View allAll Photos Tagged Discovery
“Discovery consists in seeing what everyone else has seen and thinking what no one else has thought.”
Albert Szent-Gyorgyi
A child takes a closer look during the "Wings of Fancy" Live Butterfly exhibit at Brookside Gardens.
I called this the Discovery Sorbetto because I made two amazing discoveries making this simple project. First, the Colette Sorbetto pattern. I have seen so many wonderful versions of this pattern on the web that it seemed high time to try it myself. I love it. I added sleeves and lengthened it by a couple of inches so that it is really more like a tunic. There will definitely be more Sorbettos in my future. The second discovery had to do with the fabric. I love the texture of Dupioni silk, but I can't quite get past the stiffness and shine so I did a little experiment. I bought a yard and a quarter of 14.99 a yard dupioni at Osgood's. (Yes, you heard right...$14.99. Osgood's is worth a road trip!) I finished the raw edges of the fabric and put it in the washing machine on the warm cycle, then threw it into the dryer with a sneaker. It may be that I am the last one to know about this, but Dupioni comes out soft and drapey (and a little smaller), and altogether amazingly textured. The best thing is, I can now machine wash and dry it all of the time!
Fact #7: I have a little wooden box that I fill with my little found discoveries, treasures, and mementos. Blogged at drawingonnature.blogspot.com
Discovery Center (December, 2015)
Title:
People:
Place:Milford Sound
Date:2015:12:22 12:01:31
File:DSC_7379.jpg
With its drag chute unfurled, Space Shuttle Discovery rolls down Runway 15 at the Shuttle Landing Facility at NASA's Kennedy Space Center in Florida on March 9, 2011. This was Discovery's 39th and final mission.
This scene, showing the cabin and forward cargo bay of the Space Shuttle Discovery was photographed by one of the spacewalking astronauts from the space shuttle's robotic arm. Astronaut Jean-Francois Clervoy, at the controls of the Remote Manipulator System (RMS), can be seen through the left side aft flight deck window. A section of the RMS robotic arm is at the extreme left.
Credit: NASA
This is the view from the gorgeous discovery trail at Haldon Hills, Devon.
I will be going back for more, no doubt.
Thank you for 6.6 million views 2017-2021
The above image is a scan from an original Kodachrome™ slide. The default size is 2000 x 1250 pixels, so clicking on the photo will enlarge it for better viewing.
The original image comes from my slide collection, amassed over the past 40+ years. They are a combination of my own photographs and ones acquired over those years.
I created this Photostream in 2017 for the purpose of holding my slide collection as an archive, as otherwise they would just remain in binders and boxes, not being enjoyed by anyone, myself included.
Comments are welcome.
Aircraft MSN: E2138
Type & Series: British Aerospace BAe146-200
Registration: N883DV
Operator: Discovery Air
Location (when available): Honolulu HNL
If the Location is blank, and you can identify it, you are welcome to leave a comment below.
Remarks:
My websites:
This photograph, created by Duncan Rawlinson, is a visual exploration of the space at the edge of discovery, where AI's potential is rendered in a spectral display of light and color. The setting is an industrial expanse, where the rawness of the environment is juxtaposed with the fluidity of digital enhancements. Human figures, cast in shadow, navigate this transformative realm, their presence a grounding force in the midst of AI's expansive potential. The palette is alive with dynamic hues, a spectrum of color that seems to be in constant flux, echoing the ever-changing nature of technology. Reflective surfaces capture and multiply the scene, creating layers of depth that draw the eye deeper into the photograph. Rawlinson's work is a visual threshold, inviting the observer to step into a world where the lines between the real and the artificially rendered are beautifully blurred.
El "Discovery" va ser retirat del servei i desballestat durant el 2015 al ferraller de Aliaga (Turquia).
