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PictionID:46028931 - Catalog:Array - Title:Array - Filename:14_021082.tif - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
When completed, this solar energy array near OSU's Trysting Tree golf course will have a capacity of 450 kilowatts.
Varkala is a coastal town and municipality in Thiruvananthapuram district situated in the Indian state of Kerala. It is the suburban town of Thiruvananthapuram (Trivandrum city). It is located 50 kilometres north-west of Thiruvananthapuram (Trivandrum) and 37 km south-west of Kollam city.
Varkala is the only place in southern Kerala where cliffs are found adjacent to the Arabian Sea. These Cenozoic sedimentary formation cliffs are a unique geological feature on the otherwise flat Kerala coast, and is known among geologists as Varkala Formation and a geological monument as declared by the Geological Survey of India. There are numerous water spouts and spas on the sides of these cliffs.
Varkala is also famous for the 2,000-year old Janardana Swami Temple which is an important Vaishnavaite shrine in India and is often referred to as Dakshin Kashi (Benares of the South). The temple is located close to the Papanasam beach, which is considered to have holy waters which wash away sins, and is also an important Ayurveda treatment centre. The temple has an ancient bell removed from a shipwreck, donated by the captain of the Dutch vessel which sank near Varkala without causing any casualties.
Another major landmark in Varkala is the Sivagiri Mutt, established by the social reformer Sree Narayana Guru. The hill-top mausoleum of Sree Narayana Guru is one of the most famous monuments in Kerala.
HISTORY
LEGENDS
It is believed that a Pandyan King was instructed by Lord Brahma to build a temple at this very place to redeem him of his sins. But several other myths abound on the birth of Varkala. Another legend goes like this - when a group of pilgrims approached Saint Narada and told him that they had sinned, Narada threw his valkalam (a loin cloth made from the bark of a tree) and it landed at this scenic village and hence, the place came to be known as Varkala. Narada told the pilgrims to pray for their redemption at Papanasam, which literally means redemption from sins.
CLIMATE
Varkala has heavy rains during June–August due to the southwest monsoon. Winter starts from December and continues till February. In summer, the temperature rises to a maximum of 32 °C and 31 °C in the winters. Record high temperature in neighbouring Thiruvananthapuram is 39 °C. Annual average rainfall is 3,100
mm.
GEOLOGY
Varkala is an important place as far as Kerala Geology is concerned as it exposes sedimentary rocks belonging to the Cenozoic age, popularly known in the Geological literature as the Warkalli formation. Warkalli formation along with Quilon formation represents sediments laid down in the Kerala basin that existed during the Mio-pliocene times. Quilon formation of Miocene age is made up of limestones and the type area is Padappakara near Kollam (Same as Quilon) and the Warkalli formation of Mio-pliocene age (type are is Varkala) is made up of alternating beds of sands and shales exposed along the Varkala cliffs. Thin seams of lignite in the shales of the Warkalli formation suggests good vegetation at the time of deposition of the clayey sedimen
ECONOMY
Varkala is a well-known tourist destination. The town has excellent telecommunication facilities, an average-rated water supply system, fire station, several post offices and a police station. The town has government-run medical facilities in addition to over 10 private hospitals and clinics. A government-run nature cure hospital is also near the Papanasam cliff. The District Ayurvedic Hospital is located in Varkala.
Varkala is an important hub for neighbouring places Attingal, Kadakkavur, Chirayinkeezhu, Kallambalam, Paravur and Kilimanoor.
DEMOGRAPHICS
According to the 2001 census of India, Varkala has a population of 42,273. Males constitute 49% of the population and females 51%. Varkala has an average literacy rate of 88%, with 92% of males and 85% of females literate. 11% of the population is under 6 years of age.
The people of Varkala are generally employed in the service sector. A large number of them work outside India, mainly in the Middle East, Singapore, Brunei, Malaysia, the USA and the United Kingdom. Varkala has a ratio of tourists to residents is 1:3.
TOURISM
Tourism started thriving by the end of last century at the Varkala beach (Papanasam), which was earlier famous for Vavu Beli, a Hindu custom performed at the beach. Another beach is at Tiruvambadi, one kilometre away and en route the old palace. There is a helipad close to the beach. Scores of ayurvedic massage parlours line the promenade above the beach.
SIGHTSEEING HIGHLIGHTS
VARKALA BEACH
Varkala Beach or Papanasam beach is a haven for sun-bathing and swimming. It is one of the most popular tourism destination in Kerala. The evening views of the sunset are worth lingering over. The cliff and the beach houses a lot of resorts, restaurants and other shops. The cliff has a long stretch of small shops which goes on for over a kilometer. The black part of the sand on the Varkala Beach contains Thorium-oxide which is a radioactive substance. Thorium and Thorium-oxide and its isotopes are found all over Kerala and can be identified by its black colour.
