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Main Electronics Box (MEB)
Contains the majority of electrical connections and components vital for SAM's functionality.
Tunable Laser Spectrometer (TLS)
The TLS uses absorption of light at specific wavelengths to measure concentrations and isotope ratios of specific chemicals important to life: methane, carbon dioxide, and water vapor.
Gas Chromatograph (GC)
The GC has six different chromatographic columns. The GC assembly sorts and detects individual volatile compounds it separates from complex mixtures of gases through long (-100 feet and narrow (-1/100 in inner diameter) metal tubes (wound into coils) with a stream of helium gas, it sorts the gas molecules through interactions of the gas molecules with a stationary phase inside the metal tube: the gases elute from the column at different times known as the "retention time" of the compound. Once the gases elute from the column they are detected directly by thermal conductivity (TCD) and are identified by mass to charge ratio using electron impact ionization quadrupole mass spectrometry (QMS)
Wide Range Pump (WRP)
The wide range pump, about 4 centimeters (1.6 inches) across, spins at up to 100,000 revolutions per minute for moving gases out of the system between analyses of different samples.
Solid Sample Inlet Tubes (SSIT)
This is where the rover's robotic arm will deliver powdered samples that the rover drills from rocks or scoops from soil. The inlet is a highly polished funnel that vibrates to get all of the sample material down into a cup at the bottom of the tube.
Quadrupole Mass Spectrometer (QMS)
This identifies gases by the molecular weight and electrical charge of their ionized states. It will check for several elements important for life as we know it, including carbon, hydrogen, sulfur, nitrtogen, oxygen and phosphorus contained in volatile molecules.
Sample Manipulation System (SMS)
The SMS consists of a double ring carousel that holds 74 individual cups where solid samples can be received from the solid sample inlet tube (SSIT) and placed inside one of two pyrolysis ovens. 59 quarts cups can be heated up to very high temperatures (-1800 degrees Fahrenheit) to extract gases from the powdered samples. 9 fluid filled sealed metal cups that can be punctured inside the SMS are used for lower temperature wet chemistry experiments designed to search for certain polar organic compounds including amino acids and carboxylic acids. The other 6 metal cups containing solid samples for instrument calibration.
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Sample Analysis at Mars (SAM) Instrument Test Bed, Building 34 Room C-180
SAM is a suite of instruments onboard the Mars Science Laboratory (MSL) rover, SAM's five science goals address three of the most fundamental questions about the ability of Mars to support life - past, present and future.
Presenter: Melissa Trainer, research space scientist & Jen Stern geochemist.
Learn more at: ssed.gsfc.nasa.gov
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For the first time ever, all 10 NASA field centers participated in a multi-center NASA Social event Dec. 3, previewing the Dec. 4 first flight of the Orion Spacecraft on Exploration Flight Test-1.
Goddard hosted up to 25 social media followers to attend an afternoon celebrating the Orion launch. Attendees toured the Astrobiology Analytical Laboratory, where Martian meteorites and other samples are tested to answer two of the biggest mysteries facing humanity: How did we get here? And are we alone? We'll also tour Goddard's massive Integration and Testing Facility, where spacecraft are built and tested and the world's largest cleanroom where the James Webb Space Telescope is being constructed. Webb is the scientific successor to NASA's Hubble Space Telescope. It will be the most powerful space telescope ever built.
Sonata Vario Acoustic Absorbers installed at Hesketh Bank Christian Centre to reduce reverberation with the main hall.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
Looking to soundproof a drum room? See how one Audimute customer used Sound Absorption Sheets to get rid of the echoes and reverb in his home so that he could play his drums without annoying his family. Visit audimutesoundproofing.com or give us a call at 866-505-MUTE to find out more!
en.wikipedia.org/wiki/Istanbul_Sapphire:
Istanbul Sapphire, or Sapphire, is a skyscraper, and as of 2011, the tallest building in Istanbul and Turkey, located in the central business district of Levent. It will relegate to the second spot upon the completion of the Diamond of Istanbul triple towers, located in the nearby central business district of Maslak. It is the country's first ecological skyscraper. Sapphire rises 54 floors above ground level, and boasts an above-ground roof height of 238 meters (the building has an overall structural height of 261 meters including its spire, which is part of the design and not a radio antenna.) It is a shopping and luxury residence mixed-use project by Biskon Construction (a subsidiary of the Kiler Group of Companies.)
It is strategically located close to the TEM and O1 main road arteries and to the Bosphorus and F.S.M. bridges. The building has a direct access to the 4. Levent subway station from its 3rd basement floor, and is situated on Büyükdere Avenue, one of Istanbul's main thoroughways, in the middle of the city's central Beşiktaş and Şişli districts, and in close proximity to the quarter of Etiler.
Istanbul Sapphire has been designed by Tabanlıoğlu Architecture as a high-tech structure that consists of 64 floors (54 above-ground and 10 basement floors), communal living floors, extensive parking spaces, a large shopping mall, and 47 floors for residences.
There will be specialized floors which have private gardens between every 3 floors, and every 9 floors are separated from each other by a communal living area or mechanical floors. Design of the gardens are proposed with a number of alternatives and the consistency of garden maintenance is under the residence management company’s responsibility.
Sapphire is the first ecological building of Turkey, having two special glass shells which can take the outside air naturally by holes located at every 3 floors. Thanks to this system, the inhabitants of the building will not be affected by the negative weather conditions and external urban noise, in addition to providing a buffer with the outside atmosphere and the internal facilities. Absorption of the sunlight and ultraviolet beams will be ensured by a special curtain system that's automatically controlled through a computer, depending on the season, day and hour.
Since absorption by the expansive Canadian National, BC Rail's surviving locomotives have been worked hard and few if any have been repainted. On my recent trip I saw a few of the big "cowl"-type GEs and they were all in a similar desperate state externally!
I was pleased to see a lone example in the yard in Jasper when we pulled into the platform on the Canadian. As luck would have it it was soon moving and was turned around in order to face West and pass the CN offices, coming into range of this intrepid photographer!
ARM's North Slope of Alaska (NSA) atmospheric observatory is providing data about cloud and radiative processes at high latitudes. Scientists use NSA data to improve how these processes are represented in earth system models.
Terms of Use: Our images are freely and publicly available for use with the credit line, “Image courtesy of the U.S. Department of Energy Atmospheric Radiation Measurement (ARM) user facility.”
The narrow absorption at 1400nm is from OH: the second harmonic of the fundamental stretch mode at 3650cm-1. A weak absorption at 960nm in the spectrum both samples - but overlayed by interference fringes - is the third harmonic of OH. I think the strong absorption at 2200nm is due the Al - OH stretch vibration.
For more information about the various chemical formulae of mica, see: en.wikipedia.org/wiki/Mica
The interference fringes (ripples) seen in the thicker of these samples is due to the cleavage planes within the mica and varies from place to place - the dominant one here is 10 microns thick. The 'thickening' of the orange line spectrum is due to fine, but resolved fringes between 700 and 1000nm and corresponds to interference between the top and bottom surfaces of this 170 micron thick sample.
