View allAll Photos Tagged complexity
Edited Cassini montage of PR images of the scalloped edges of a gap in the rings of Saturn where the moon Daphnis is making things complex. This image shows a close-up of one crest in the rings. Processing variant.
Image source: photojournal.jpl.nasa.gov/catalog/PIA23167
Original caption: This enhanced-color image mosaic shows Daphnis, one of the moons embedded in Saturn's rings, in the Keeler gap on the sunlit side of the rings. Daphnis is seen kicking up three waves in the gap's outer edge. Three wave crests of diminishing sizes trail the moon. In each successive crest, the shape of the wave changes as the ring particles within the crest interact and collide with each other. A thin strand of ring material to the lower left of Daphnis is newly visible in this image, and there are intricate features that also hadn't been previously observed in the third wave crest downstream (see Figure 1).
Cassini was at a very shallow angle above the rings (only about 15 degrees) when this image was taken. The resulting foreshortening makes it difficult to tell the difference in this image between features representing vertical structure and those representing radial, or outward from Saturn, structure within the ring plane. Nonetheless, Cassini imaging scientists have determined that the waves in the gap are largely vertical; compare this to the shadows that they were seen to cast during equinox (see PIA11547, PIA11653, PIA11655 and PIA11656). The thin strand of material is also probably vertical. Daphnis itself is actually five times smaller than the width of the gap, but it looks bigger here because of the foreshortening.
The color in this image comes from using Imaging Science Subsystem images obtained by applying different filters to "paint" color onto the black-and-white version of this view previously released as PIA17212. The color of the ring region outward of the Keeler Gap (the "trans-Keeler region," in the lower portion of this image) is noticeably different from the color inward from the gap (upper portion of this image). In visible light, this color difference sharply coincides with the gap, while near-infrared Visible and Infrared Mapping Spectrometer (VIMS) images show some bleeding of the trans-Keeler region into the region inward from the gap. The reasons for the sharp change in color are mysterious, but they probably have more to do with a change in particle sizes and other properties than with a change in composition.
The images in this mosaic were taken in visible light, using the Cassini spacecraft narrow-angle camera at a distance of approximately 17,000 miles (28,000 kilometers) from Daphnis and at a Sun-Daphnis-spacecraft angle, or phase angle, of 71 degrees (for the color images, 58 degrees). Image scale is 550 feet (170 meters) per pixel.
The image was produced by Tilmann Denk at Freie Universität in Berlin.
Figure 1 shows a closeup of the third wave crest (toward the far left in the color image) focusing on detail scientists hadn't seen before, with multiple strands of ring material visible. The image shows how the ring material behaves after losing the structure Daphnis triggered and goes back to interacting with itself.
The ribbon of material that appears to be protruding into the gap in the right-hand portion of the image is probably actually soaring above the ring plane. Toward the left-hand part of the image, that same ribbon of material dives below the ring plane and becomes obscured by the main part of the rings, which is why it disappears from view.
The image shown in Figure 1 was taken in visible light, using the Cassini spacecraft narrow-angle camera at a distance of approximately 15,000 miles (23,000 kilometers) from Daphnis and at a Sun-Daphnis-spacecraft angle, or phase angle, of 94 degrees. Image scale is 520 feet (160 meters) per pixel. Unlike the main image, the image in Figure 1 was taken on the unlit side of the rings.
The Cassini mission is a cooperative project of NASA, ESA (the European Space Agency) and the Italian Space Agency. The Jet Propulsion Laboratory, a division of Caltech in Pasadena, manages the mission for NASA's Science Mission Directorate in Washington. The Cassini orbiter and its two onboard cameras were designed, developed and assembled at JPL. The imaging operations center is based at the Space Science Institute in Boulder, Colorado.
For more information about the Cassini-Huygens mission visit solarsystem.nasa.gov/cassini. The Cassini imaging team homepage is at ciclops.org.
ci sono parentesi
in cui una curva
di pensiero
è tangente
alla prospettiva
la linea
del fondo
diviene residuo
sottile
si perde
nella sostanza
-luz-
Edited Cassini montage of PR images of the scalloped edges of a gap in the rings of Saturn where the moon Daphnis is making things complex. This image shows a close-up of one crest in the rings. Processing variant.
