View allAll Photos Tagged PHOSPHORESCENT
Shiranui (不知火, alternatively Shiranuhi, Phosphorescent Foam?) was the second vessel to be commissioned in the 19-vessel Kagerō-class destroyers built for the Imperial Japanese Navy in the late-1930s under the Circle Three Supplementary Naval Expansion Program (Maru San Keikaku).
The Kagerō-class destroyers were outwardly almost identical to the preceding light cruiser-sized Asashio-class, with improvements made by Japanese naval architects to improve stability and to take advantage of Japan’s lead in torpedo technology. They were designed to accompany the Japanese main striking force and in both day and night attacks against the United States Navy as it advanced across the Pacific Ocean, according to Japanese naval strategic projections. Despite being one of the most powerful classes of destroyers in the world at the time of their completion, only one survived the Pacific War
Shiranui, built at the Uraga Dock Company, was laid down on August 30, 1937, launched on June 28, 1938 and commissioned on December 20, 1939.
Operational history
At the time of the attack on Pearl Harbor, Shiranui, was assigned to Destroyer Division 18 (Desdiv 18), and a member of Destroyer Squadron 2 (Desron 2) of the IJN 2nd Fleet, and had deployed from Etorofu in the Kurile Islands, as part of the escort for Admiral Nagumo’s Carrier Strike Force. She returned to Kure on 24 December.
In January 1942, Shiranui escorted aircraft carriers Shōkaku and Zuikaku to Truk, and onwards to Rabaul to cover landings of Japanese forces at Rabaul, Kavieng and Salamaua. In February, she escorted the Japanese carriers in the Bombing of Darwin, and was then based at Staring-baai in Sulawesi, Netherlands East Indies for patrols south of Java.
Shiranui departed Staring-baai on 27 March to escort the carrier force in the Indian Ocean raid on 27 March After the Japanese air strikes on Colombo and Trincomalee in Ceylon, she returned to Kure Naval Arsenal for repairs on 23 April. She deployed from Saipan on 3 June as part of the escort for the troop convoy in the Battle of Midway. Afterwards, she escorted the cruisers Kumano and Suzuya from Truk back to Kure.
On 28 June, she was assigned to escort Chiyoda to Kiska in the Aleutian Islands on a supply mission. On 5 July, while outside Kiska Harbor, she was hit amidships by a torpedo fired by USS Growler (SS-215), which severed her bow, killing three crewmen. Her crew managed to keep her afloat and she took two months to limp back to Maizuru under tow, where she remained under repairs until 15 November 1943. During these repairs, her X-turret was replaced by two additional triple Type 96 25mm AA guns.
On 15 November 1943, Shiranui was assigned to the IJN 9th Fleet, and escorted convoys to Palau, Wewak and Hollandia during January and February 1944. On 1 March, she was reassigned to the IJN 5th Fleet and was assigned to northern waters, making patrols from her base at Ominato Guard District in April, and returning with Japanese cruiser Nachi and Ashigara to Kure at the start of August. During the Battle of Leyte Gulf on 24-25 October 1944, Shiranui was assigned to Vice Admiral Shōji Nishimura’s diversionary force at the Battle of Surigao Strait. After the battle, she departed Coron to search for the missing cruiser Kinu and destroyer Uranami, and took on survivors from the destroyer Hayashimo. On 27 October she was sunk will all hands by aircraft of United States Navy Task Force 77, 80 miles (150 km) north of Iloilo, Panay.
Shiranui was removed from the navy list on December 10, 1944.
(from wikipedia)
Natural bio-fluorescence under blue (near-UV) lights. Lights used were 2 x Light & Motion GoBe+ with Nightsea heads. Captured with a Canon G7x MkII using a yellow Y12 barrier filter.