AirDrain Agronomic Natural Grass Drainage at the Chesapeake Energy Roof Top Sports Field
74,000 sqft. Natural Grass Field
Benefits of AirDrain in a green roofing system include:
AirDrain creates and helps maintain a constant Gmax for artificial turf (See below)
Thickness and resin consistency of AirDrain provides uniform shock absorbency
Shock absorption reduces the strain on joints and ligaments
AirDrain is only limited by the drainage capacity of the profile above it
Installation time measured in days instead of weeks
AirDrain can be reused when the artificial turf must be replaced
Water harvesting reclamation and reuse
Helps qualify for LEED and other green building credits
A smaller carbon and development footprint with reduced site disturbance
100% vertical drainage under the entire field surface
Minimizes water related injuries / Less infill migration due to superior drainage
AirDrain is a 100% recycled product
Less infill migration due to superior drainage
GMAX Information Existing Conditions for Testing
Turf - 2 1/2” Slit Film, in filled with 50% Green Rubber Infill and 50% Silica Sand.
The drainage/shock pad and turf underlying substrate consists of a concrete deck/rooftop, coated with a waterproof membrane and 10 ounce 100% recycled polyester geo-textile filter fabric.
The Standard Test Method for Shock-Absorbing Properties of Playing Surface Systems and Materials (ASTM F1936-98 American Football Field) testing locations and procedure were preformed. The tests were performed using a Triax 2000 A-1 Missile, tripod mounted Gmax registration unit(www.triax2000.com). This report presents background information on the test procedures, existing conditions, test results and observations in football, baseball, softball, soccer, lacrosse, and field hockey artificial sports fields.
The environmental impact of a green roof is undenyable, and adds significantly to the LEED Point system designed by the USGC in all five major areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. Green roofing replaces the green space displaced by a building, prevents excess storm water drainage, reduces the temperature of a building and the urban heat island effect, protects and extends the useful life of a roof, and reduce energy demands.
What's more, a green roof incorporating AirDrain means your design includes renewable, recycled, and locally obtained materials. We know you have a choice in designing a green roof, and we hope you consider the many benefits of AirDrain.
A typical AirDrain green roof
Sonata Vario Acoustic Absorbers installed at Hesketh Bank Christian Centre to reduce reverberation with the main hall.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
To understand dermal absorption and metabolism, Battelle has developed a bathwater exposure system. The chemical is introduced into the bathwater and the concentrations of the metabolites in the volunteer's exhaled breath are measured using a 3DQ ion trap mass spectrometer.
For more information, visit www.pnl.gov/news/
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.
Since there is often much confusion about the origin of The Blue Hour, I offer this little essay as an attempt to explain what is going on. How am I qualified to do this? I'm an astrophysicist and a visual neuroscientist. I have studied extensively the properties of the atmosphere of our planet Earth and also, in preparation for future astronomical observations with the next generation of large space and groundbased telescopes, the likely properties of earth-like exoplanets. I am also looking at the visual adaptations made by animals that spend large amounts of their time hunting or being hunted in the deep blue of the twilit environment.
The Blue Hour
An explanation of the nature and physical cause of the phenomenon
by Robert (Bob) Fosbury
The Blue Hour (l'heure bleue) is the period of twilight starting when the Sun dips to a few degrees below the horizon and ending as the sky darkens towards night at the end of astronomical twilight (and in the reverse sequence at sunrise). The light from the sky reaching us and our surroundings during this period, especially during the central part called nautical twilight, is extremely blue; much bluer than a typical clear blue sky during daylight.
This phenomenon occurs under both clear and cloudy conditions since the physical process that causes it is quite distinct from that which causes the daytime blue sky (Rayleigh scattering). Indeed, the twilight blue has a distinctly different hue since it contains also a strong deep-red component that is near the limit of our visual sensitivity and therefore not vary apparent to our eyes. This particular hue is well represented by the the artist's pigment 'ultramarine', the famously expensive pigment derived from the lapis lazuli imported 'across the seas' from the ancient mines in Afghanistan. See the famous painting by Titian in the National Gallery: www.nationalgallery.org.uk/paintings/titian-bacchus-and-a...
The twilight blue results from the strong absorption of yellow, orange and red light during the long passage of sunlight as it passes almost horizontally through the atmosphere near sunset and sunrise. It works out that, on the horizon, the sunlight has to traverse around forty times as much atmosphere to reach us as it does if it is overhead at noon in the tropics.
The blue-coloured culprit for this theft of the orange is ozone ( www.bipm.org/en/bipm/chemistry/gas-metrology/ozone/ ), a fragile and very active molecule consisting of three, rather than the more normal two, oxygen atoms and occupying a layer in the atmosphere between altitudes of about fifteen and forty kilometres. This is the gas that protects life on Earth from the devastating effect that ultraviolet radiation would have on us if this component of sunlight were to reach ground level. While the orange absorption — resulting from what we call the 'Ozone Chappuis band' — is very much weaker than the protective ultraviolet absorption, the long atmospheric path at twilight strengthens its effect enough for it to have a profound effect on colour. The visual effect of this removal of much of the yellow, orange and red light is to leave the blue light to travel through a more transparent atmosphere to reach our eyes from the whole sky.
A good question to ask at this point would be: "OK, you say that ozone removes the orange light when the sun is on the horizon, But the sun is a bright orange at that time! — so what is going on?" Well, yes, that is a good question. To answer it we have to understand the meaning of two of the words that appear in my explanation above: scattering and absorption.
Scattering, as in 'Rayleigh scattering', is when a photon of light approaches an air (mostly oxygen or nitrogen) molecule in the atmosphere where the interaction between the two can bounce the light into a different direction without any change of colour. This is the way that photons from the sun can become part of the blue sky rather than reach us as direct sunlight. Scattering steals part of the sunlight and makes it into the blue sky. The light is changed in direction but not lost. The physics tells us that this kind of scattering is more likely to happen for blue light than for red: hence the sky blue. The sun looks orange/red on the horizon because a lot of the blue light has been removed from the solar image in your eye and been given to the blue sky. Rest assured however that the image of the orange sun would be a lot brighter if the ozone layer was removed!
The scattered skylight will then have its orange further diminished by ozone and so make The Blue Hour even bluer. Unlike the scattering process, when ozone absorbs orange light it swallows it and does not give anything back except, perhaps, a bit of warmth.
So, in summary, the blue hour blue is different from the blue sky blue and it is a direct result of the action of the ozone layer on incoming sunlight. The eye adapts itself to this blue and tends to make the twilight look visually grey. But the camera does not adapt, unless you have it set to "automatic white-balance" in which case try setting it to "daylight" instead. Then your Blue Hour photos will really look blue!
Sonata Vario Acoustic Absorbers installed at Hesketh Bank Christian Centre to reduce reverberation with the main hall.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
“You have seen nothing yet”, asserts Sinead O’Brien in single Girlkind – and you are inclined to believe her. Building on her arresting releases since 2018, the multifaceted Irish poet, songwriter and performer is ascending into new territory with her debut LP, Time Bend and Break the Bower, released via Chess Club Records.
Demanding a visceral response from her audiences, O’Brien issues a challenge to those who would box her music inside a notion of tradition. Instead, the artist’s poetry – a constant, active absorption of how people speak, communicate and clash in the era we are living through – is an essential clarion call heard in the future.