Image source: photojournal.jpl.nasa.gov/catalog/PIA23167
Original caption: This enhanced-color image mosaic shows Daphnis, one of the moons embedded in Saturn's rings, in the Keeler gap on the sunlit side of the rings. Daphnis is seen kicking up three waves in the gap's outer edge. Three wave crests of diminishing sizes trail the moon. In each successive crest, the shape of the wave changes as the ring particles within the crest interact and collide with each other. A thin strand of ring material to the lower left of Daphnis is newly visible in this image, and there are intricate features that also hadn't been previously observed in the third wave crest downstream (see Figure 1).
Cassini was at a very shallow angle above the rings (only about 15 degrees) when this image was taken. The resulting foreshortening makes it difficult to tell the difference in this image between features representing vertical structure and those representing radial, or outward from Saturn, structure within the ring plane. Nonetheless, Cassini imaging scientists have determined that the waves in the gap are largely vertical; compare this to the shadows that they were seen to cast during equinox (see PIA11547, PIA11653, PIA11655 and PIA11656). The thin strand of material is also probably vertical. Daphnis itself is actually five times smaller than the width of the gap, but it looks bigger here because of the foreshortening.
The color in this image comes from using Imaging Science Subsystem images obtained by applying different filters to "paint" color onto the black-and-white version of this view previously released as PIA17212. The color of the ring region outward of the Keeler Gap (the "trans-Keeler region," in the lower portion of this image) is noticeably different from the color inward from the gap (upper portion of this image). In visible light, this color difference sharply coincides with the gap, while near-infrared Visible and Infrared Mapping Spectrometer (VIMS) images show some bleeding of the trans-Keeler region into the region inward from the gap. The reasons for the sharp change in color are mysterious, but they probably have more to do with a change in particle sizes and other properties than with a change in composition.
The images in this mosaic were taken in visible light, using the Cassini spacecraft narrow-angle camera at a distance of approximately 17,000 miles (28,000 kilometers) from Daphnis and at a Sun-Daphnis-spacecraft angle, or phase angle, of 71 degrees (for the color images, 58 degrees). Image scale is 550 feet (170 meters) per pixel.
The image was produced by Tilmann Denk at Freie Universität in Berlin.
Figure 1 shows a closeup of the third wave crest (toward the far left in the color image) focusing on detail scientists hadn't seen before, with multiple strands of ring material visible. The image shows how the ring material behaves after losing the structure Daphnis triggered and goes back to interacting with itself.
The ribbon of material that appears to be protruding into the gap in the right-hand portion of the image is probably actually soaring above the ring plane. Toward the left-hand part of the image, that same ribbon of material dives below the ring plane and becomes obscured by the main part of the rings, which is why it disappears from view.
The image shown in Figure 1 was taken in visible light, using the Cassini spacecraft narrow-angle camera at a distance of approximately 15,000 miles (23,000 kilometers) from Daphnis and at a Sun-Daphnis-spacecraft angle, or phase angle, of 94 degrees. Image scale is 520 feet (160 meters) per pixel. Unlike the main image, the image in Figure 1 was taken on the unlit side of the rings.
The Cassini mission is a cooperative project of NASA, ESA (the European Space Agency) and the Italian Space Agency. The Jet Propulsion Laboratory, a division of Caltech in Pasadena, manages the mission for NASA's Science Mission Directorate in Washington. The Cassini orbiter and its two onboard cameras were designed, developed and assembled at JPL. The imaging operations center is based at the Space Science Institute in Boulder, Colorado.
For more information about the Cassini-Huygens mission visit solarsystem.nasa.gov/cassini. The Cassini imaging team homepage is at ciclops.org.
On turning ten...
The whole idea of it makes me feel
like I'm coming down with something,
something worse than any stomach ache
or the headaches I get from reading in bad light--
a kind of measles of the spirit,
a mumps of the psyche,
a disfiguring chicken pox of the soul.
You tell me it is too early to be looking back,
but that is because you have forgotten
the perfect simplicity of being one
and the beautiful complexity introduced by two.
But I can lie on my bed and remember every digit.
At four I was an Arabian wizard.
I could make myself invisible
by drinking a glass of milk a certain way.
At seven I was a soldier, at nine a prince.
But now I am mostly at the window
watching the late afternoon light.
Back then it never fell so solemnly
against the side of my tree house,
and my bicycle never leaned against the garage
as it does today,
all the dark blue speed drained out of it.
This is the beginning of sadness, I say to myself,
as I walk through the universe in my sneakers.
It is time to say good-bye to my imaginary friends,
time to turn the first big number.
It seems only yesterday I used to believe
there was nothing under my skin but light.
If you cut me I could shine.
But now when I fall upon the sidewalks of life,
I skin my knees. I bleed.
