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All comments regarding this picture, subject, composition, etc are welcome and appreciated. TIA.

 

To learn more about Ruffed Grouse please visit www.allaboutbirds.org/news/search/?q=Ruffed%20Grouse

 

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© Photography of Ricardo Gomez Angel

All rights reserved. All images on this website are the property of Ricardo Gomez Angel. Images may not be reproduced, copied or used in any way without written permission.

 

© Fotografía de Ricardo Gomez Angel

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From our visit to the Rockies in May.

Abraham Lake, Alberta

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© Photography of Ricardo Gomez Angel

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© Fotografía de Ricardo Gomez Angel

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Comment une bibliothèque, un théâtre et d'autres partenaires culturels peuvent-ils cohabiter avec succès sous un même toit ? D'abord en abattant les cloisons...et deuxièmement, en combinant l’architecture de l’espace public avec le design de la programmabilité. Le résultat s’appelle Hub Kerkrade : non seulement un centre de ressources, mais aussi un vivier de connaissances, d’informations, d’éducation et de divertissement.

Kerkrade est une ville située dans la province la plus méridionale des Pays-Bas, à proximité de l'Allemagne. Le Hub Kerkrade, situé dans un ancien centre commercial, dispose d'une surface de pas moins de 5 000 m2, qui abrite le théâtre, la bibliothèque, divers partenaires culturels et l'école de musique de Kerkrade située à proximité. Cet emplacement fait partie du centre-ville revitalisé. Le design du Hub est une nouvelle co-création du guide créatif international et architecte Aat Vos (concept de design, stratégie, direction créative) en collaboration avec Mars Interior Designers (design, ingénierie).

A l'origine, la bibliothèque occupait la moitié de la surface du bâtiment et était séparée du théâtre par un mur. La suppression des cloisons a permis de créer plus d'espace, de lumière et une nouvelle idée pour le foyer. Cet espace pratiquement toujours vide s'est transformé en un espace de vie partagé multifonctionnel où l'on peut travailler, étudier ou se rencontrer. Le point de mire de cet espace se trouve dans le foyer : l'escalier du théâtre est équipé d'une belle rampe et d'un tapis rose rougeâtre, recouvert des deux côtés d'acier bleu. Le bar du foyer a été réalisé en cuivre et est désormais posé sur un fond de briques brutes, associé à un écran LED et à un caisson lumineux. Le « break drinks cabinet » vole la vedette, tant par sa taille que par l'éclairage changeant de couleur.

 

How can a library, a theatre and other cultural partners successfully coexist under one roof? Firstly by breaking down the walls...and secondly, by combining the architecture of public space with the design of programmability. The result is called Hub Kerkrade: not only a resource centre, but also a hotbed of knowledge, information, education and entertainment.

Kerkrade is a city in the southernmost province of the Netherlands, close to Germany. Hub Kerkrade, located in a former shopping centre, has a surface area of ​​no less than 5,000 m2, which houses the theatre, the library, various cultural partners and the nearby Kerkrade Music School. This location is part of the revitalised city centre. The design of the Hub is a new co-creation of international creative guide and architect Aat Vos (design concept, strategy, creative direction) in collaboration with Mars Interior Designers (design, engineering).

Originally, the library occupied half of the building's surface and was separated from the theatre by a wall. The removal of the partitions created more space, light and a new idea for the foyer. This almost always empty space has been transformed into a multifunctional shared living space where people can work, study or meet. The focal point of this space is in the foyer: the theatre staircase is equipped with a beautiful banister and a reddish-pink carpet, covered on both sides with blue steel. The foyer bar was made of copper and is now set against a background of raw bricks, combined with an LED screen and a light box. The "break drinks cabinet" steals the show, both in terms of its size and the colour-changing lighting.

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© Photography of Ricardo Gomez Angel

All rights reserved. All images on this website are the property of Ricardo Gomez Angel. Images may not be reproduced, copied or used in any way without written permission.