Discovery image of supernova 2017fus by Stu Parker
Sorry I was waiting for better seeing to as this is pretty poor.This is all I have at the moment.The weather has packed in.Will send more later
Cheers
This image features a view of Space Shuttle Discovery docked to the Pressurized Mating Adapter 2 (PMA-2) on the Destiny laboratory of the international space station. The Crew Equipment Translation Aid (CETA) cart and the Mobile Base System (MBS), mounted on the S0 truss, are visible at left. Part of the P1 truss is also visible in the background. Dwarfed by the station and shuttle, Japan Aerospace Exploration Agency (JAXA) astronaut Soichi Noguchi, STS-114 mission specialist, is visible near the PMA-2 during the mission’s third session of extravehicular activity (EVA). The blackness of space and a blue and white Earth form the backdrop for the image.
Mirella Discovery anchored in Weymouth Bay 2nd September 2020
Launched 1995
Class and type:Vision-class cruise ship
Tonnage:69,130 GT
Displacement:35,396 tonnes (34,837 long tons; 39,017 short tons)
Length:264 metres (866 ft) length overall
Beam:32 metres (105 ft)
Height:50 metres (160 ft) air draft
Draft:25.9 feet (7.9 m)
Decks:11
Installed power:
5 × Wärtsilä Vasa 12V46B V12 engines
11,700 kilowatts (15,700 hp) each
For centuries, the former royal abbey of Saint-Denis illuminated the artistic, political and spiritual history of the Frankish world.
The abbey-church was designated a "basilica" in Merovingian times. In the 12th century the abbot of Saint-Denis, Suger, still qualified it in his works as a "basilica". This qualifier was applied from the 4th century to churches whose floor plans were the same as those of Roman civic buildings with three naves, used for trade and the administration of justice. They were often erected outside towns and over the tomb of a saint. They were the site of a major pilgrimage and often the cause for the development of a neighbourhood or borough, like the town of Saint-Denis, which developed around the abbey and its economic potential.
Basilica is also an honorary title given to all kinds of churches, of all eras, that were the seat of a major pilgrimage. Only a cathedral is of superior rank. In 1966, the basilica was elevated to cathedral status, a name derived from "cathedra", meaning the seat of the bishop, the head of the diocese located there. A copy of the throne of Dagobert, the original of which is in the Cabinet des Médailles of the Bibliothèque Nationale, is currently used by the bishop as an episcopal see.
The first building rises from the tomb of Saint Denis, a missionary bishop who died under the yoke of Roman rule in the second part of the 3rd century. The body of the saint attracted many princely burials around him from the late 4th century. Besides a partly Carolingian crypt, the remains of the building consecrated in the presence of Charlemagne in 775, the basilica preserves the testimony of buildings that were decisive for the evolution of religious architecture: the façade (1135-1140) and the apse (1140 -1144), the work of abbot Suger, which constitute a hymn to light, a manifesto of new early Gothic art; other parts of the present church built in the time of Saint Louis from 1230 to 1280 are a testimony of the heyday of Gothic art, known as "Rayonnant", such as the exceptionally vast transept accommodating the royal tombs.
A place of remembrance from the early Middle Ages, the Dionysian monastery was able to link its fate to that of the monarchy, gradually asserting itself as the privileged tomb of the royal dynasties, taking advantage of the cult of Saint Denis. Forty-two kings, thirty-two queens, sixty-three princes and princesses and ten men of the kingdom rest in peace there. With over seventy recumbent effigies and monumental tombs, the royal necropolis of the basilica is today the most significant group of funerary sculptures from the 12th to the 16th century in Europe.
But the basilica of Saint-Denis was not the "graveyard of the kings" from the beginning of the Frankish kingdom as qualified by a chronicler of the 13th century. Until the 10th century, the abbey was in fierce competition with many other cemeteries, especially with Saint-Germain-des-Prés. At the accession of the Capetians in 987, its role as a royal necropolis gradually became confirmed and most sovereigns were buried there until the 19th century; although, for political, religious or personal reasons, some kings, like Philip I in 1108, Louis VII in 1180, Louis XI in 1483, Charles X in 1836 and Louis-Philippe in 1850, would be buried in other places. Louis XVIII, who died in 1824, was the last king to be buried in the basilica.