Communing at the triangulation of words, music and image, O’Brien is a conjurer of powerful worlds: and none are more powerful, or as immersive, as those of Time Bend and Break the Bower. In the space that exists between her delivery – at once wry, silky, vicious, and self-assured – and the music – a dynamic, dancing call-and-response from her collaborators, guitarist Julian Hanson and drummer Oscar Robertson – lies the record’s productive tension. Using a method of creating on-instinct, in constant communication with multisensory cues, O’Brien carves out her own space as a musical oracle for an ever-shifting era. Treading her path as a poet, not a singer, is how O’Brien has forged an identity she feels is truly hers: it is, simply, how the artist has to communicate.
If O’Brien’s delivery alone issues a challenge of genre, of categorisation, what is she telling us with those words? Born in Dublin and raised in Limerick, there are no overtly explicit references to O’Brien’s home country to be found in the new record, but the atmosphere of its landscape is nonetheless found in its lyrical world..On tracks like ‘Girlkind’, and latest single ‘Holy Country’, the narrative builds from abstract memories of home, before O’Brien’s wild current drags us somewhere else entirely, issuing an urgent protest as much as an incantation. In ‘Like Culture’, she carries a poem she began writing when she was 17 – an ode to coming together with friends on dance floors – through with her into the current moment, where the healing power of movement matters now more than ever.
O’Brien wants each word to be heard – to make impact. And she is being heard. Since 2020, O’Brien’s releases – such as 2021’s ‘Kid Stuff’ single, and 2020’s ‘Drowning in Blessings’ EP – have garnered international critical acclaim, from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music, as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her prior US support from the likes of Seattles’ KEXP with appearances at SXSW – in virtual form in 2021, and as she brings her band to Texas itself in spring 2022.
O’Brien has also toured across the UK and Europe at a number of venues and festivals, where she has stamped her unforgettable performance style alongside her musical collaborators – an impact that has led to her being invited to tour with Belle & Sebastian later in 2022. On stage, the raven-haired artist commands attention, demonstrating a kinetic connection with Hanson and Roberston with every sentiment she voices. Live performance is a vital ingredient of O’Brien’s ongoing project – it’s here that her contemporary sonics transform into a unique on-stage vocabulary, one that both seduces and challenges.
With a background on the design teams for John Galliano and, later, Vivienne Westwood, O’Brien’s cultural touchstones also span a rich history of art, photography, film, and dance: from Helmut Newton femme fatales and Henri Cartier-Bresson’s bleak landscapes, to modern movement performance by Michael Clark and Michael Laub companies, to the writings of Virginia Woolf and Samuel Beckett. Recently tapped by Alessandro Michele’s Gucci to perform, it’s clear that O’Brien’s esoteric instincts are inspiring those in spaces beyond the music industry as well as within it.
Relentless, surreal, incendiary, O’Brien operates inside her own atmosphere even as she constantly forms her response to the contemporary world she moves through. In 2022, with the release of her debut album, festival circuit presence, and multiple tour dates, the artist is blazing a trail into the new – always questioning, and asking you to join her.
Iron Man Records will be looking after Tour Management for Sinead O'Brien on her tour dates through September and October. Come and see the band play. If you are already an Iron Man Records Patron, ask if you are after guestlist places. I might be able to find you a ticket or two.
Listen here: sineadobrienpoetry.bandcamp.com/
Kacey O’Malley
Natural
“Why so Blue?”
Why are glaciers blue? The colors of the rainbow each have different wavelengths and different energies. Typically, light is seen as a combination of all of these colors and so it appears to be white, but when light enters a glacier, it is broken into its component colors by the ice crystals inside. The colors with the longest wavelengths have the smallest energies; therefore red and yellow are absorbed by the thick ice and are not visible. In comparison, blue has a short wavelength and a high energy, and is not absorbed by the ice crystals. This is why we see a blue color when we look at the heavily compacted ice. One might wonder why snow does not have this same blue color? It takes a very thick and condensed piece of ice because the light has to travel a long way inside it to absorb enough red light for this to occur. The blue color of the ice is thus a way to measure its strength and age. Early explorers and glacier climbers know that the bluer the ice, the more reliant it will be. In this picture, you can see the striations in the glacier of the deeper, bluer ice compared to the shallower, white ice.
Another interesting physics observation from this picture is the reflection of the glacier striations in the Alaskan water. This demonstrates the Law of Reflection, showing that the angle of incidence, or the angle that the lines in the glacier make with the water’s surface, is equal to the angle of reflection, or the angle that we see the lines being reflected in the water.
AirDrain Agronomic Natural Grass Drainage at the Chesapeake Energy Roof Top Sports Field
74,000 sqft. Natural Grass Field
Benefits of AirDrain in a green roofing system include:
AirDrain creates and helps maintain a constant Gmax for artificial turf (See below)
Thickness and resin consistency of AirDrain provides uniform shock absorbency
Shock absorption reduces the strain on joints and ligaments
AirDrain is only limited by the drainage capacity of the profile above it
Installation time measured in days instead of weeks
AirDrain can be reused when the artificial turf must be replaced
Water harvesting reclamation and reuse
Helps qualify for LEED and other green building credits
A smaller carbon and development footprint with reduced site disturbance
100% vertical drainage under the entire field surface
Minimizes water related injuries / Less infill migration due to superior drainage
AirDrain is a 100% recycled product
Less infill migration due to superior drainage
GMAX Information Existing Conditions for Testing
Turf - 2 1/2” Slit Film, in filled with 50% Green Rubber Infill and 50% Silica Sand.
The drainage/shock pad and turf underlying substrate consists of a concrete deck/rooftop, coated with a waterproof membrane and 10 ounce 100% recycled polyester geo-textile filter fabric.
The Standard Test Method for Shock-Absorbing Properties of Playing Surface Systems and Materials (ASTM F1936-98 American Football Field) testing locations and procedure were preformed. The tests were performed using a Triax 2000 A-1 Missile, tripod mounted Gmax registration unit(www.triax2000.com). This report presents background information on the test procedures, existing conditions, test results and observations in football, baseball, softball, soccer, lacrosse, and field hockey artificial sports fields.
The environmental impact of a green roof is undenyable, and adds significantly to the LEED Point system designed by the USGC in all five major areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. Green roofing replaces the green space displaced by a building, prevents excess storm water drainage, reduces the temperature of a building and the urban heat island effect, protects and extends the useful life of a roof, and reduce energy demands.
What's more, a green roof incorporating AirDrain means your design includes renewable, recycled, and locally obtained materials. We know you have a choice in designing a green roof, and we hope you consider the many benefits of AirDrain.
A typical AirDrain green roof
Just like a bodybuilder, Buzzwole is often seen striking poses that show off its massive, abnormally swollen muscles. The creature’s body covered in red blood-like filled sacs with veins that are said to be as hard as steel. Buzzwole’s crushing power and unbridled rage give way to fearsome physical damage, and worst of all, a stabbing attack from its silver proboscis which can drain and steal opponents’ energy! This giant extra-dimensional anthropomorphic mosquito packs quite a pulverizing punch!
Built for the Ultra Beasts Collab! Find the other powerful Ultra Beasts from these talented builders!