 

© Fotografía de Ricardo Gomez Angel

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All best wish happy and take care 2022

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THANK YOU EVERYONE FOR YOUR FAVS AND LOVELY COMMENTS THEY ARE MUCH APPRECIATED

 

Comments are always welcome and favs most appreciated.

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© Photography of Ricardo Gomez Angel

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© Fotografía de Ricardo Gomez Angel

Todos los derechos reservados. Todas las imágenes contenidas en este sitio web son propiedad de Ricardo Gomez Angel. Las imágenes no se pueden reproducir, copiar o utilizar de ninguna manera sin el permiso escrito

Comments are always welcome and favs most appreciated.

Comentarios y favoritos son siempre bienvenidos

 

© Photography of Ricardo Gomez Angel

All rights reserved. All images on this website are the property of Ricardo Gomez Angel. Images may not be reproduced, copied or used in any way without written permission.

 

© Fotografía de Ricardo Gomez Angel

Todos los derechos reservados. Todas las imágenes contenidas en este sitio web son propiedad de Ricardo Gomez Angel. Las imágenes no se pueden reproducir, copiar o utilizar de ninguna manera sin el permiso escrito

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A few shots all taken last week in and around The Great Fen, Cambridgeshire

 

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Iceland, Reykjavik

 

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Explored 11/7/11

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Masked Lapwing

Scientific Name: Vanellus miles

Description: Masked Lapwings are large, ground-dwelling birds that are closely related to the waders. The Masked Lapwing is mainly white below, with brown wings and back and a black crown. Birds have large yellow wattles covering the face, and are equipped with a thorny spur that projects from the wrist on each wing. The spur is yellow with a black tip. The Masked Lapwing has two subspecies resident in Australia. The southern subspecies has black on the hind neck and sides of breast, and has smaller facial wattles. Northern birds are smaller, without the partial black collar, but have a much larger wattle, which covers most of the side of the face. The sexes are similar in both subspecies, although the male tends to have a larger spur. Young Masked Lapwings are similar to the adult birds, but may have a darker back. The wing spur and facial wattles are either absent or smaller in size. The southern subspecies is also known as the Spur-winged Plover.

Similar species: The Banded Lapwing, V. tricolor, is much smaller (25 cm to 29 cm). It has a mostly black head and upper breast, with a distinct white eyestripe and bib. It also has a distinctive red patch at the base of the bill.

Distribution: The Masked Lapwing is common throughout northern, central and eastern Australia. Masked Lapwings are also found in Indonesia, New Guinea, New Caledonia and New Zealand. The New Zealand and New Caledonian populations have been formed from birds that have flown there from Australia.

Habitat: The Masked Lapwing inhabits marshes, mudflats, beaches and grasslands. It is often seen in urban areas. Where this bird is used to human presence, it may tolerate close proximity; otherwise it is very wary of people, and seldom allows close approach.

Feeding: Masked Lapwings feed on insects and their larvae, and earthworms. Most food is obtained from just below the surface of the ground, but some may also be taken above the surface. Birds are normally seen feeding alone, in pairs or in small groups.

Breeding: Masked Lapwings may breed when conditions are suitable. Both sexes share the building of the nest, which is a simple scrape in the ground away from ground cover. This nest is often placed in inappropriate locations, such as school playing fields or the roofs of buildings. Both sexes also incubate the eggs and care for the young birds. The young birds are born with a full covering of down and are able to leave the nest and feed themselves a few hours after hatching.

 

The Masked Lapwing is notorious for its defence of its nesting site. This is particularly the case after the chicks have hatched. Adults will dive on intruders, or act as though they have a broken wing in an attempt to lure the intruder away from the nest.

Minimum Size: 33cm

Maximum Size: 38cm

Average size: 36cm

Breeding season: At any time of the year

Clutch Size: 3 to 5

(Source: www.bridsinbackyards.net)

 

© Chris Burns 2018

__________________________________________

 

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This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.