CREMATIONS
Sections of Varkala Beach (Papanasam Beach) are used by Indians to scatter the ashes of their cremated dead relatives into the sea. Devotees believe that the strong religious properties of the water will extend to the souls of their most recently departed. Despite this burial activity, the sea is popular with swimmers both locals and foreign tourists.
Paravur is another municipal town with estuary and backwaters, situated 13 km away from Varkala. One could easily enjoy the beauty of this blessed land by travelling on the way towards Pozhikkara, Thekkumbhagam and Kappil. Paravur is in Kollam district, sharing borders with the Thiruvananthapuram district. Paravur has an array of backwaters and lakes surrounding the town. But with the advent of roads and others means of transport the inland waterways have been neglected. But renewed efforts are under way to start linking the waterways to an ambitious inland waterways system being sponsored by the state government on the lines of what once existed.
Paravur Lake attracts a good number of tourists. The lake meets the sea and in between a small stretch of road which divides them can be viewed on the way.
KAPPIL LAKE
Kappil Lake is about 4 kilometers north of Varkala Town. This serene estuary meanders through dense coconut groves before merging into the Arabian Sea. The bridge over the lake is quite a vantage point to view the backwater stretching white and grey to the distant blue horizon. Boating is another great way to browse this tranquil waterway.
ANJENGO FORT
Anjengo Fort is a fort near Varkala. It is a place of historic importance as well as beautiful natural setting, Anjengo is an ideal destination for those who don't mind walking around and explore what is in store. The historic significance tagged to Anjengo comes through foreign powers like the Portuguese, the Dutch and finally the English East India Company. In the year 1684, the English East India Company chose Anjengo to establish their first trade settlement in Kerala. At Anjengo, one can find the remnants of the old English Fort, which was targeted several times by other foreign powers, who were at that time fighting each other to get a firm footing in Kerala. The Fort is now under the protection of National Heritage Monuments. There is also a cemetery inside the fort, which most probably would be having the remains of the occupants of the fort, and the oldest among the burial sites dates to 1704. The beautiful Muthalapuzhi lake is situated in Anjengo.
VARKALA TUNNEL
Varkala Tunnel is a popular tourist highlight. It was a 281 m long tunnel built in 1867 by Sir T. Madhava Rao the dewan of Travancore, and took 14 years to complete. Varkala Lighthouse is another tourist highlight in the vicinity.
RELIGIOUS CENTRIES
JANARDANA SWAMI TEMPLE
Janardana Swami Temple is a very important Vaishnavite shrine and attracts thousands of pilgrims. The temple is about 2000 years old. Facing the temple is the Papasnanam beach where devotees take a bath in the belief that the sacred waters will wash away their sins. A large bell washed up from the wreck of a Dutch merchant vessel is kept on display at the temple.
SIVAGIRI MUTT
Sivagiri Mutt is a famous ashram in Varkala, founded by the philosopher and social reformer Sree Narayana Guru. Sree Narayana Guru's tomb is also located here. The Samadhi (the final resting place) of the Guru here attracts thousands of devotees every year during the Sivagiri Pilgrimage days 30 December to 1 January. The Sivagiri Mutt, built in 1904, is situated at the top of the Sivagiri hill near Varkala. Even decades after the guru breathed his last here in 1928; his samadhi continues to be thronged by thousands of devotees, donned in yellow attire, from different parts of Kerala and outside every year during the Sivagiri Pilgrimage days - 30 December to 1 January. The Sivagiri Mutt is also the headquarters of the Sree Narayana Dharma Sangham, an organization of his disciples and saints, established by the Guru to propagate his concept of 'One Caste, One Religion, One God'. The Guru Deva Jayanti, the birthday of the Guru, and the samadhi day are celebrated in August and September respectively every year. Colourful processions, debates and seminars, public meetings, cultural shows, community feasts, group wedding and rituals mark the celebrations.
SAKARA DEVI TEMPLE
Sarkara Devi Temple is a famous old temple situated near Varkala at Chirayinkeezhu. The temple is famous for the Kaliyoot festival on the Malayalam month of Kumbham (March).
SREE SARASWATHY TEMPLE
The Sree Saraswathy Temple, located in Venkulam, Edava, is a VidyaDevi temple famous for Navarathri Sangeetholsavam and Vijayadesami Vidyarambam.
KADUVAYIL JUMA MASJID
Kaduvayil Juma masjid is situated on NH47 in between Kallambalam and Attingal, is a famous Sunni pilgrimage centre which attracts local Muslims and Hindus.
