque PME 1 Mount with AOL guiding.
Another image from the small village of Paull on the Humber Estuary just outside Kingston-upon-Hull 🌅
The Ariane 6 launch pad at Europe’s Spaceport in French Guiana now hosts for the first time a fully assembled example of ESA’s new heavy-lift rocket, following the addition of an upper composite to the core stage and four boosters already in place. The upper composite – consisting of two half-fairings and a payload mock-up with the structural adapter needed to join it to the core stage – made the 10 km trip from the encapsulation building to launch pad on 12 October.
Assembly, transfer and installation of an upper composite validates the Ariane 6 assembly process. Now, over the next several weeks, teams from ESA, ArianeGroup and French space agency CNES will make the mechanical, electrical and fluid connections which join this test model of the Ariane 64 configuration to the launch pad.
With Ariane 6 fully integrated with the pad, so-called combined tests will validate the rocket, launch pad and shared electrical, fluid and mechanical systems as a complete system. The combined tests include tank filling and drainage operations which guarantee smooth-running of a launch sequence. Flight and control bench software will also be tested.
Then, the launch pad will serve as a test bed for static hot-fire tests of the Vulcain 2.1 core stage engine, including aborted firings and long firings with disconnection. Vulcain 2.1 is derived from Ariane 5’s Vulcain 2.
Separately, static hot-fire tests of the Ariane 6 upper stage and its all-new Vinci engine began in October on a purpose-built test bed at Germany’s DLR centre for engine and stage testing at Lampoldshausen.
The reignitable Vinci engine allows Ariane 6 to deliver multiple payloads to different orbits on a single launch. After payload separation a final engine burn deorbits the upper stage so that it does not become a debris threat in space.
The Ariane 6 launch pad at Europe’s Spaceport in French Guiana now hosts for the first time a fully assembled example of ESA’s new heavy-lift rocket, following the addition of an upper composite to the core stage and four boosters already in place. The upper composite – consisting of two half-fairings and a payload mock-up with the structural adapter needed to join it to the core stage – made the 10 km trip from the encapsulation building to launch pad on 12 October.
Assembly, transfer and installation of an upper composite validates the Ariane 6 assembly process. Now, over the next several weeks, teams from ESA, ArianeGroup and French space agency CNES will make the mechanical, electrical and fluid connections which join this test model of the Ariane 64 configuration to the launch pad.
With Ariane 6 fully integrated with the pad, so-called combined tests will validate the rocket, launch pad and shared electrical, fluid and mechanical systems as a complete system. The combined tests include tank filling and drainage operations which guarantee smooth-running of a launch sequence. Flight and control bench software will also be tested.
Then, the launch pad will serve as a test bed for static hot-fire tests of the Vulcain 2.1 core stage engine, including aborted firings and long firings with disconnection. Vulcain 2.1 is derived from Ariane 5’s Vulcain 2.
Separately, static hot-fire tests of the Ariane 6 upper stage and its all-new Vinci engine began in October on a purpose-built test bed at Germany’s DLR centre for engine and stage testing at Lampoldshausen.
The reignitable Vinci engine allows Ariane 6 to deliver multiple payloads to different orbits on a single launch. After payload separation a final engine burn deorbits the upper stage so that it does not become a debris threat in space.
Credits: ESA-Manuel Pedoussaut
Dangerous UK 13A Plug wiring, example for Macro Mondays theme "#Danger"
The 3A fuse has blown, and has been wrapped in foil to get the appliance running again. A very dangerous practice.
If a fault occurs a high current can flow causing over heating of the the appliance/cable causing fire.
Also the plug has been very badly wired.
The green and yellow earthing wire (Circuit Protective Conductor) is very short and likely to disconnect first if the flex is over strained/tugged leaving the appliance without an earth connection.
The plug should be wired with the brown (phase/line) wire much shorter and neat fitting, the blue neutral wire and the yellow and green earth wire should have plenty of extra length.
Should the pull on the flex be heavy enough, the brown line wire will fail before either the neutral or Circuit Protective Conductor (CPC) thus ensuring the disconnection of power to the appliance.