Billy Collins
women+traditional alger city veil+islamic veil+cig =
a smashing variety of greys....algeria isn't a country in black and white only.
hijab+'jar+garo....
Work is well underway on Sky Waka, the new high-speed gondola at Whakapapa on New Zealand’s North Island, with the team facing ever-changing logistical challenges with engineering specifications, getting materials on-site, and the physical construction process.
Lack of access over unique volcanic terrain adds to the complexity of this project. Even transporting concrete from the truck to the construction site has required some out of the box thinking.
“Conventional concrete trucks drive part way up the mountain and are then replaced with a trailer concrete mixing bowl with a 3.5 cubic metre capacity” says Whakapapa General Manager, Jono Dean.
“The concrete is then transferred onto a purpose built aerial material ropeway system that then transfers the loads to the locations required in the mid mountain. To date, 400 of the 1100 tonnes required for this project has been transported.”
The Swiss engineered ropeway can transport up to 5 tonnes of equipment and materials without relying on helicopter use, which can be restricted due to weather conditions. At over 1000m in length with towers up to 34m tall, it is the first of its kind in NZ to be constructed for the purpose of building a passenger ropeway on a ski field.
“We’ve had amazing luck with weather this summer, which has got the project off to a great start but being up a mountain conditions could change rapidly and affect the project timeline.”
The construction of the 14 tower foundations to support the new Sky Waka gondola line are nearly complete and work is underway on the terminal stations where people will get on and off the gondola.
Italian based company Leitner is supplying and installing the gondola, and General Manager David Ratcliffe says he’s excited to be involved in New Zealand’s largest gondola installation. “This project has presented unique challenges but work is progressing well and it’s exciting to be a part of such an iconic project.”
The fifty Sky Waka gondola cabins will feature floor to ceiling glass for breathtaking views, internal ski racks, audio and lighting and individual leather seats offering business-class luxury to passengers befitting of the UNESCO Dual World Heritage status of Whakapapa Ski Area. Each cabin accommodates 10 passengers and even the tallest skiers will be able to stand upright in the cabin with more than 2m of internal clearance.
The Sky Waka will run from the Top of the Bruce base area directly to the award-winning Knoll Ridge Café. It will transport 2,400 people per hour over the 1.8km in approximately 5 minutes.
Social and economic indicators for the gondola project are compelling, with a team of about 35 hands on people working on the project and another estimated 100 people contributing to the project behind the scenes, including a strong contingent of local employment from the area.
The gondola project has involved working closely with Ngati Tuwharetoa and DOC which has seen a significant reduction in the number of structures on the mountain, the new installation having less than half of the structures it replaces.
As a public benefit entity RAL invests its proceeds back into developing the mountain’s facilities and the new gondola forms part of the $100m reinvestment strategy announced by the RAL board in 2015.
Les travaux vont bon train sur Sky Waka, la nouvelle télécabine à haute vitesse de Whakapapa, sur l’île du Nord de la Nouvelle-Zélande. L’équipe est confrontée à des défis logistiques en constante évolution: spécifications techniques, mise en place des matériaux et processus de construction.
Le manque d'accès sur un terrain volcanique unique ajoute à la complexité de ce projet. Même le transport du béton du camion sur le chantier a nécessité une réflexion originale.
«Les camions en béton conventionnels roulent en partie sur la montagne et sont ensuite remplacés par un bol à béton d'une remorque d'une capacité de 3,5 mètres cubes», a déclaré Jono Dean, directeur général de Whakapapa.
«Le béton est ensuite transféré sur un système de remontée mécanique sur matériaux aériens spécialement conçu à cet effet, qui transfère ensuite les charges aux emplacements requis en moyenne montagne. À ce jour, 400 des 1 100 tonnes requises pour ce projet ont été transportées. ”
Les remontées mécaniques suisses peuvent transporter jusqu'à 5 tonnes d'équipements et de matériaux sans recourir à l'utilisation d'hélicoptères, ce qui peut être limité en raison des conditions météorologiques. Avec plus de 1000 m de long et des tours atteignant 34 m de haut, il s'agit du premier du genre en Nouvelle-Zélande à être construit dans le but de construire un téléphérique pour passagers sur un domaine skiable.
"Nous avons eu une chance incroyable avec la météo de cet été, ce qui a donné un bon départ au projet, mais être dans les conditions montagneuses pourrait changer rapidement et avoir une incidence sur le calendrier du projet."