@_ezreel_ as Nihilego
@anderson_builder as Buzzwole
@dv_mocs as Pheromosa
@carecreations_ as Xurkitree
@aidan_jh as Celesteela
@rons_oc as Kartana
@petersheikah as Guzzlord
@space_glove as Nekrozma
@panuvara as Naganadel
@danielbrickson as Stakataka
@brick_diamonds as Blacephalon
Benefits of AirField in a green roofing system include:
AirDrain creates and helps maintain a constant Gmax for artificial turf (See below)
Thickness and resin consistency of AirDrain provides uniform shock absorbency
Shock absorption reduces the strain on joints and ligaments
AirDrain is only limited by the drainage capacity of the profile above it
Installation time measured in days instead of weeks
AirDrain can be reused when the artificial turf must be replaced
Water harvesting reclamation and reuse
Helps qualify for LEED and other green building credits
A smaller carbon and development footprint with reduced site disturbance
100% vertical drainage under the entire field surface
Minimizes water related injuries / Less infill migration due to superior drainage
AirDrain is a 100% recycled product
Less infill migration due to superior drainage
GMAX Information Existing Conditions for Testing
Turf - 2 1/2” Slit Film, in filled with 50% Green Rubber Infill and 50% Silica Sand.
The drainage/shock pad and turf underlying substrate consists of a concrete deck/rooftop, coated with a waterproof membrane and 10 ounce 100% recycled polyester geo-textile filter fabric.
The Standard Test Method for Shock-Absorbing Properties of Playing Surface Systems and Materials (ASTM F1936-98 American Football Field) testing locations and procedure were preformed. The tests were performed using a Triax 2000 A-1 Missile, tripod mounted Gmax registration unit(www.triax2000.com). This report presents background information on the test procedures, existing conditions, test results and observations in football, baseball, softball, soccer, lacrosse, and field hockey artificial sports fields.
The environmental impact of a green roof is undenyable, and adds significantly to the LEED Point system designed by the USGC in all five major areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. Green roofing replaces the green space displaced by a building, prevents excess stormwater drainage, reduces the temperature of a building and the urban heat island effect, protects and extends the useful life of a roof, and reduce energy demands. What's more, a green roof incorporating AirDrain means your design includes renewable, recycled, and locally obtained materials. We know you have a choice in designing a green roof, and we hope you consider the many benefits of AirDrain.
A typical AirDrain green roof installation design
Workers make the necessary preparations during the unloading of an absorption tower off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
This is a focus on the deep twilight spectra of the clear sky in the UV and blue regions of the spectra shown in the previous two plots. The shallow broad depression over the wavelength range from 350–450nm is due to the absorption of nitrogen dioxide, most probably originating from vehicle exhaust in the southern part of Bath. The computed transmission spectrum of a column of 2 x 10^17 NO_2 molecules per sq cm is shown as the red line (100% transmission is at a y-axis value of 2.5e-3).
This column density has not been scaled to fit the data but it illustrates the broad dip around 400nm and the stronger narrow spectral features are correlated with the structure in the observed spectrum: the Maya has too low a spectral resolution to see these features clearly.
The ozone transmission (green line) has also been computed, using a column of 4 x 10^19 O_3 molecules per sq cm. This shows part of the Huggins band on the left and the blue wing of the Chappuis band on the right. Again, the spectrometer does not fully resolve the fine structure of the band.
The overall slope, clearly apparent from 350–450nm, in the measured data is due to the combined effects or Rayleigh and aerosol scattering.
On July 4, 2024, I took my camera Zenza Bronica S2A (Japan, 1972-1977) for a tour in the district of Fourvière, Lyon, France.
The Nikkor normal lens 1:2.8 f=75mm was equipped of a Hoya Yellow (K2) 67mm screwed filter and the dedicated Zenza Bronica metal hood.
I used an Ilford FP4+12-exposure negative 120-format film . The film was exposed for 64 ISO (to compensate the filter absorption) using an Autometer III Minolta lightmeter fitted with a 10° finder for selective measurements privileging the shadow areas.
View 1 : 1/125s f/9
Ville de Lyon, Saint-Jean et Bellecour depuis Fourvière, July 4, 2024
69005 Lyon
France
After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 9min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivo Y76 color pictures.
Strangely, although its 1.8 kg the camera is not at all uncomfortable to carry, especially when the camera is hold on the chest by the neck strap. I did not feel tied after this photo tour (about 4km walking). It is easily to get a good stability and a precise framing with the camera on the chest.
Details about the camera :
The Zenza Bronica’s S (ゼンザブロニカ) were often referred to the « Japanese Hasselblad ». Conceived in the year 50’s (Bronica D, 1959) was manufactured in ToKy,o Itabashi-ku, Minami-Tokiwadai with the Japan engineering spirit of that time : « we wlll do as … in better! »; The Bronica (ETR, SQ series) camera’s were progressively discontinued twenty years ago between 2002 and 20O4 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A was produced by Bronica Insdutries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR o th e S series. The camera in made in stainless steel 18-8 quality for the outer elements. The S2A is still a focal-plane shutter camera with automatic diaphragm and automatic film back coupled to the shutter cocking through a re-arming crank. Bronica were equipped either with Nikon Nikkor lenses, Zenzanon of Komura optics.
I got this exemplary from a French eBay auction for a quite reasonable price, equipped with a Nikkor-P normal lens 1:2.8 f=75mm, a generic 67mm lens cap, and a neck/shoulder Bronica strap. I found at my monthly trade -exchange photo meeting new-old stock 67mm filters (Hoya HMC anti-UV, Yellow K2, and a Zenzza Bronica Skylight 1A) and two shade shade hoods (one generic foldable and a rigid metal Zenza Bronica Japan). I also found a nice storage box 15x20x20cm to store the machine with silica-gel protectant.
The camera fit in my ThinkTank Retrospective 5 usual bag as easy as my French TLR Semflex. The weight is however twice more heavy by about 1.8 kg (0.8 kg for my Semflex TLR).
“You have seen nothing yet”, asserts Sinead O’Brien in single Girlkind – and you are inclined to believe her. Building on her arresting releases since 2018, the multifaceted Irish poet, songwriter and performer is ascending into new territory with her debut LP, Time Bend and Break the Bower, released via Chess Club Records.
Demanding a visceral response from her audiences, O’Brien issues a challenge to those who would box her music inside a notion of tradition. Instead, the artist’s poetry – a constant, active absorption of how people speak, communicate and clash in the era we are living through – is an essential clarion call heard in the future.
Communing at the triangulation of words, music and image, O’Brien is a conjurer of powerful worlds: and none are more powerful, or as immersive, as those of Time Bend and Break the Bower. In the space that exists between her delivery – at once wry, silky, vicious, and self-assured – and the music – a dynamic, dancing call-and-response from her collaborators, guitarist Julian Hanson and drummer Oscar Robertson – lies the record’s productive tension. Using a method of creating on-instinct, in constant communication with multisensory cues, O’Brien carves out her own space as a musical oracle for an ever-shifting era. Treading her path as a poet, not a singer, is how O’Brien has forged an identity she feels is truly hers: it is, simply, how the artist has to communicate.
If O’Brien’s delivery alone issues a challenge of genre, of categorisation, what is she telling us with those words? Born in Dublin and raised in Limerick, there are no overtly explicit references to O’Brien’s home country to be found in the new record, but the atmosphere of its landscape is nonetheless found in its lyrical world..On tracks like ‘Girlkind’, and latest single ‘Holy Country’, the narrative builds from abstract memories of home, before O’Brien’s wild current drags us somewhere else entirely, issuing an urgent protest as much as an incantation. In ‘Like Culture’, she carries a poem she began writing when she was 17 – an ode to coming together with friends on dance floors – through with her into the current moment, where the healing power of movement matters now more than ever.