The reason for the fuse blowing should be investigated but may be just due to age and gradual deterioration.
The fuse should only be replaced with the correct type and current rating
Whitish bright dust coma was small and round. Yellowish dust tail was long toward north northeast with bowing toward west. It looked brighter near the outer edge near the dust coma. Greenish ion halo was elongated toward north around proximal part of dust tail widely toward west. I felt that bigger dust particles near the dust coma were scattering remarkable amount of diatomic carbon plasma. Bluish ion tail was straight and long toward north northeast showing striking knot or disconnection. North is up, and east is to the left.
Sun distance: 0.648 AU ( 14% distant from the perihelion )
Earth distance: 0.606 AU ( 8.8% distant from the minimum )
This frame was cropped 2,183 x 1,422 pixels of the original 6,720 x 4,480 pixels, and this is comparable to a frame taken with a scope of 1,200mm in focal length.
Equipment: Takahashi FSQ-130ED, F3 Reducer 0.6x, IDAS Clear Filter, and EOS R-SP4II, modified by Seo San on ZWO AM5n Equatorial Mount, autoguided with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 174MM-mini, and PHD2 Guiding with comet tracking on.
Exposure: 6 times x 4 seconds at ISO 1,600 and f/3.0, focal length 390mm
Exposure started at 08:57:02 October 23, 2025 UTC, 28 minutes before the end of twilight.
Site: 1,140m above sea level at lat. 35 24 33 North and long. 138 38 24 East in Asagiri near Mt.Fuji. Ambient temperature was around 7 degrees Celsius or 45 degrees Fahrenheit. Wind was mild. Atmospheric turbulence was not so good, and guide error RMS was around 1.3. Sky was not so dark as you see, SQML around 20.42.
Here is a view of the site at the night:
My processing made the frame ugly again.
The comet was drifting toward east southeast in Microscoium. White dust coma looked not round but like smashed ellipsoid. Dust envelope was big, and it showed double contour on the north side. Dust tail was toward east. It looked stronger and longer also on the north side. Multiple ion tails were also toward east. One shows disconnection. Bluish green ion halo was round and shows multiple flows toward east like water cascades or spray. They were stronger on the north side. North is up, and east is to the left.
There must be some reason and mechanism for those phenomenon that all were stronger on the north side including ion halo, dust envelope, and dust tail. It may be due to the rotation of the comet. Heated surface may face first toward north and later toward south after cooled remarkably. Cooled surface emerges sunny side from the south, and sun elevates the surface temperature. Heated surface comes toward north and exits sunny side from the north. Direction of the rotation axis and rotation direction may make such results. This is mere a speculation by an amateur with no evidence.
Sun distance: 0.639AU
( Perihelion 0.615au at 07:02 January 3, 2022. )
Earth distance: 0.619AU
( Closest encounter 0.233au to Earth at 13:53 December 12, 2021. )
equipment: AstroPhysics 130GTX "Granturismo," Field Flattener at f/6.7 focal length 873mm, 22.1mm Spacer, EOS Adapter, Kipon EOS-EOS R adapter, and Canon EOS R-SP4II, modified by Seo-san on Vixen AXD Equatorial Mount, auto guided at a star nearby with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, GPUSB, and PHD2 Guiding with comet tracking on
exposure: 6 times x 1 second, 6 x 4 sec, 12 x 15 sec, 5 x 60sec, and 4 x 120 seconds at ISO 1,600 and f/6.7 focal length 873mm
The first exposure started at 08:35:19UTC December 26, 2021.
site: 1,150m above sea level at lat. 35 24 30 North and long. 138 38 23 East in Asagiri near Mt. Fuji in Shizuoka 静岡県朝霧高原. SQM-L was 20.36 after the end of twilight, and Ambient temperature was around -8 degrees Celsius or 18 degrees Fahrenheit. Wind was mild, but seeing was bad. Guiding RMS was around 4 seconds in total.
Akihabara is a district in the Chiyoda ward of Tokyo, Japan. The name Akihabara is a shortening of Akibagahara (autumn leaf field), which ultimately comes from Akiba, named after a fire-controlling deity for a firefighting shrine built after the area was destroyed by a fire in 1869.