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Taskmaster, focused on the task of breaking into the case where the weapon was, failed to notice the body of Deadpool crawling to it's head. As the body reached the head it leaped to it's feet and placed the head on it's shoulders.

 

"That is one heck of a headache!"

 

Taskmaster turns his attention to Deadpool. His eyes widen underneath his mask.

 

"How?"

 

"One thing you'll never be able to mimic of mine. Regeneration. Thirteen out of fourteen Doctors approve."

 

Taskmaster unsheathes his sword.

 

"I won't need it."

 

"Well we'll see about that."

 

Deadpool runs towards Taskmaster. As he gets close to him he jumps over him doing a front flip in the process. Deadpool punches the glass of the case and rips out the sword from it's pedestal.

 

"What does this weapon even do? Any volunteers?"

 

Deadpool points the tip of the sword towards Taskmaster and smiles underneath his mask.

 

"You sir! You are the next contestant on the Chopping Block! "

 

Deadpool raises the sword high above his head.

 

"I have the power!

 

As Deadpool begins to swing the sword towards him, Taskmaster pulls out a smoke pellet from his belt and throws it at the ground. The smoke distracts Deadpool long enough for Taskmaster to make an escape from the vault.

 

"Skeletor!"

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 

K, well apparently I didn't upload this like weeks ago. So here it is.

Author unknown

  

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Better Colors in Safari and Firefox

 

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All my pictures are under full copyright. If you are interested in using or purchasing one of my photos, or make a photo session please email me by flickrmail or at cmorenophoto@gmail.com.

 

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in the Indiana Statehouse

 

This is a copy of an original bust by French sculptor Jean Antoine Houdon in 1785. The original was created in George Washington’s home.

 

The colored rectangles on our national hero, our Republic's Lucius Quinctius Cincinnatus, our number one founding father, are my two cents of comment.

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Cropped

 

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Thank you and I hope you enjoy your day :-)

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© Photography of Ricardo Gomez Angel

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© Fotografía de Ricardo Gomez Angel

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Comments are always welcome and favs most appreciated.

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© Photography of Ricardo Gomez Angel

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© Fotografía de Ricardo Gomez Angel

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Comment fonctionne un four à goémon ?

L’incinération des laminaires sèchées s’effectue vers le début de l’automne, en plein air, à proximité des lieux de récolte, dans des fours de type assez primitif. Un four est une rigole de 10 à 15 mètres de long et de 60 centimètres de large pour 40 centimètres de profondeur environ. Des dalles de pierre tapissent le fond et les parois de la fosse. Le feu y est allumé avec des genêts et des ajoncs.

Quand le four est chaud, on répartit les laminaires sèches en couches minces et le feu s’entretient ainsi, en partie étouffé en rajoutant de temps à autre du goémon frais. La température atteint 800°. Peu à peu se forme une bouillie grise que l’on doit remuer avec de gros bâtons ferrés. Dans cet état pâteux, on sépare la masse en blocs de 50 centimètres environ avec des laminaires fraîches. On obtient ainsi lors du refroidissement, des blocs ou ‘pains’ de soude.

Cinq à six tonnes de goémon frais donnent une tonne de goémon sec avec lequel on prépare environ 200 kg de soude, et plus tard près de 10 kilos d’iode...

patrimoinedesabers.fr/de/landeda/histoires/214-historique...

 

Une industrie chimique en Bretagne

La Bretagne, n’est pas particulièrement réputée pour son industrie chimique. Pourtant, depuis les premières décennies du 18e siècle, c’est à dire depuis le début de la chimie "moderne", une activité chimique y est menée, sans interruption, autour des algues. (Voir)

 

L’industrie de la "soude" (carbonate de sodium) se développe d’abord. On extrait ce produit des cendres de goémons séchés. Il est indispensable à la fabrication du verre. Cette activité s’arrête à la fin du 18e siècle quand de nouveaux procédés sont découverts.