O’Brien wants each word to be heard – to make impact. And she is being heard. Since 2020, O’Brien’s releases – such as 2021’s ‘Kid Stuff’ single, and 2020’s ‘Drowning in Blessings’ EP – have garnered international critical acclaim, from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music, as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her prior US support from the likes of Seattles’ KEXP with appearances at SXSW – in virtual form in 2021, and as she brings her band to Texas itself in spring 2022.
O’Brien has also toured across the UK and Europe at a number of venues and festivals, where she has stamped her unforgettable performance style alongside her musical collaborators – an impact that has led to her being invited to tour with Belle & Sebastian later in 2022. On stage, the raven-haired artist commands attention, demonstrating a kinetic connection with Hanson and Roberston with every sentiment she voices. Live performance is a vital ingredient of O’Brien’s ongoing project – it’s here that her contemporary sonics transform into a unique on-stage vocabulary, one that both seduces and challenges.
With a background on the design teams for John Galliano and, later, Vivienne Westwood, O’Brien’s cultural touchstones also span a rich history of art, photography, film, and dance: from Helmut Newton femme fatales and Henri Cartier-Bresson’s bleak landscapes, to modern movement performance by Michael Clark and Michael Laub companies, to the writings of Virginia Woolf and Samuel Beckett. Recently tapped by Alessandro Michele’s Gucci to perform, it’s clear that O’Brien’s esoteric instincts are inspiring those in spaces beyond the music industry as well as within it.
Relentless, surreal, incendiary, O’Brien operates inside her own atmosphere even as she constantly forms her response to the contemporary world she moves through. In 2022, with the release of her debut album, festival circuit presence, and multiple tour dates, the artist is blazing a trail into the new – always questioning, and asking you to join her.
Iron Man Records will be looking after Tour Management for Sinead O'Brien on her tour dates through September and October. Come and see the band play. If you are already an Iron Man Records Patron, ask if you are after guestlist places. I might be able to find you a ticket or two.
Listen here: sineadobrienpoetry.bandcamp.com/
Victorian Alpine Huts survey, for Parks Victoria April, May 1994.
The following history has been prepared at the Mansfield DCNR office under David Hurley who used oral and written material from the Stoney family: Eadley Stoney of `Minto Park’ (Mt. Eadley Stoney was named after him) shared the Bluff lease with Jack Ware commencing in the 1940s. Archie Cameron, Ray Kelly (q.v.) and Jack Davon also grazed the bluff in the 1950s and early 1960s. Eadley Stoney organised the building of the original Bluff Hut in 1955 with Graeme Stoney (age 15) packing the materials up the steep horse pack track in summer 1956. The hut was sited on the lowest saddle on the Bluff Range beneath the later named Mt. Eadley Stoney. Commencing in February 1956, all the cattlemen grazing the Bluff at that time helped build the original Bluff Hut (C Stoney p.79). Jack Ware was responsible for the most important job of shaping the frame timbers from local snow gum and ash. Jack used the classic construction methods (using adze and axe) that he learned as a boy working for Jim Barclay and Jack Bullock who were the first men to run cattle on the High Country beyond the Howqua River { see also Stoney: 52} Graeme Stoney has since stated that that the site was chosen for its shelter from the prevailing winds { Truscott: 20}. The hut is shown in Siseman's 1985 guide to the national park, in a similar form to the existing{ Siseman: 111}. Bluff Hut was the scene of controversy in the early 1980s when Graham Stoney sought a permissive occupancy for the hut and met a departmental refusal. The hut had just been extended to cater for Stoney's High Country Adventure summer trail riding and winter Nordic skiing ventures, led by John Brewster. Assessed in 1982 the hut operations included two long-drop toilets; dish and hand washing sullage pumped 30m east of hut into `undisturbed vegetation' for absorption into the ground; wood obtained from lower down the mountain; and water from a spring south-west of the site. The extensions themselves had complied with the Minister's requirements, being similar to the original hut although now `somewhat distended in character'{ DCNR file 85/284 RG Patrick report}. Eventually in 1985 the Forests Commission gave Stoney a permissive occupancy for the hut but to his displeasure the recently completed bunk room, washroom were to remain for public use, allowing the prior right to be exercised over only the old part of the hut. Summer commercial horse riding tours started at the hut 1986-7 { Truscott: 18}. In 1986 Stoney noted that Bluff Carpark was receiving increased 4WD traffic and needed maintenance by CF&L who responded positively. Two years later, High Country Adventures desired more space at the hut, noting that winter clients were being jostled by the general public who sought refuge next to the fire in the old section as well as the refuge next door. An economically sized party consisted of 22 guest plus a staff of five whereas existing bunk room accommodation allowed only 18-20 to be sleep at the hut while staff slept in tents and cars. Stoney wanted to put bunks into an `old shed' at the end of the bunk room, relocate the nearby wash room and sauna, add another room to the side of the old section, add an open verandah for outdoor shelter to the original verandah and convert the end of the enclosed verandah into a sleeping area. The department did not respond to this proposal, provoking more letters from High Country Adventure whose paying guests were still being jostled by irate members of the public seeking access to the fire. The letter noted that the Stoney family had run cattle on the Bluff since the early 1940s, they had built and maintained all parts of the present hut and hence deserved more rights over its use. Responding to a report from the Alpine Planning Team, Stoney wrote that the scope of the original permissive occupancy lease had been a mistake, allowing rights over only the old section of the hut and the sauna (which the report had sought removal of) was actually a drying room and should not be removed{ DCNR file 85/284: Letters 9.1989, 1.3.90 comments on prelim. Alpine Planning Team report}. Cattle had been phased out of the Bluff and tourism had been proposed as its replacement: now even this activity was being restricted. The hut was included in an Alpine National Park in 1989 { Truscott}. On the other side of the controversy, the department received complaints from bodies such as the Peninsula 4WD Club who queried High Country Adventure's operations at both Bluff and Lovick's huts, suggesting that they be available for public rather than commercial use{ DCNR file 85/284: letter 19.3.88}. The Victorian National Parks Association and the Ski Touring association of Victoria had also showed their irritation at what they judged to be an expansion of commercial activity at Bluff hut{ DCNR file 85/284: briefing note 12.4.89}. The hut extensions have attracted controversy and hence the hut has become well-known by many mountain users, lending its present form a degree of recent heritage interest. Commercial cross country ski tours from the hut ceased around 1991-2 and the Stoney horse tours ended May 2002 { Truscott}. Public risk insurance problems had affected many adventure style commercial enterprises nationally. The 2002 Heritage Action Plan identified the following relevant Australian Historic Themes: Grazing stock 3.5.1 Organising recreation- enjoying the natural environment 8.1.4 Living in remote areas...
I like the 2014 firewall idea of S. Hawking about changing the “event horizon”- into an “apparent” horizon, where infalling matter is suspended and pushed back. See:
Information Preservation and Weather Forecasting for Black Holes". arXiv:1401.5761
His proposal is about in line with my Quantum FFF theory, which says:
that all fermions can be compared with little spinning propellers being polarized into their individual direction of motion in the local Higgs field reference frame.
If the Higgs field reference frame is running into the black hole by absorption, then fermions could change direction of polarization away from the black hole.