Akihabara gained the nickname Akihabara Electric Town (Akihabara Denki Gai) shortly after World War II for being a major shopping center for household electronic goods and the post-war black market.
Nowadays, Akihabara is considered by many to be an otaku cultural center and a shopping district for video games, anime, manga, and computer goods. Icons from popular anime and manga are displayed prominently on the shops in the area, and numerous maid cafés are found throughout the district.
The area that is now Akihabara was once near a city gate of Edo and served as a passage between the city and northwestern Japan. This made the region a home to many craftsmen and tradesmen, as well as some low class samurai. One of Tokyo’s frequent fires destroyed the area in 1869, and the people decided to replace the buildings of the area with a shrine called Chinkasha, meaning fire extinguisher shrine, in an attempt to prevent the spread of future fires. The locals nicknamed the shrine Akiba after a deity that could control fire, and the area around it became known as Akibagahara and later Akihabara.
In 1890, the Akihabara Station became a major freight transit point, which allowed a vegetable and fruit market to spring up in the district. Then, in the 1920s, the station saw a large volume of passengers after opening for public transport, and after World War II, the black market thrived in the absence of a strong government. This disconnection of Akihabara from government authority has allowed the district to grow as a market city and given rise to an excellent atmosphere for entrepreneurship. In the 1930s, this climate turned Akihabara into a future-oriented market region specializing in household electronics, such as washing machines, refrigerators, televisions, and stereos, earning Akihabara the nickname "Electric Town".
As household electronics began to lose their futuristic appeal in about the 1980s, the shops of Akihabara shifted their focus to home computers at a time when they were only used by specialists and hobbyists. This new specialization brought in a new type of consumer, computer nerds or otaku.
The market in Akihabara naturally latched onto their new customer base that was focused on anime, manga, and video games. The connection between Akihabara and otaku has survived and grown to the point that the region is now known worldwide as a center for otaku culture, and most otaku even consider Akihabara to be a sacred place.
In ‘The Genesis Exhibition: Do Ho Suh: Walk the House’, Korean-born, London-based artist Do Ho Suh invites visitors to explore his large-scale installations, sculptures, videos and drawings in this major survey exhibition.
Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.
With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.
Source: www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibiti...
Staircase (2016)
Suh made ‘Staircase’ using a process he developed with gelatine tissue paper, typically used as a support for embroidery and designed to dissolve in water. He sews threads into the tissue paper to create 1:1 scale models of architectural elements and domestic fixtures, such as doors, light switches, sinks, and in this case, a staircase. Suh then places the tissue and threads onto wet sheets of paper, into which the tissue collapses, part-dissolved. Through this fastmoving, collaborative process, three-dimensional space is flattened onto a two-dimensional surface. It evokes the act of folding and packing away, emerging from Suh’s exploration of how we can carry certain spaces with us.
Source: Info in the exhibition, right next to the work
Two couples sitting on Nelson's Column in London, each showing a different side of togetherness - or are they reflecting connection and disconnection?
In ‘The Genesis Exhibition: Do Ho Suh: Walk the House’, Korean-born, London-based artist Do Ho Suh invites visitors to explore his large-scale installations, sculptures, videos and drawings in this major survey exhibition.
Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.
With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.
Source: www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibiti...
Rubbing/Loving: Company Housing of Gwangju Theater
This work is a rubbing of a space which lay empty after the Gwangju Uprising, a mass protest against the South Korean military government, in May 1980. After suppressing the protest, the government censored what had occurred. For this work, Suh and a team of assistants covered the building’s interior with paper and rubbed the surface, creating a trace of the wall’s textures. They worked wearing blindfolds. Through this process, they attempted to reflect on the invisibility of the Gwangju Uprising in South Korea’s official collective memory. Peculiarly, one corner of the space was missed by every member of the team. Originally created as a three-dimensional room, for this display, Suh unfolds the work into a two dimensional, floorplan-like structure.
In ‘The Genesis Exhibition: Do Ho Suh: Walk the House’, Korean-born, London-based artist Do Ho Suh invites visitors to explore his large-scale installations, sculptures, videos and drawings in this major survey exhibition.
Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.
With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.
Source: www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibiti...
Part of the work
Nest/s (2024)
Nest/s is connected to an ongoing fabric architecture series Suh calls ‘Hubs’. They form what he describes as an ‘impossible’ architecture. The Hubs serie is based on threshold, such as corridors or entryways, from spaces Suh has occupied throughout his life. In Nest/s, each section is drawn from rooms Suh has inhabited, which together create a continuous passageway. Unlike most building materials, the translucency and delicacy of the textile conveys impressions of the original space rather than acting as a precise replica. The work is made through centuries-old techniques of working with fabric in Korea. The polyester material is today used for traditional Korean summer clothing, emphasizing Suh’s interest in the relationship between architecture and the body. Nest/s breathable and porous quality allows in the surroundings of the museum and the sight of visitors passing through it, blurring the boundaries between inside and outside? Suh considers the fabric architectures to be ‘activated’ once occupied.
Source: Info in the exhibition, right next to the work
As I approached the end of my Plumbing/Gas Fitting Apprenticeship in August 1974 I started to get my own jobs to do.
At the end of April & beginning of May 1974 I was responsible for the disconnection of the gas & water supplies to the old goods shed at Farningham Road station in preparation for the sale and redevelopment of the site.
Here we see Class 71 No 71003 heading a mixed freight from London towards Dover.
This frame was made of a set of old data, taken in January, 2023.
I could enjoy imaging of the comet, C/2022 E3 ZTF near Kotogawa Dam Yamanashi 山梨県琴川ダム. Ambient temperature was relatively low at the night for encroached Siberian cold air mass.
The comet came near and looked bigger. It drifted fast toward north northwest in Draco. Dust coma was small and round. Dust tail was spread widely both east southeast and west northwest ward, and bright part was thicker and toward west northwest. Bluish green Ion halo was round and beautiful. Ion tail was toward west northwest, showing abrupt widening near the coma due to disconnection. Faint part of the ion tail looked widely diffused and reaching deep into the right half of the frame. North is up, and east is to the left.
The comet taken with AP130GTX at the night:
www.flickr.com/photos/hiroc/52651990869
The comet taken on January 18, 2023 with AP130GTX:
www.flickr.com/photos/hiroc/52636805484
Sun Distance: 1.132 AU
Earth Distance: 0.364 AU
equipment: Sigma 105mmF1.4 "Art" and Canon EOS 6D-SP4, modified by Seo-san on ZWO AM5 equatorial mount, autoguided at a star nearby with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, GPUSB, and PHD2 with comet tracking on
exposure: 10 times x 240 seconds, 4 x 60 sec, and 3 x 15 seconds at ISO 6,400 and f/3.2
First exposure started at 19:42:38UTC January 25, 2023.
site: 1,466m above sea level at lat. 35 48 26 North and long. 138 39 24 East near Kotogawa dam in Yamanashi. 山梨県牧丘柳平
Ambient temperature was around -9 degrees Celsius or 16 degrees Fahrenheit. Wind was mild. SQML reached 21.13 at the night. Seeing was awful as usual in this season.
Here is a pic of the site and equipment at the night:
Comet C2016 R2 (PanSTARRS) from last night. Interesting are the widely spread out, very delicate lateral tails, which always seem to start from "knots". These 4 or 5 "nodes" appear like disconnection events.
Technology:
(1)26 x 120 sec, Hyperstar 14", Starlight Xpress H36, blue filter
(2)48 x 30 sec, RASA 11", Sony A7s, ISO 3200,
Tenerife 1180 m a. s. l. 2018-02-03 20:15h - 21:10h UT
Gardeners in the Nishat Bagh in Srinagar.
Nishat Bagh is a terraced Mughal garden built on the eastern side of the Dal Lake, close to Srinagar in the union territory of Jammu and Kashmir, India. ‘Nishat Bagh’ is Urdu, and means the "Garden of Joy," "Garden of Gladness" and "Garden of Delight."