Throughout history the Frankish kings were always in search of legitimacy, which partly explains their will to be buried with the relics of Saint Denis, Rusticus and Eleutherius (all three having been martyred together). By way of their powers, the kings thought they had acquired power and protection during their life, particularly for their battles, and for going directly to Paradise.
The rallying cry of the knights on the battlefield in the 12th and 13th centuries, "Montjoie Saint Denis!", inscribed on the scarlet banner, interspersed with the golden flames of the famous oriflamme of Saint-Denis, became the motto of the kingdom of France, which was thus placed under the protection of the titular saint of the kingdom, Saint Denis. This standard is a beautiful image of the personal union between the abbey, the patron saint and the king. This ensign was always raised in time of war by the rulers who came to collect it from the hands of the abbot on the altar of the holy martyrs. It is one of the major objects of the mediaeval epic around which a first national sentiment formed. A 1913 copy, little conform to the original, remains in the basilica.
The Hundred Years' War, the Wars of Religion and political unrest contributed to the decline of the royal abbey of Saint-Denis long before the Revolution precipitated matters. In 1793, revolutionaries attacked the symbols of the monarchy, but the basilica escaped total destruction. In 1806, Napoleon Bonaparte ordered the restoration of the building. Then Louis XVIII restored the role of necropolis to the abbey. The restoration work continued throughout the 19th century and was conducted, in particular, by architects François Debret and Eugène Viollet-le-Duc from 1846.
2 - A royal monument
Burials before the 13th century
The rich and influential Parisian noblewoman, Saint Geneviève, showed special devotion to Saint Denis. She undoubtedly had the tomb of Saint Denis expanded or had a building built around it in 475. The development of a vast necropolis, which extended well beyond the church, in the 6th and 7th centuries, led to expanding the church.
Many high-ranking figures, mostly women, were then buried "ad sanctos" as close to the saint as possible. The discovery in 1959 of the sarcophagus of Queen Arnegunde, daughter-in-law of Clovis, who died around 580, shows the power of attraction of the sanctuary in this early period. The jewellery associated with her burial is kept in the Musée d'archéologie nationale du Domaine de Saint-Germain-en-Laye.
Fifty years later, in 639, King Dagobert was the first Frankish king to be buried in the basilica of Saint-Denis. Some Merovingians and Carolingians were buried there, such as Charles Martel, Pepin the Short and Emperor Charles the Bald.
Dagobert distinguished himself by making generous donations to the abbey and legend has it that he created the Saint-Denis fair that was held each October and was a great source of wealth for the monastery.
Charles Martel died in 741. Even though he was only the Mayor of the Palace he was given a prestigious burial, opposite the great King Dagobert. He thus enabled his family, the Pippinids, future Carolingians, to rise to the ranks of the greatest noblemen. His recumbent effigy, created in the 13th century, shows him crowned as the Capetians considered him as the ancestor of the great Carolingian dynasty.
Pepin the Short, the son of Charles Martel, was anointed by Pope Stephen II at Saint-Denis in July 754, thus sealing the alliance between the Frankish kings and the papacy. He was the first Frankish sovereign to be crowned as the image of God on earth in the image of king David. On this occasion he had the church rebuilt along the lines of the Roman buildings known as basilicas. Featuring a wooden ceiling, dozens of marble columns and decorated with thousands of oil lamps, for the first time it was combined with a crypt that housed the relics of Saint Denis until the 12th century. A few remains of this Roman-style martyrium, decorated with paintwork imitating marble, can still be seen.