Extract of my Quantum Function Follows Form model.
1: Black holes are the same as Dark Matter, they all consume photons, even gravitons and the Higgs field, but REPEL Fermions due to their propeller shape. They produce electric charged plasma.
2: Dark Energy is the oscillating ( Casimir) energy of the Higgs Field equipped with a tetrahedron lattice structure with variable Planck length, increased around black holes..
3: Quantum Gravity = Dual Push gravity= Attraction (Higgs-Casimir pressure opposing Graviton pressure ).
4: The Big Bang is a Splitting dark matter Big Bang Black Hole (BBBH), splitting into smaller Primordial Big Bang Splinters (PBBS) forming the Fractal Lyman Alpha forest and evaporating partly into a zero mass energetic oscillating Higgs particle based Higgs field.
5: Dual PBBSs hotspots, produce central plasma concentration in electric Herbig Haro systems as a base for star formation in open star clusters even as a start for primordial Spiral Galaxies and galaxy clusters.
6: Spiral Galaxies will keep both Primordial Dark Matter Black Holes as Galaxy Anchor Black Holes (GABHs) connected by dual jets at long distance: (Milky Way= 27k Light years, based on recent observation)
7: After Galaxy Merging, these GABHs are the origin of
Galaxy- and Magnetic field complexity and newly formed dwarf galaxies in between GABHs
8: Black Holes produce Plasma direct out of the Higgs field by pair production. Two high energy Higgs particles ( by fluctuations at BH horizons) are convertible into symmetric electron and positron (or even dual quark-) propellers.
9: The chirality of the (Left Handed spiralling) vacuum lattice is the origin our material universe. Consequently A; propeller shaped positrons merge preferentially first with gluons to form (u) Quarks to form Hydrogen, B: neutrinos are always left handed .
10: The first Supernovas produce medium sized electric dark matter Black Holes as the base for secondary electric Herbig Haro systems the base for open star clusters.
11: ALL Dark Matter Black Holes are supposed to be CHARGE SEPARATORS with internal positive charge and an external globular shell of negative charged Quark electron plasma.
12: The light speed is related to gravity fields like the earth with long extinction distances to adapt with the solar gravity field both acting as reference frames. (See radar reflection anomaly on Venus)
13. Quantum FFF Theory states that the “raspberry shaped multiverse” is symmetric and instant entangled down to the smallest quantum level. Also down to living and dying Schroedinger CATS.
14 Large Primordial Big Bang Splinters (PBBS) are responsible for the creation of the Lyman Alpha forest structure and first spiral galaxy forming of the universe, but they seem to be also responsible for the implosion of the universe by the absorption of the Higgs field, in the form of Galaxy Anchor Black Holes (GABHs) located mainly outside galaxies. see: (See Quasisoft Chandra sources)
15, As a consequence of 12-14, Time is always local time in combination with cyclic period time of the multiverse.
16, If our material universes has a chiral left handed oscillating Higgs field, then our material Right Handed DNA helix molecule could be explained.
However it also suggests that in our opposing ANTI-MATERIAL multiverse neighbour universe the DNA helix should have a Left handed spiral.
According to Max Tegmark: in an entangled multiverse we may ask: is there COPY PERSON over there, who is reading the same lines as I do?
If this COPY person is indeed living over there, then even our consciousness should be shared in a sort of entangled DEMOCRATIC form,
Then we are not alone with our thoughts and doubts, see:
Democratic Free Will in the instant Entangled Multiverse.
In contrast with mainstream physics, Fermion and dust production around Cometary BH nuclei is observed at comet 67P CG. Also observed around small (Herbig Haro: HH) black hole horizons and assumed to happen during and after fractal inflation of the multiverse.
After Supernova explosion, at least one BH- and Dust is created able to form new HH systems after meeting with a second BH of the same size. Meeting with a larger BH will split the larger BH into two equal parts, as observed in the Eagle nebula.
www.flickr.com/photos/93308747@N05/8614005389/
At the end of the multiverse, it is supposed that most smaller dark matter black holes ( hot dark matter, like Herbig Haro objects) have merged into large Monster BHs. ( cold dark matter). Monster BHs (Galaxy Anchor Black Holes: GABHs) do not produce gas or dust due to their large angle of horizon curvature.
see also: www.dailygalaxy.com/my_weblog/2015/03/ancient-supernova-d...
It is said: "Our work strongly reinforces the theory that supernovae are producing the dust seen in galaxies of the early universe,"
Giant cranes attached to a pair of barges place an absorption tower onto a barge at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
Giant cranes attached to a pair of barges lift an absorption tower off of the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
I received recently an unusual 35mm range-finder camera Graflex Graphic 35 made in the U.S.A. in 1955 (see below the details about Graflex company and the camera). After a complete inventory and blank mechanical/optical checking, I did a test film with a FOMAPAN 100. The light was metered using a Minolta Autometer III fitted with a 10° viewfinder for selective metering privileging this shadow areas.
The camera was equipped with an adapted French FOCA « Dyma » x3.5 36mm push-on filter plus the metal shade hood made for the FOCA Standard camera. To compensate the Dyma filter absorption the Autometer was set on 32 ISO instead of the nominal 100 ISO of the film. The Dyma FOCA filter is an original glass formula containing neodymium giving band-selective visible spectrum absorptions in the green and yellow so that proximate tonalities in these bands are better separated.
I did the all photos along the way to Lyon Saint-Jean, Lyon, France.
View Nr. 23: 1/50s f/4 focusing at 4.3 ft
(version without the small pancarte on the lower-right corner, suppressed by constructive AI)
Chapeaux, July 30,, 2026
Rue Saint-Jean
69001 Lyon
After the last view #37 exposed, the film was rewound to the taking cartridge and revealed in a Posso tank with 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+50. The film was processed for 9min at 20°C.
The frames were then digitized using a Sony A7 camera (ILCE-7, 24MP) adapted to a macro Minolta Auto Bellow III with Minolta Bellow MD Macro lens 1:3.5 f=50mm and the dedicated slide duplicator Minolta. The light source was a LED panel (approx. 4x5') CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (version 15.4.1, June 2026) and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
———————————————
About the Graflex company and Graphic 35 camera:
Graflex (originally the Folmer & Schwing Manufacturing Company, founded in 1887 in New York) had long been renowned for its large- and medium-format press cameras (notably the Speed Graphic), which became the standard for photojournalism in the first half of the 20th century. After its acquisition by Kodak in 1905–1907, the works were moved to Rochester, New York. In 1926, following antitrust rulings, Graflex became independent again and continued production in Rochester until the early 1970s.
By the mid-1950s, large-format press cameras were losing ground to smaller, easier-to-use 35 mm cameras aimed at amateurs. Graflex responded by entering the 35 mm market. It had already marketed the Ciro 35 (derived from the earlier Cee-ay 35 of Candid Camera Corp., acquired via Ciro). In 1955 this design was thoroughly reworked into the Graphic 35.
Launch and Production
* Introduction: First shipments on 25 February 1955; press presentation on 8 March 1955 in New York.
* Manufacture: Body and final assembly in Rochester, N.Y. Lenses and shutters were imported from West Germany (Rodenstock or occasionally Enna “Graflar” 50 mm f/3.5 or f/2.8 lenses; Prontor-SVS leaf shutter, 1 s to 1/300 s + B, M/X sync, self-timer).