Feel The Lightning - Dan Deacon
The Quotidian Beasts [Live] - Phosphorescent
Somebody Was Watching - Pops Staples
Gunshowers Ft Elzhi - Ghostface Killah & Badbadnotgood
Heavy Love - Duke Garwood
Shake Shugaree - Rhiannon Giddens
You're The Best Lover That I Ever Had - Steve Earle
TouriiDJe Bibi - Samba Touré
Died For Love - The Unthanks
Frontier - Sir Richard Bishop
I Blew It Off - Punch Brothers
My Man Go - Two Gallants
Be Right Back - Dutch Uncles
Songhoy Blues - Al Hassidi Terei
it's here / phosphorescent ink / ze devil
preparing the ultra limited glowing prints
message me if you want one
Natural bio-fluorescence under blue (near-UV) lights. Lights used were 2 x Light & Motion GoBe+ with Nightsea heads. Captured with a Canon G7x MkII using a yellow Y12 barrier filter.
70. Phosphorescent Egg
by Peter Liversidge
Peter Liversidge has worked with an increasingly diverse body of institutions and places, including: ‘Proposals for Liverpool’, Tate Gallery, 2008; ‘Proposals for Barcelona’, Centre d’art Santa Monica, 2007; ‘Proposals for Brussels’, with the British Council for the Europalia Festival, 2007; ‘Proposals for Miami’, Art Basel Miami, 2009; and ‘Jupiter Proposals’, Edinburgh’s sculpture park Jupiter Artland, 2009. Peter had a major solo show, ‘THE THRILL OF IT ALL’, at Ingleby Gallery, Edinburgh, 2010.
Peter will be presenting his work in 2013 at Ingleby Gallery, Edinburgh, Van Abbemuseum, Eindhoven and at ‘Proposals for Printed Matter’, Printed Matter, New York.
Lindt is proud to join
THE BIG EGG HUNT 2013
in support for Action For Children
Our fun family event starts in London, Covent Garden on Shrove Tuesday and promises to delight all; from the exciting egg-hunts and giant chocolate bunnies to the uniquely designed eggs by leading artists and celebrities, for all to awe at – and hopefully buy!
Most importantly it is a unique opportunity for us all to raise significant money to support vulnerable and neglected children in the UK.
Established in 1869, Action for Children is committed to helping the most vulnerable and neglected children in the UK. Working directly with more than 250,000 children, young people and their carers each year, we run over 600 services which tackle abuse, neglect, help young carers and provide fostering and adoption services.
Lindt believes in the magic of families, which is why the Lindt Gold Bunny is proud to join Action for Children in The Big Egg Hunt and support the great work they do to improve the lives of children & families in the UK.
FOV: 5" wide.
Plaster "rocks" containing various fluorescent dyes, paints and a sample of pseudo schrockingerite (blue-green under UV).
Shown in phosphorescent state after exposure to UVabc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
Blue = 450nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Plasterlites II
19Nov2015
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
This story actually happened two nights ago, but it's taken us awhile to write it out; also, we don't have a proper photo for it, so I'm using this map of the bay instead. Mosquito Bay is on the south side of the island of Vieques. It's a really long story, too, but I hope it's interesting.
In any case, 7:45 Monday night found Katy and I sitting on kayaks in the middle of Mosquito Bay under a cloud-dappled night sky, splashing our hands through warm waters which glowed brightly through our fingers. This bay is one of a handful around the world which are home to permanent colonies of phosphorescent dynoflagellates, microorganisms which bioluminesce when agitated; Mosquito Bay is said to have the largest concentration in the world, creating swirling maelstroms of pale blue light around any disturbance in the water, and we were taking an organized night tour of the bay. Our paddle strokes flashed and sparked, and at one point a fish skimmed past our kayak, leaving a fizzing contrail of light behind it. Later, when our tour group was anchored to a buoy, Katy even joined the rest of the tour in plunging into the bay, becoming instantly enveloped in a shimmering cloud, her slightest motion transcribed in light.
Needless to say, it was an extraordinarily memorable, sublime experience, but I don't believe it would be an exaggeration to say that it pales to insignificance beside the story of the magnificently sketchy process which brought us to the middle of that bay. The evening began innocently enough, when we asked our hostess at the hotel, a truly wonderful woman with wild white hair and a distracted disposition, how we would go about touring the bioluminescent bay. She graciously leapt to our assistance and made the arrangements for our tour by phone, all while repeatedly trying and failing to pour herself a cup of coffee from an empty carafe.