La construction des 14 fondations de la tour pour soutenir la nouvelle gondole Sky Waka est presque terminée et des travaux sont en cours sur les gares terminales où les gens pourront monter et descendre de la télécabine.
Leitner, société italienne, fournit et installe la gondole. Le directeur général, David Ratcliffe, se dit ravi de participer à la plus grande installation de gondoles de Nouvelle-Zélande. "Ce projet a présenté des défis uniques, mais le travail avance bien et c’est excitant de faire partie d’un projet aussi emblématique."
Les cinquante cabines de la télécabine Sky Waka comprendront des baies vitrées offrant une vue époustouflante, des porte-skis internes, un système audio et d'éclairage ainsi que des sièges individuels en cuir offrant un luxe de classe affaires aux passagers, digne du statut de domaine de ski de Whakapapa classé au double patrimoine mondial de l'UNESCO. Chaque cabine peut accueillir 10 passagers et même les plus grands skieurs pourront se tenir debout dans la cabine avec plus de 2 m de dégagement interne.
Le Sky Waka ira de la base de Top of the Bruce au Knoll Ridge Café, un établissement primé. Il transportera 2 400 personnes par heure sur 1,8 km en 5 minutes environ.
Les indicateurs sociaux et économiques du projet de gondole sont convaincants, avec une équipe d'environ 35 personnes travaillant sur le projet et environ 100 personnes contribuant au projet en coulisse, y compris un fort contingent d'emplois locaux de la région.
Le projet de télécabine a impliqué une collaboration étroite avec Ngati Tuwharetoa et DOC, qui a enregistré une réduction significative du nombre de structures en montagne, la nouvelle installation remplaçant moins de la moitié des structures.
En tant qu’entité d’intérêt public, RAL réinvestit ses recettes dans le développement des installations de la montagne. La nouvelle télécabine fait partie de la stratégie de réinvestissement de 100 millions de dollars annoncée par le conseil d’administration de RAL en 2015.
Entry in category 3. Locations and instruments; Copyright: CC-BY-NC-ND: Yves Suter
My complexity image is shot on a Zeiss Ikon rangefinder camera, with a 35mm lens on analog Kodak Film (ISO 200) Material, at afternoon daylight. In my complexity work, I try to show raw jungle. Not like a tourist agency would show it, just how it really is. Pure, untouched jungle. I tried to set range in a very complex environment, showing the complexity and dense mixture of flora and fauna far from human civilization. By focusing like this, you can stare and catch a glimpse of this somewhat barbarian wildness. The bigger you print this picture and the longer you watch it, the more you can get lost in the complexity of nature.
Camera: Pentax Spotmatic SP, f3.5 28mm SMC Takumar lens. Plus-X, pulled to ISO 40 because it expired in 1977. Hamilton and Spencer, Ottawa, ON.
'Food Security, Livelihoods and Livestock in the Developing World' slide presentation in 2010 by Mario Herrero: 'Addressing complexity' (figure credit: ILRI/Herrero).
The complexity of the Swithland Sidings lay-out is highlighted in this telephoto view from the signal box as Southern Railway Schools 4-4-0 925 Cheltenham heads tender-first out of the sun towards Loughborough. 925 is running under clear signals with the Swithland Down Home & Down Inner Distant both cleared. What is not obvious is the fact that 4-6-0 777 Sir Lamiel is running light engine alongside 925 on the Up line.
On the left the double slip out of the Up Loop/Up sidings can be seen together with the Swithland Up Main Starter above the Rothley Up Outer Distant plus the Backing Signal to control "wrong road" movements on the Up lines. The catch point at the south end of the Down Loop is seen on the far right.
Nature did this! Passionfruit flower in all its glory, intricacy and bewildering complexity. Solar powered design and construction and not a project manager in sight! Taken with macro lens and focus stacked.
Stapled - Close view of a wood pole for power or phone lines in an alley of Flagstaff AZ. There have been so many posters and flyers stapled in this section of the pole it may not be possible to continue posting flyers with staples.
Mac Huy Nguyen from Mac Tax, Inc. in Fountain Valley helps clients strategically prepare & file IRS Tax Return. CALL and talk to a 20 yr Experienced Tax Expert that understand how to use the latest tax codes in your favor (714) 429-0777
‘Complexity’ includes irrationality. Maharaja Sayajirao University Department of Archeology display.
This (together with a taller version) was my suggestion to a high tech furniture company which was going to a fair and made a call for suggestions. I visualized it as a center piece for a long table made from dark wood. My suggestion was not selected.