Recumbent effigies said to be commissioned by Saint Louis
Louis IX (Saint Louis), who was canonised in 1297, was called a "superman" by the pope. A man of great faith, this king was particularly attached to Saint-Denis. He continuously strengthened the basilica’s role as a royal necropolis. The series of 16 recumbent effigies, said to be commissioned by Saint Louis in around 1265, is the largest funerary sculpture series of the European Middle Ages. Today 14 of the original sculptures remain. They are placed in both arms of the transept, virtually in their old locations evidenced by 18th-century engravings.
The mediaeval effigies, said to be commissioned by Saint Louis, are designed on the model of the statue-columns that decorate church portals. In the 13th century, they were among the first funerary sculptures made for the abbey of Saint-Denis. Previously, only the engraved stone slabs arranged on the floor near the altar marked the location of the royal tombs. The reorganisation of the necropolis, launched by the Capetian rulers, led to the discovery and transfer of the remains of the 16 sovereigns, buried between the 7th and 12th centuries. Their bones were then placed in boxes above which 16 recumbent figures with idealised faces were installed, a majestic expression of the royal function. The mode of representation of these sculptures is relatively uniform. The sovereigns wear a crown and carry a sceptre. These recumbent effigies, which were originally painted in bright colours, are dressed in the fashion of the 13th century. They are not represented dead; they have their eyes open to the eternal light. They assert belief in the Resurrection. They are turned towards the east, towards the sunrise, the image of Christ whose return they await.
But the layout desired by the Capetian rulers was also political. Through this grandiose setting, Louis IX developed the myth of monarchical continuity between the Merovingians, Carolingians and Capetians and aimed to link his family to Charlemagne, the most impressive figure in mediaeval monarchical ideology.
The inscriptions on the new tombs identify the kings and queens and clarify the genealogies. In the Middle Ages, in the centre of the transept, the gilded silver tombs of Louis VIII and Philip Augustus, the grandfather of Saint Louis, victor of the Battle of Bouvines in 1214, had the places of honour. The central tomb of the series is that of Louis VIII, the father of Louis IX. Indeed, according to the Dominican Vincent of Beauvais, an intimate of Saint Louis, the mixed blood of the Carolingians and Capetians flowed in the veins of Louis VIII as his mother, Isabella of Hainaut, was of Carolingian ancestry. It thus symbolises, in the Capetian family, "the return to the throne of the race of Charlemagne". Indeed, in the 11th century, Saint Valery had prophesied that the Capetian kingdom could only be maintained up to the seventh king, which was precisely Philip Augustus, father of Louis VIII.
This series was completed in around 1280 by erecting a magnificent tomb of goldsmithery in honour of Saint Louis, "the most beautiful tomb in the world" according to his chronicler Guillaume de Nangis. It was destroyed, as well as the other goldsmithery tombs, during the Hundred Years' War.
Thus the accomplishment of this sculpted series ensured the title of royal necropolis to Saint Denis, to which its abbots had long aspired, and offered the Capetian dynasty a legitimacy and prestige that it had hitherto been lacking.
Discovery Globe at Florida's Fountain of Youth.
Developed under the leadership of park owner Walter B. Fraser, the Discovery Globe attraction was a scientific breakthrough in 1959. It was touted as one the finest examples of the new emphasis on technologically advanced educational tools in the United States. The 30 foot high Globe exhibit show illustrates the routes of the explorers to and from the New World, shows the extent of the lands of La Florida, the new Universities that were established in the Americas, and the settlements and cities that the explorers founded.
I wanted to give my son an experience for this Christmas rather than just more "stuff." Learning to fly is not something I have ever heard him have an interest in, but it has always been a back ground goal of mine. I wondered if it might open his mind to something else to strive for that maybe he hadn't even considered. Time will tell if that happened. It's not really an option now while we are saddled with helping him pay for college, anyway. But in any case, he got to experience what it feels like to fly an airplane, and that's a pretty cool feeling. He did say "that was way cooler than I expected it to be." Parenting, I have to say it has been a bit of a mystery to me ever since he passed the age of 5 or 6. I'm glad to see him reaching an age when its his job to take the controls in his own hands. I hope he's ready. Seems like he will do ok.