WIKIPEDIA
Binary Boy requested more shots from the California outdoors.
Blogged, www.elsegundo.net/array-of-volleyball-nets-11-27-2007.html
ISS031-E-112645 (6 June 2012) --- The sun "peeking" through a solar array panel on the International Space Station caught the attention of one of the Expedition 31 crew members aboard the International Space Station. The thin blue line of Earth's atmosphere is visible in the background.
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
The Lawrence Livermore Microbial Detection Array (LLMDA), developed at Lawrence Livermore National Laboratory, has shown value for applications in detecting bioterrorism events, product safety and diagnostics. This device consists of probes fitted onto a one-inch-by-three-inch glass slide. Each probe tests for a particular sequence of DNA and small groups of probes can be used to check for specific bacteria or viruses.
The current LLMDA has been used to test for more than 2,000 viruses and 900 bacteria. The next generation LLMDA in development will expand that capability to 6,000 viruses, 2,000 bacteria as well as fungi and protozoa organisms. Any probe that detects its specific sequence will fluoresce, which will be read by a scanner and may indicate presence of that organism. The LLMDA team analyzed the safety of rotavirus vaccines and in one case detected a benign pig virus. LLNL also worked with Sausalito-based Marine Mammal Center to diagnose diseases that have struck California sea lions and harbor seals.
Photo by Jacqueline McBride/LLNL
Solar array on rooftop of Asian Pacific Health Care offices with Hollywood Hills in background, Los Angeles, California, USA
"I Say a Little Prayer" - Aly Michalka as Marti, Gail O'Grady as Wanda in HELLCATS on The CW..
Photo: Sergei Bachlakov/The CW.
©2010 The CW Network, LLC. All Rights Reserved.
Lab biologist Crystal Jaing holds up a Microbial Detection Array slide. State-of-the-art Lab detection technology recently was used to conduct vaccine analyses that unexpectedly found the presence of a benign pig virus.
On 140 acres of unused land on Nellis Air Force Base, Nev., 70,000 solar panels are part of a solar photovoltaic array that will generate 15 megawatts of solar power for the base.
"Stupidity, outrage, vanity, cruelty, iniquity, bad faith, falsehood / we fail to see the whole array when it is facing in the same direction as we."
~Jean Rostand
The Allen Telescope Array (ATA is a joint effort by the SETI Institute and the Radio Astronomy Laboratory (RAL) at the University of California, Berkeley to construct a radio interferometer that is dedicated to astronomical observations and a simultaneous search for extraterrestrial intelligence.
Source Allen Telescope Array
lt 044
Microphone array, mounted on the top of the van. This array allows very directional recordings to be made of birds. We were recording kokako.
a array of windows on the side of a building, decorative cast window surrounds and ornate cast iron railings - more free images like this in the design pack available at www.creativity103.com/design-packs/index.htm#ornamentation
A flower or flowers that seems to exist in a two-dimensional array with immature pink or purple flowerlings in the middle and mature white flowers around the periphery.
One could get a bit cross-eyed looking at this! It appears to be some sort of mechanized attack force . . .
As the light fades away, an array of colors spread across the sky, in a final reminder of its beauty, and without it, there is only darkness...
Uploaded with the Flock Browser
Camera array being lowered into the sea.
Image ID: fis01236, NOAA's Fisheries Collection
Location: Commonwealth of Northern Mariana Islands
Photographer: Melinda Storey, Mountain Brook ES, Birmingham, AL
Credit: NOAA Teacher at Sea Program, NOAA Ship PISCES
The lenses were placed on a black board of plastic. A charcoal colored sheet on the far end locks out the white wall. I used translucent white acrylic on the left and right side. A 300W strobe on the right side was triggered by a Speedlite that I manually fired on the left side while the camera was triggered with an infrared remote. Following a suggestion from Scoobay I tried to augment the reflections to be more varied and complex than in my previous attempts at lenses.
Unfortunately the scaling algorithm of Flickr created some ugly interferences on the front cover of the ultra wide lens.
Die Objektive stehen auf einer schwarzen Kunststoffplatte. Dahinter vermeidet eine dunkelgraue Platte Reflektionen von oben/hinten. Links und rechts habe ich das Licht mit milchigen Plexiglasscheiben gestaltet. Auf der rechten Seite stand ein simpler 300W Studioblitz, auf der linken Seite habe ich einen 430EX manuell abgefeuert, während ich die Kamera mit einer Infrarotfernbedienung ausgelöst habe. Einem Vorschlag von Scoobay folgend habe ich versucht, die Reflexe interessanter zu gestalten.
Leider hat die Skalierung von Flickr ein unschönes Interferenzmuster in die Frontabdeckung des Superweitwinkel interpoliert.