* Production period: Roughly August 1954 to July 1957 (sometimes listed as ending in 1958). Advertising continued into late 1960.
* Volume: Approximately 68,000 units (Graflex internal figures list 68,269 cameras distributed). Serial numbers began at 550,000 and later restarted at 1,100,000.
Introductory prices were about $77.50 (f/3.5) to $98–99.50 (f/2.8), making it one of the more affordable fully featured 35 mm rangefinders of its day.
Distinctive Features
* Push-button focusing on either side of the lens (“wing focusing”), invented by Graflex instrument maker Louis M. Traino, who received a $4,000 company award (roughly $35,000–40,000 in today’s money). A “Visi-Ready” distance scale was visible from above.
* Front-mounted, sideways-pull shutter-release lever.
* Spectramatic (later Universal Spectramatic) flash system, devised by engineering director Vernon Whitman: colour-coded bands that simplified aperture selection according to distance and guide number.
* Separate viewfinder and split-image rangefinder windows; film advance by knob (not coupled to shutter cocking, allowing intentional double exposures).
* Solid die-cast metal body with satin chrome finish and silver-grey leatherette covering (some later examples darker).
These features—especially the push-button focusing—were heavily promoted and helped the camera sell strongly in its first year.
After 1957–58 Graflex shifted to Japanese-made models (the Graphic/Century 35 series by Kowa, the Graphic Jet, etc.). The original Rochester-built Graphic 35 remains a characteristic mid-1950s American design: robust, unusually ergonomic in its controls, and still relatively affordable on the used market today.
It is one of the few non-Kodak 35 mm cameras actually made in Rochester and illustrates Graflex’s attempt to adapt to the postwar 35 mm amateur boom.
I did not find at now the optical formula of the lens. The lens takes 27mm screw-on filter and the external diameter is 32mm. With a little adaptation (rind made in a film canister cap...) one could fit the French FOCA filter push-on 36mm.
It seems that no lens cap was proposed for the Graphic 35. With a cap of Kodak 35mm canister, I made a plastic one to protect the front lens.
The range-finder is slightly off calibrated at infinite but it easy to correct the small shift to set the correct value on the distance scale that is only engraved in feet.
“You have seen nothing yet”, asserts Sinead O’Brien in single Girlkind – and you are inclined to believe her. Building on her arresting releases since 2018, the multifaceted Irish poet, songwriter and performer is ascending into new territory with her debut LP, Time Bend and Break the Bower, released via Chess Club Records.
Demanding a visceral response from her audiences, O’Brien issues a challenge to those who would box her music inside a notion of tradition. Instead, the artist’s poetry – a constant, active absorption of how people speak, communicate and clash in the era we are living through – is an essential clarion call heard in the future.
Communing at the triangulation of words, music and image, O’Brien is a conjurer of powerful worlds: and none are more powerful, or as immersive, as those of Time Bend and Break the Bower. In the space that exists between her delivery – at once wry, silky, vicious, and self-assured – and the music – a dynamic, dancing call-and-response from her collaborators, guitarist Julian Hanson and drummer Oscar Robertson – lies the record’s productive tension. Using a method of creating on-instinct, in constant communication with multisensory cues, O’Brien carves out her own space as a musical oracle for an ever-shifting era. Treading her path as a poet, not a singer, is how O’Brien has forged an identity she feels is truly hers: it is, simply, how the artist has to communicate.
If O’Brien’s delivery alone issues a challenge of genre, of categorisation, what is she telling us with those words? Born in Dublin and raised in Limerick, there are no overtly explicit references to O’Brien’s home country to be found in the new record, but the atmosphere of its landscape is nonetheless found in its lyrical world..On tracks like ‘Girlkind’, and latest single ‘Holy Country’, the narrative builds from abstract memories of home, before O’Brien’s wild current drags us somewhere else entirely, issuing an urgent protest as much as an incantation. In ‘Like Culture’, she carries a poem she began writing when she was 17 – an ode to coming together with friends on dance floors – through with her into the current moment, where the healing power of movement matters now more than ever.
O’Brien wants each word to be heard – to make impact. And she is being heard. Since 2020, O’Brien’s releases – such as 2021’s ‘Kid Stuff’ single, and 2020’s ‘Drowning in Blessings’ EP – have garnered international critical acclaim, from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music, as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her prior US support from the likes of Seattles’ KEXP with appearances at SXSW – in virtual form in 2021, and as she brings her band to Texas itself in spring 2022.
O’Brien has also toured across the UK and Europe at a number of venues and festivals, where she has stamped her unforgettable performance style alongside her musical collaborators – an impact that has led to her being invited to tour with Belle & Sebastian later in 2022. On stage, the raven-haired artist commands attention, demonstrating a kinetic connection with Hanson and Roberston with every sentiment she voices. Live performance is a vital ingredient of O’Brien’s ongoing project – it’s here that her contemporary sonics transform into a unique on-stage vocabulary, one that both seduces and challenges.
With a background on the design teams for John Galliano and, later, Vivienne Westwood, O’Brien’s cultural touchstones also span a rich history of art, photography, film, and dance: from Helmut Newton femme fatales and Henri Cartier-Bresson’s bleak landscapes, to modern movement performance by Michael Clark and Michael Laub companies, to the writings of Virginia Woolf and Samuel Beckett. Recently tapped by Alessandro Michele’s Gucci to perform, it’s clear that O’Brien’s esoteric instincts are inspiring those in spaces beyond the music industry as well as within it.
Relentless, surreal, incendiary, O’Brien operates inside her own atmosphere even as she constantly forms her response to the contemporary world she moves through. In 2022, with the release of her debut album, festival circuit presence, and multiple tour dates, the artist is blazing a trail into the new – always questioning, and asking you to join her.
Iron Man Records will be looking after Tour Management for Sinead O'Brien on her tour dates through September and October. Come and see the band play. If you are already an Iron Man Records Patron, ask if you are after guestlist places. I might be able to find you a ticket or two.
Listen here: sineadobrienpoetry.bandcamp.com/
The Ozone Hour.
Observed flux-calibrated spectra (blue and green lines) taken at solar altitudes of approximately -8° and -3° respectively. The models (red and orange lines) employ scattering of sunlight by molecules and aerosols in the atmosphere (as both source and sink terms) and ozone Chappuis band absorption. The solar spectrum used by this simple model is taken from the Hubble Space Telescope calibration database and represents the solar emission seen above the atmosphere. Note that water, O_2 and O_4 CIA absorption are not included in the model.
Note the sodium D-line emission in the early spectrum. This probably results from street lamp reflection by clouds close to the horizon.
The two photographs were taken at 07:23 (left) and 07:42UT (right).
The differences between the model and the observed spectra near the centre of the Chappuis band (notably the late spectrum) near 585nm is due to water absorption on the right and O_4 Collisionally Induced Absorption on the left.
I think the poor fit longward of 650nm is due, primarily, to having a too-simple single-path model.
Dock workers dismount off of the absorption tower so that it can be unloaded from the ship Thorco Clairvaux at the France Road Wharf in New Orleans on Saturday, May 17, 2014. (Photo by Peter G. Forest)
CO2 (O=C=O) asymmetric stretch and bends. Firefly 8.2.0 DFT B3LYP 6-311++G(d,p) geometry-optimized structure (energy minimum, no imaginary frequencies). C=O bond length = 1.16 Å. Gabedit 2.4.8 visualization. In a classical Newtonian sense, the atoms can be considered small weights on springs (covalent bonds) that vibrate at certain frequencies. The blue arrows represent the direction of atom movement within the molecule.