Located on the bank of the Dal Lake, with the Zabarwan Mountains as its backdrop, Nishat Bagh is a garden with views of the lake beneath the Pir Panjal mountain range. The Bagh was designed and built in 1633 by Asif Khan, elder brother of Nur Jehan.
When Shah Jahan saw the garden, after its completion in 1633, he expressed great appreciation of its grandeur and beauty. He is believed to have expressed his delight three times to Asif Khan, his father-in-law, in the hope that he would make a gift of it to him. As no such offer was forthcoming from Asif Khan, however, Shah Jahan was piqued and ordered that the water supply to the garden should be cut off. Then, for some time, the garden was deserted. Asif Khan was desolate and heartbroken. When he was resting under the shade of a tree, in one of the terraces, his servant was bold enough to turn on the water supply source from the Shalimar Bagh. When Asif Khan heard the sound of water and the fountains in action he was startled and immediately ordered the disconnection of the water supply as he feared the worst reaction from the Emperor for this wanton act of disobedience. Fortunately Shah Jahan, who heard about this incident at the garden, was not annoyed by the disobedience of his orders. Instead, he approved of the servant’s loyal service to his master and then ordered the full restoration rights for the supply of water to the garden to Asif Khan, his Prime Minister and father-in-law.
The Mughal Princess Zuhra Begum, the daughter of the Mughal Emperor Alamgir II, and granddaughter of the Emperor Jahandar Shah, was buried in the garden.
The Tasty Three
Don't forget about the video here!!
This week's location is actually three! A few months ago there was a group of restaurants being demolished which included a Milestones, Montana's and a Kelseys. This was a pretty exciting explore for me as I really enjoy exploring retail locations, they have a post apocalyptic feel to them because they are places that you often visit in a different context, usually when they are full of people. Houses are great but I find there is a sort of disconnection to them since you have no idea what they were like when still in use. With that said, these restaurants were by no means time capsules, they were very modern and were still in operation just a couple of months prior to my visit but now they are gone.
All three of these restaurants were once owned by a company called Recipe Unlimited Corporation, however the company recently sold its Milestones brand. Recipe Unlimited started out in 1883 when it was called Canada Railway News Company, they started out selling newspapers, magazines and confectionaries at railway stations. In the 1930s they started offering catering services to airlines and created a separate business called Aero Caterers Ltd. and by 1951 they were serving 1500 meals per day. In 1961, the company merged its two operations and formed the more widely recognised brand name Cara Operations Limited. In 1977 they entered the retail restaurant business starting out with brands such as Swiss Chalet and Harvey's. Over the years, there were numerous acquisitions as well as a few restaurants they either sold or closed down. In 2018 Cara Operations merged with The Keg and became Recipe Unlimited and they currently own a number of restaurant chains throughout Canada.
The Milestones restaurant was the only one of the three restaurants that hadn't been cleaned out before closing (which makes sense since it was the only one not owned by Recipe Unlimited) and unfortunately that was the first of the buildings to fall. But luckily it was still mostly standing during my visit!
What do you guys think, do you find abandoned restaurants interesting? Let me know in the comments below!
In ‘The Genesis Exhibition: Do Ho Suh: Walk the House’, Korean-born, London-based artist Do Ho Suh invites visitors to explore his large-scale installations, sculptures, videos and drawings in this major survey exhibition.
Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.
With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.
Source: www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibiti...
Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul (2024)
The outline of this work is based on a 1:1 form of the interior of Suh’s present home in London, following his migration here in the 2010s. Inside ‘Perfect Home’ reveals fixtures and appliances from multiple places Suh and his family have inhabited over the years. These light switches, doorknobs and other small elements of our dwelling spaces, touched constantly over time, contribute to our understanding of home. Almost subconsciously, we remember how to reach for these well-used items. Suh color-codes the objects based on their location or origin, and places them at their original height, resulting in a dizzling accumulation of places and time zones within the work.
Source: Info in the exhibition, right next to the work
Looking back from Start Point towards the Bay of Weevi, the sunlit, eroded pebbles contrasted beautifully with the intricate cloud forms and varied hues of seaweed.