I would love to own all these white bars!
Flashback to
[ This ]
[ This ]
[ This ]
TOTAL ARMAGEDDON is about design. And culture. And complexity, notably how we, as a global civilization, deal with science fiction, taste, social media, the cities we live in, aesthetics, PowerPoint, burkas, Big Tech, full-contact sports, and other thorny topics. A collection of both essays that are brand new, as well as the very best essays from past issues of Slanted Magazine, written by the most vital and vibrant global voices in writing on design and culture today such as Steven Heller, Piotr Rypson, Gerry Leonidas, Yoon Soo Lee, Kiyonori Muroga, and a host of others.
The book celebrates 15 years of independent publishing and brings together the who is who of authors and essays from 32 issues of Slanted Magazine. With financing this special publication on Kickstarter, we attempted to integrate our audience and followers to be a part of the creative process, a publication for our loyal friends and also new design enthusiasts alike.
TOTAL ARMAGEDDON comes with essays by Can Altay, Eran Bacharach, Simon Baker, Emanuel Barbosa, Laure Boer, Gerda Breuer, Dr. Nadine Chahine, Doug Clouse, Olga Drenda, Jori Erdman, Marcus Farr, Kenneth FitzGerald, Charlotte von Fritschen, Amélie Gastaut, Martin Giesen, Jonathan M. Hansen, Steven Heller, Ilka Helmig, Will Hill, Lorena Howard-Sheridan, Natalia Ilyin, Mr. Keedy, Marianna Kellokoski, Matilda Kivelä, Toshiaki Koga, Iwona Kurz, Carolina Laudon, Yoon Soo Lee, Gerry Leonidas, Christine Lhowe, Tim Loffing, Mathieu Lommen, Ian Lynam, Dermot Mac Cormack, Georgios Matthiopoulos, Julia Meer, Silas Munro, Kiyonori Muroga, Randy Nakamura, Alexander Negrelli, Ingo Niermann, Panos Papanagiotou, Natassa Pappa, David Peacock, Louise Rouse, Piotr Rypson, Niki Sioki, Huda Smitshuijzen AbiFarès, Thierry Somers, Sonja Steppan, Agata Szydłowska, Aleksander Tokarz, Alexander Torell, Angela Voulangas, Rene Wawrzkiewicz, Wolfgang Weingart, and Onur F. Yazıcıgil.
TOTAL ARMAGEDDON—A Slanted Reader on Design
Publisher: Slanted Publishers (www.slanted.de/en)
Editor: Ian Lynam, Slanted Publishers
Release: March 2019
Volume: 400 pages
Format: 16 × 24 × 3,2 cm
Language: English
Printing: LE-UV offset + white (Druckerei Vogl)
Paper: Holmen BOOK Extra 2.0 (Holmen Paper)
Cover material: Invercote G Metalprint (Iggesund Paperboard)
Typefaces: Beatrice (Sharp Type) and Edit Serif (Atlas Font Foundry)
As my style of collage becomes mixed media i challenge my inner self and harmony to produce creations that only i truly understand. The complexity of steampunk comes to life here with a huge 8 inch wooden cog setting off a mobile feeling of time tick tocking onwards.
This is 20" x 20" canvas and i loved every minute of it.
Andy always says the same thing........"dont put any more bling on "
But what does he know he only has one colour - MUD hahaha.
I thought i must create some pieces for my home to combat the war of tank, armoured vehicles, planes , ships etc that invade my every view.
This is "Life in Purple and Gold"
Using wood, metal embellishments, jewellery , gems and a selection of electrical light fittings for the underside of the pieces of cog to raise them. Robot is raised on rounded dowels. The books also raised on dowels for height. Glass beads, sequins, filigree metal shapes, steampunk pictures from a number of books of history and steampunk itself. Thanks to Baker Ross for the robot shapes, Paints by many different makers and used silicone , acrylic, and glue gun for adhesives and mod-podge gloss for paper layers.
No camera now - broke it so used Andys............Enjoy
Cross-eyed stereo view of a close up of the details and complexity in the base Mandelbulb object.
Viewing instructions
www.starosta.com/3dshowcase/ihelp.html
More on Mandelbulb 3D at
Louis Royer, an iconic Cognac house dating to 1853 and led by the fifth generation of its founding family, today announces the winners of the Third "Show Me the Proof!" High Proof Cognac Cocktail Competition held on Dec. 1, 2014.