She told us we'd be picked up by the tour operator, Anastasio, at six pm, and indeed, at 6:20 on the dot, a dilapidated blue van rumbled to a stop in front of the hotel. The girl in the passenger seat was unable to slide the side door open from the inside, however, and directed Katy to help by prying at the far edge of the door while she pushed from her side. When this also failed to work she got out of the car and tried again, unsuccessfully, to open the door. At this point the driver, a teenage girl whom Anastasio would later fondly refer to as his son, came around the van and, deftly placing a hand in either side of the door, expertly levered it open.
Made nervous by the awkward delay, Katy and I quickly climbed into the van, and so it was not until we were fully inside that we paused to take stock of its contents. As our eyes adjusted to the gloom we saw two bucket seats, each of which had originally graced the interiors of entirely different vehicles, arranged in a kind of loose curve facing toward the sliding door, their yellow foam bulging proudly through threadbare upholstery. These were followed closely behind by a small red bench seat at the back of the van, whose springs would later prove to have long since lost their buoyancy. This relatively conventional seating was augmented by an upturned plastic crate squeezed behind the driver's seat and a rusty spare tire with a cushion on it which sat on the floor by the door.
As for the rest of the interior, the van looked more or less as though someone had rubbed a steak over the walls, then locked a bear inside. The console against the right wall was entirely destroyed, with only a few pieces of particleboard and vinyl remaining as a grisly reminder. The walls had at some point been covered with a light brown fabric the texture of burlap, which was now stained and tattered; entire portions were supported solely by strips of lathe screwed into the sheet metal. Similar strips were used to hold up the distended brown ceiling fabric, which had separated entirely from the ceiling and now hung in voluptuous folds across the width of the car, rubbing our heads affectionately.
We took our seats at the back as the engine roared to life, filling the van with the overwhelming smell of exhaust fumes, and we bounced across the length Vieques to the upscale end of the island. The van stopped beside a small knot of spandexed tourists and we were finally introduced to Anastasio, who exuberantly flung open the door and greeted us warmly; behind him the tourists' bored expressions were turning to horrified disbelief.
Anastasio quickly ushered most of the group into the van, filling it to its improvised capacity of 8 (the cushioned tire accommodated two), and we continued on. Introductions were hastily made all around, and we all laughed nervously about the van's decrepit condition, joking, when we turned down a narrow, densely wooded dirt track, about this being one of those movies where no one comes back alive. There was a thoughtful pause at this, followed by an uneasy silence while our young driver maneuvered around the enormous craters and gullies which comprised the roadbed.
We finally arrived at one of several small docks jutting through the mangroves into the bay, and were soon rejoined by Anastasio with a trailer of kayaks. He and his assistants launched us into the bay, then told us to wait there while more of our group arrived. This gave us ample time to observe the other tours which were already departing from the neighboring docks, and which seemed somewhat better organized. One group, for example, had evidently each been assigned numbers beforehand, and their guide called them together by this number before they left, his strong, clear voice carrying confidently across the water. This was comforting while it lasted, but soon the groups were all gone and we were left drifting silently beside the shadowy mangroves.
Eventually we were joined by our guide, Javier, a man we'd not met before getting in the water and who turned out to not speak any English. Luckily one of our group was able to translate his announcement that he would keep us together by periodically calling out "ding ding", to which we should all reply, as a group, "ding ding". So we finally set off across the bay, its dark water shimmering in our wake, surounded by a hoarse, echoing chorus of "ding ding".
When we reached a buoy near the middle of the bay, Javier tied our boats together and announced, through his volunteer translator, that this was a bioluminescent bay, and that the light came from microorganisms. When it became apparent that this was all he had to say on the subject, the translator offered some additional information of her own, and other members of the group submitted what facts they'd read beforehand. Then Javier said it was time for swimming, which is where we began our story.
After the kayaking we were ushered back into the van and driven back toward our hotel without further excitement, although the first pair to be dropped off were unable to slide the van's stubborn side door closed, so Anastasio's daughter suggested they just leave it open to help us get more fresh air. It did help clear the exhaust fumes, not to mention letting us more quickly leap out when we reached the foot of our hotel's hill, assuring them that this was close enough before hurrying up the hill to safety.
So, that's the story of our transcendent experience in Mosquito Bay, and the much more worldly adventure which surrounded it.