Carbon dioxide is an atmospheric pollutant, contributing to global warming and a mildly electrophilic acidic oxide, slightly reducing the pH in oceans by forming carbonic acid (CO2(aq) + H2O(l) → H2CO3(aq); reversible equation) which is affecting some aquatic life. There are global efforts to reduce CO2 formation and presence from combustion of fossil fuels and deforestation. The molecule absorbs and re-emits infrared radiation (heat) due to the asymmetric stretching and bending motions (the two asymmetric bending modes occur at the same frequency). There is also symmetric stretching, but is not shown here, as it is not detected in an IR spectrum. The dense atmosphere of Venus is mostly CO2, so has an uninhabitable surface temperature.
Cholesterol is needed in the body to:
•make up the structure of the membrane (outer layer) of every cell in the body,
•insulate nerve fibres,
•make hormones, such as sex hormones and steroid hormones, and
•make bile acids, which are needed for the digestion and absorption of fats.
'Good' and 'bad' cholesterol
Cholesterol cannot travel around the body on its own because it does not dissolve in water. Instead, it is carried in your blood by molecules called lipoproteins.
The two main lipoproteins are LDL and HDL.
•Low-density lipoprotein (LDL). LDL is the main cholesterol transporter and carries cholesterol from your liver to the cells that need it. If there is too much cholesterol for the cells to use, this can cause a harmful build-up in your blood. Too much LDL cholesterol in the blood can cause cholesterol to build up in the artery walls, leading to disease of the arteries. For this reason, LDL cholesterol is known as 'bad cholesterol', and lower levels are better.
•High-density lipoprotein (HDL). HDL carries cholesterol away from the cells and back to the liver, where it is either broken down or passed from the body as a waste product. For this reason, it is referred to as 'good cholesterol', and higher levels are better.
The amount of cholesterol in the blood (including both LDL and HDL) can be measured with a blood test.
Triglycerides:
Your doctor or nurse may also measure your level of triglycerides. Triglycerides are the fats you use for energy and come from the fatty foods you eat, and you store what you do not use in the fatty tissues of your body. Excess triglycerides in the blood also increase heart problems.
Blood cholesterol is measured in units called millimoles per litre of blood, often shortened to mmol/L. The government recommends that cholesterol levels should be less than 5mmol/L.
Evidence strongly indicates that high cholesterol levels can cause narrowing of the arteries (atherosclerosis), heart attack and stroke.
There are many factors that can increase your chance of having heart problems or stroke if you have high cholesterol. These are called risk factors.
•Some risk factors, such as an unhealthy diet and smoking, can be changed by altering your lifestyle.
•Some risk factors, such as having diabetes or high blood pressure, can be treated with medication.
•Some risk factors, such as having a family history of stroke or heart disease, cannot be changed.
Carbon dioxide (O=C=O) is a greenhouse gas, that absorbs at several wavelengths in the near infrared part of the electromagnetic spectrum. Starting with the linear molecule (top), asymmetric stretching (below top image) at 2349 cm-1 and bending (second from bottom) at 667 cm-1 (this data source Wikipedia). The bending is a degenerate pair mode (direction of vibration orthogonal to each other) and the stretching mode the more intense peak in the spectrum. There is also symmetric stretching (bottom; at 1388 cm−1), but is not detected in the IR spectrum.
The atmospheric infrared absorption causes these molecular vibrations and the molecule re-emits infrared heat in all directions, including downwards to Earth, causing extra warming (in addition to the Sun's radiation). Therefore, CO2 (and other greenhouse gases, e.g. methane from Arctic tundra) acts like a heat blanket. The dense atmosphere of Venus is mostly CO2, so the greenhouse effect is even more extreme, making the surface temperature even more uninhabitable.
It is now scientifically proven that the main cause of excess CO2, causing global warming (and climate change), is human activity: predominantly the burning of fossil fuels and deforestation. In addition, the excess CO2 is causing a slight decrease in seawater pH (by forming more dissolved carbonic acid), with the combined effect of increasing sea temperatures, affecting some marine life and ecosystems (e.g. coral reefs).
Sonata Vario Acoustic Absorbers Installed to the ceiling at at Kirkby Lonsdale Methodist Chapel to reduce reverberation with the main hall.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
A Complete nutrition formula with no artificial colors or flavors and no synthetic vitamins. For all medium to large exotic birds. More than 40 ingredients. Beans are cooked and dehydrated for better nutritional absorption. Potatoes are cooked and dehydrated. Vegetables and fruits are dehydrated unless noted otherwise. Best served cooked.
INGREDIENTS: INSTANT BROWN RICE, WHOLE WHEAT, ROASTED CORN, ROASTED ALMONDS AND CASHEWS, PAPAYA, TOMATO PASTA, SPINACH PASTA, SUN DRIED TOMATOES, PINEAPPLE, BANANA CHIPS, APPLES, CARROTS, SESAME SEED, MANGO, SWEETENED CRANBERRIES, APRICOTS, GREEN CABBAGE, LOW HEAT CHILI PEPPERS, WHOLE CINNAMON STICKS, FREEZE DRIED SWEET GARDEN PEAS, SWEET POTATOES, WHITE POTATOES, WHOLE STAR ANISE SEED, COOKED AND DEHYDRATED ASSORTED BEANS, PEAS, ROASTED CHIC PEAS, SWEET PEPPERS, BEETS, SHELLED WALNUTS, GOJI BERRIES, SPINACH, FREEZE DRIED SWEET CORN, BLUEBERRIES, HIBISCUS FLOWERS, PAPRIKA, FREEZE DRIED BANANAS, BASIL, DRIED LACTOBACILLUS ACIDOPHILUS FERMENTATION PRODUCT, DRIED LACTOBACILLUS CASEI, FERMENTATION PRODUCT, DRIED LACTOBACILLUS PLANTARUM FERMENTATION PRODUCT, DRIED LACTOBACILLUS FERMENTUM FERMENTATION PRODUCT, DRIED ENTEROCOCCUS FAECIUM FERMENTATION PRODUCT, AND DRIED BIFIDOBACTERIUM LONGUM FERMENTATION PRODUCT. DOES NOT CONTAIN PEANUTS.
Guaranteed Analysis: crude protein (min.) 13.75%; crude fat (min.) 7.5%; crude fiber (max.) 9%; moisture (max.) 5%; ash (max.) 7%
Refrigerate after opening to retain freshness.
DIRECTIONS FOR QUICK COOK:
1. Remove flavor fresh packet from container, add 1 1/2 cups of blend to 3 cups boiling water.
2. Stir, remove from heat and cover. Let stand until cool.
3. Stir again and feed. Refrigerate left over amount for up to 3 days.
Can be cooked ahead of time and frozen to be served at a later date.
Don't know how to use Strong Absorption Baby Diapers ? Here are the steps you need to follow. We have explained each step in detail. Read carefully, follow and make feel your baby comfortable.
Amsterdam
June 2012
The Netherlands
After this shot these guys politely offered to get out of my frame.
If the only knew..
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
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Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them..