The isolation at a far-Northern point of the UK is both compelling and liberating! Unspoilt and inspiring the intrinsic surreality of Sanday always evokes an invariable connection between human beings and nature.
How did we manage to conceive such a disconnection? It seems we refuse to acknowledge a profound perceptual distortion in our condition. It was so easy for Magritte to comprehend and he exhibited this so cogently and eloquently in his painting "La Condition Humaine".
Orkney Isle's, Scotland.
:-)
Simon
These connections and disconnections have no purpose
They're just lines
They serve to feel and numb
And to live and die
And nothing more
"Blue pill, end of story: tomorrow you'll wake up in your room, and you'll believe what you want. Red pill, stay in wonderland, and you'll see how deep the rabbit hole is. I'm only offering you the truth, remember that. Nothing more."
Morpheus- Matrix
Flickr will soon disconnect the connection. I don't know if from you will be today and at the same time. However it's not said that everything will go smoothly and we could have problems with accounts and above all notifications.
Anyway, I remember you and I'll find you, friends : ))
See you soon !
Starry Night [Ivana Jelic & Pavel Petrovic - Serbia]
at Light Art Knokke-Heist
Now that we can rarely see a clear starry sky in our urbanized areas anymore, the artists remind us with their impressive light installation -quite a contradiction- of the natural beauty that we miss. Their contemporary interpretation of Van Gogh's "The Starry Night" reminds us of our disconnection with nature.
Source: app Light Art Knokke-Heist
Nu we in onze verstedelijkte gebieden nog zelden een heldere sterrenhemel kunnen aanschouwen herinneren de kunstenaars ons met hun imponerende lichtinstallatie - nogal tegenstrijdig-aan de natuurlijke schoonheid die we missen. Hun hedendagse interpretatie van Van Gogh's "De Sterrennacht" doet ons stilstaan bij onze disconnectie met de natuur.
Bron: app Light Art Knokke-Heist
From my 2014 series, 'Sanctuary', created for my final year of studies.
"I think that my love for photography was first kindled during long stints in hospital, photographing flowers that my mother had brought me. Throughout my adolescence I struggled with my mental and physical health, and nature was a sanctuary and escape for me. I lament the disconnection between our everyday lives and the natural world. The vulnerability, hope and suffering that I experienced, combined with the beauty and majesty of nature, inspired this body of work."
Bluish ion tail was showing several disconnection, and it was long, about 15 degrees toward northwest reaching upper edge of the frame at the date. Yellowish white dust tail was far shorter compared to the ion tail. North is up, and east is to the left.
Equipment: Sigma 105mmF1.4 Art and Canon EOS R-SP8, modified by Seo-san on ZWO AM5n Equatorial Mount, autoguided at a star nearby with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 174MM-mini, and PHD2 Guiding with comet tracking on
Exposure: 8 times x 240 seconds at ISO 1,600 and f3.2
First exposure started at 18:53:54 October 4, 2025 UTC.
site: 1,970m above sea level at lat. 35 21 57 North and long. 138 46 42 East near Subashiri Yamanashi on the eastern slope of Mt.Fuji 須走五合目. Ambient temperature was around 10 degrees Celsius or 50 degrees Fahrenheit. Wind was mild. Atmospheric turbulence was awful after storm, and guide error RMS was around 2.0. Sky was not so dark, and SQML indicated around 21.01.
The man absorbed in his phone epitomises the prevalent disconnection in contemporary society. His intense focus on technology indicates a disconnection from the physical world.
His posture, whether hunched or strained, mirrors the challenge of seeking purpose and connection in an era dominated by technology. The apathy of the attendant towards the art surrounding them reflects the belief that life is devoid of inherent significance or purpose. Their lack of interest may arise from a recognition of the pointlessness of their role,
as they sit among the unchanging beauty of the photographs but feel detached from it.
The deliberate fusion of both figures enhances the feeling of uncertainty and
emotional disengagement. The deliberate concealment of facial features through defocus
encourages viewers to impose their own emotions and interpretations onto the artwork.
Generalising, this may prompt viewers to think about their own involvement with the world and the possibility of change and development in the face of uncertainties about existence.