 

Elle reprend en 1829 après que le chimiste Bernard Courtois ait découvert, en 1812, un nouveau et utile produit dans les cendres d’algues : l’iode. L’iode est utilisée, en particulier, en photographie et en médecine. Sa production en Bretagne s’arrête en 1952 à cause de la concurrence de l’iode extrait des nitrates du Chili.

 

Aujourd’hui le relais est pris par l’extraction des alginates contenus dans les grandes laminaires. En 1883 Edward Stanford isole l’algine des algues, plus tard le norvégien Axel Kefting en extrait l’acide alginique. La production à grande échelle commence en 1930. La Bretagne en produit environ 2000 tonnes dans les usines de Lannilis et Landerneau. Les alginates sont des agents épaississants et stabilisateurs qui interviennent aussi bien dans l’industrie pharmaceutique que dans l’industrie alimentaire ou celle du papier, des colorants ou des produits de moulage.

 

Plus confidentiels mais tout aussi riches d’intérêt sont les usages alimentaires, pharmaceutiques et cosmétiques des algues.De nombreux laboratoires, dans le Finistère, travaillent dans ces domaines pour des produits " haut de gamme " souvent destinés à l’exportation.

seaus.free.fr/spip.php?article130

____________________________

 

A chemical industry in Brittany, in the past and today

Northern Finistère, in Brittany, is not really welknown for its chemical industry. Yet, since the 17th century, that is to say when chemistry started to develop, a chemical industry was carried out, non stop, around seaweed.

 

In the past

The industry of « soda » (sodium carbonate) first developed. This product is extracted from ashes of dried seaweed. It is necessary to make glass and soap. That activity came to an end at the end of the 18th century when new ways were discovered.

 

It resumed in 1829 after Bernard Courtois, the chemist, had discovered in 1812 a new an useful product in seaweed ashes : iode. It is mainly used in photo-making and medecine. Its production in Brittany stopped in 1952, because of the competition of iodine, extracted from nitrates in Chili.

 

Today

Today, the extraction of alginates contained in big laminaria has taken over. In 1883, Edward Stanford isolated the algine of seaweed, later Axel Kefting, a Norvegian, extracted algine acid. Its production on a large scale started in 1930. Brittany produces about 2000 tons in its factories in Lannilis and Landerneau. Alginates are thickening and stabilying agents, that are used both in the pharmaceutical industry and food industry, or in that of paper, colouring or moulding products.

 

The use of seaweed in food, pharmacy or cosmetics is less known., though worthy of interest. Many laboratories in Finistere work in that field for « top quality » products, often meant for export.

 

The burning of seaweed

Each year, the museum of seaweed gatherers, in Plouguerneau, on the Northern coast of Finistère organises the burning of seaweed in its old furnaces so as to get ashes with a large amount of soda. We went on the spot, to extract a « soda loaf », in a compact shape. The hot cinders seem to be melting, and are cast in the cells of the furnace, while they are cooling.

 

The mechanical processing of the ashes :

We first roughly broke the « soda loaf » with a hammer. We, then, crushed the ashes in a mortar with a pestel. Then, we sifted them, to obtain a thin powder.

 

The washing of the ashes

We left to boil 20g of the ashes in 100 cm3 of water for about 5 min. We filtered it. A solid deposit of about 9g was left (weighed after drying). The solution contains soluble substances, mainly carbonate and iodur ions.

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Had an amazing with my friends Laura and Ashley. We went rollerblading, as you can see. :)

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Tomorrow I'm leaving for my cousins wedding in Idaho. The wedding is on Saturday, but we are going early and stopping in Yellowstone. I'm excited to get a change of scenery, but my families isn't quite what you call... well, campers. lol Needless to say, it will be interesting.

 

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