Blue Infinity ◆ NGC 5189 ◆ Night light off ◆ Technique: Leds, pigments phosphorescent glowing in the night, acrylic, mortar and crystals. ◆ 50 x 40 cm ◆ Murielle Sunier ◆ Switzerland ◆ La Chaux-de-Fonds
Natural bio-fluorescence under blue (near-UV) lights. Lights used were 2 x Light & Motion GoBe+ with Nightsea heads. Captured with a Canon G7x MkII using a yellow Y12 barrier filter.
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
New host materials for a blue phosphorescent organic light-emitting diode, also known as OLED, lights boost efficiency by at least 25 percent. This improvement helps solve the "weakest link" in development of cost-effective white OLEDs.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
Taken at The Regency, Laguna Woods, California. © 2012 All Rights Reserved.
My images are not to be used, copied, edited, or blogged without my explicit permission.
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Many thanks for every kind comment, fave, your words of encouragement, and the inspiration of your fine photography,
my Flickr friends! You make my day every day!
#76/100
Phosphorescing diamonds from Zaire ("D.R. Congo"). (crystals are ~1 to 1.5 millimeters in size)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are about 5600 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
Elements are fundamental substances of matter - matter that is composed of the same types of atoms. At present, 118 elements are known. Of these, 98 occur naturally on Earth (hydrogen to californium). Most of these occur in rocks & minerals, although some occur in very small, trace amounts. Only some elements occur in their native elemental state as minerals.
To find a native element in nature, it must be relatively non-reactive and there must be some concentration process. Metallic, semimetallic (metalloid), and nonmetallic elements are known in their native state.
The element carbon occurs principally in its native state as graphite (C) and diamond (C). Graphite is the common & far less valuable polymorph of carbon. A scarce polymorph of carbon is diamond. The physical properties of diamond and graphite couldn’t be more different, considering they have the same chemistry. Diamond has a nonmetallic, adamantine luster, typically occurs in cubic or octahedral (double-pyramid) crystals, or subspherical to irregularly-shaped masses, and is extremely hard (H≡10). Diamonds can be almost any color, but are typically clearish, grayish, or yellowish. Many diamonds are noticeably fluorescent under black light (ultraviolet light), but the color and intensity of fluorescence varies. Some diamonds are phosphorescent - under certain conditions, they glow for a short interval on their own.
Very rarely, diamond is a rock-forming mineral (see diamondite - www.flickr.com/photos/jsjgeology/14618393527).
The African diamonds shown above are yellow under white light and glow magenta or green under black light (ultraviolet light; UV). This photo was taken just after a UV light was turned off - no external light source is present. The soft glowing green color is phosphorescence.
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
FOV: 5" wide.
Leftovers melted together.
Shown in phosphorescent state after exposure to UVabc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
BL = 450nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
"Gremlin"
18Sep2015
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Slideshow or Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
From the El Refugio Mine in Choix, Sinaloa Mexico comes this 5" wide specimen.
Contains:
Smithsonite (FL Pink/Purple >UVc)
Willemite (FL Green >UVc)
Shown under UVc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
Blue = 455nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Obtained from Polman Minerals
WW-356
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
Phosphorescing diamonds from an undisclosed locality. (each crystal is on the order of 0.5 millimeters in size)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are about 5600 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
Elements are fundamental substances of matter - matter that is composed of the same types of atoms. At present, 118 elements are known. Of these, 98 occur naturally on Earth (hydrogen to californium). Most of these occur in rocks & minerals, although some occur in very small, trace amounts. Only some elements occur in their native elemental state as minerals.
To find a native element in nature, it must be relatively non-reactive and there must be some concentration process. Metallic, semimetallic (metalloid), and nonmetallic elements are known in their native state.
The element carbon occurs principally in its native state as graphite (C) and diamond (C). Graphite is the common & far less valuable polymorph of carbon. A scarce polymorph of carbon is diamond. The physical properties of diamond and graphite couldn’t be more different, considering they have the same chemistry. Diamond has a nonmetallic, adamantine luster, typically occurs in cubic or octahedral (double-pyramid) crystals, or subspherical to irregularly-shaped masses, and is extremely hard (H≡10). Diamonds can be almost any color, but are typically clearish, grayish, or yellowish. Many diamonds are noticeably fluorescent under black light (ultraviolet light), but the color and intensity of fluorescence varies. Some diamonds are phosphorescent - under certain conditions, they glow for a short interval on their own.
Very rarely, diamond is a rock-forming mineral (see diamondite - www.flickr.com/photos/jsjgeology/14618393527).
The diamonds shown above are clear/colorless under white light and glow blue, magenta, green, and other colors under black light (ultraviolet light; UV). This photo was taken just after a UV light was turned off - no external light source is present. The soft glowing green and blue colors are phosphorescence.
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)
Phosporescence @ my clock
Phosporescence is a specific type of photoluminescence related to fluorescence. Unlike fluorescence, a phosphorescent material does not immediately re-emit the radiation it absorbs. The slower time scales of the re-emission are associated with "forbidden" energy state transitions in quantum mechanics. As these transitions occur less often in certain materials, absorbed radiation may be re-emitted at a lower intensity for up to several hours.
In simpler terms, phosphorescence is a process in which energy absorbed by a substance is released relatively slowly in the form of light. This is in some cases the mechanism used for "glow-in-the-dark" materials which are "charged" by exposure to light. Unlike the relatively swift reactions in a common fluorescent tube, phosphorescent materials used for these materials absorb the energy and "store" it for a longer time as the subatomic reactions required to re-emit the light occur less often.
Most photoluminescent events, in which a chemical substrate absorbs and then re-emits a photon of light, are fast, on the order of 10 nanoseconds. However, for light to be absorbed and emitted at these fast time scales, the energy of the photons involved (i.e. the wavelength of the light) must be carefully tuned according to the rules of quantum mechanics to match the available energy states and allowed transitions of the substrate. In the special case of phosphorescence, the absorbed photon energy undergoes an unusual intersystem crossing into an energy state of higher spin multiplicity (see term symbol), usually a triplet state. As a result, the energy can become trapped in the triplet state with only quantum mechanically "forbidden" transitions available to return to the lower energy state. These transistions, although "forbidden", will still occur but are kinetically unfavored and thus progress at significantly slower time scales. Most phosphorescent compounds are still relatively fast emitters, with triplet lifetimes on the order of milliseconds. However, some compounds have triplet lifetimes up to minutes or even hours, allowing these substances to effectively store light energy in the form of very slowly degrading excited electron states. If the phosphorescent quantum yield is high, these substances will release significant amounts of light over long time scales, creating so-called "glow-in-the-dark" materials.
Most examples of "glow-in-the-dark" materials do not glow because they are phosphorescent. For example, "glow sticks" glow due to a chemiluminescent process which is commonly mistaken for phosphorescence. In chemi-luminescence, an excited state is created via a chemical reaction. The excited state will then transfer to a "dye" molecule, also known as a (sensitizer, or fluorophor), and subsequently fluoresce back to the ground state.
The study of phosphorescent materials led to the discovery of radioactivity in 1896.
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Avui no volia escriure gaire, així que fet un copy-paste d'aquest article a la Wikipedia.
Today I didn't feel like writing, so I've copy-pasted this article from Wikipedia.
by Phosphorescent for the Repackaged by Zero FM Group. Week 140.
www.flickr.com/groups/repackaged/
Fonts: Carbonated Gothic and Champagne
the author is the professor at the Academy of Fine Arts in Kiev, Ukraine
100x120 cm
location: private collection Slovakia
All I know about the subject (which remains a mystery to me) is, that it concerns folk traditions, virginity and marriage. Much of European folk traditions can be traced back to paganism (Greco-Roman, Celtic, Germanic, Slavonic...). It seems here as if paganism was confronted with christianity - whatever shines behind the central figure´s head (sun, moon, star or simply wreath of flowers) reminds of a halo. The acidic greenish and yellowish colours help to carry the inner tension. Apart from the spirituality, there is something tragic in this scene filled with lyrism. Because of this, the painting can be perceived as a successful fusion of Edvard Munch and El Greco. If you think Greco is here "out of the question" painter, just call to mind his phosphorescent light. I took a series of details because I love this piece and I hope somebody will enjoy it too.
(please do not use without permission)