Timothy Miner (The Long Island Bar) won the Grand Prize of an all-expense paid trip to France for two. Second and third place winners were Jason Cousins (Da Claudio) and Gregory Buda (The Dead Rabbit), respectively, with each awarded a cash prize of $1,000.
Photo Credit: Patrick MacLeod / Courtesy of Hanna Lee Communications, Inc.
About Louis Royer Cognac
Founded in 1853, Louis Royer is an iconic Cognac house located on the banks of the Charente River in Jarnac, France. It is a revered producer of award-winning Cognacs, including VSOP, high proof and XO expressions. In 2013, Louis Royer "Force 53" VSOP Cognac received a "Best in Show" Double Gold Medal at the San Francisco Wine & Spirits Competition and the house's XO was awarded a Gold Medal.
In addition, XO was named among the World's Top 120 Spirits by Paul Pacult's renowned The Spirit Journal. Master Blender Laurent Robin works closely with Master Selector Jerome Royer, a fifth-generation family member, together with Master Distiller Monia Martin, to meld together fine eaux-de-vie to create Cognacs of remarkable complexity and approachability.
They exemplify the house's bee emblem that symbolizes its passion for work, organization and commitment. For more information, please visit www.louis-royer.com. On social media, please follow us on Twitter at @Force53cognac and like us on Facebook at www.facebook.com/LOUISROYERCOGNAC.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
i would love it if you join my facebook :)
Fact of the day : Golf was invented in Scotland. It was entitled Gentlemen Only Ladies Forbidden
This is a stitched panorama of 5 images
This photo was taken at the entrance of the roller-coaster in Ferarri world. And its considered to be the fastest Roller-coaster in the world
Edited Cassini montage of PR images of the scalloped edges of a gap in the rings of Saturn where the moon Daphnis is making things complex. Cropped variant.
Image source: photojournal.jpl.nasa.gov/catalog/PIA23167
Original caption: This enhanced-color image mosaic shows Daphnis, one of the moons embedded in Saturn's rings, in the Keeler gap on the sunlit side of the rings. Daphnis is seen kicking up three waves in the gap's outer edge. Three wave crests of diminishing sizes trail the moon. In each successive crest, the shape of the wave changes as the ring particles within the crest interact and collide with each other. A thin strand of ring material to the lower left of Daphnis is newly visible in this image, and there are intricate features that also hadn't been previously observed in the third wave crest downstream (see Figure 1).
Cassini was at a very shallow angle above the rings (only about 15 degrees) when this image was taken. The resulting foreshortening makes it difficult to tell the difference in this image between features representing vertical structure and those representing radial, or outward from Saturn, structure within the ring plane. Nonetheless, Cassini imaging scientists have determined that the waves in the gap are largely vertical; compare this to the shadows that they were seen to cast during equinox (see PIA11547, PIA11653, PIA11655 and PIA11656). The thin strand of material is also probably vertical. Daphnis itself is actually five times smaller than the width of the gap, but it looks bigger here because of the foreshortening.
The color in this image comes from using Imaging Science Subsystem images obtained by applying different filters to "paint" color onto the black-and-white version of this view previously released as PIA17212. The color of the ring region outward of the Keeler Gap (the "trans-Keeler region," in the lower portion of this image) is noticeably different from the color inward from the gap (upper portion of this image). In visible light, this color difference sharply coincides with the gap, while near-infrared Visible and Infrared Mapping Spectrometer (VIMS) images show some bleeding of the trans-Keeler region into the region inward from the gap. The reasons for the sharp change in color are mysterious, but they probably have more to do with a change in particle sizes and other properties than with a change in composition.
The images in this mosaic were taken in visible light, using the Cassini spacecraft narrow-angle camera at a distance of approximately 17,000 miles (28,000 kilometers) from Daphnis and at a Sun-Daphnis-spacecraft angle, or phase angle, of 71 degrees (for the color images, 58 degrees). Image scale is 550 feet (170 meters) per pixel.
The image was produced by Tilmann Denk at Freie Universität in Berlin.
Figure 1 shows a closeup of the third wave crest (toward the far left in the color image) focusing on detail scientists hadn't seen before, with multiple strands of ring material visible. The image shows how the ring material behaves after losing the structure Daphnis triggered and goes back to interacting with itself.
The ribbon of material that appears to be protruding into the gap in the right-hand portion of the image is probably actually soaring above the ring plane. Toward the left-hand part of the image, that same ribbon of material dives below the ring plane and becomes obscured by the main part of the rings, which is why it disappears from view.
The image shown in Figure 1 was taken in visible light, using the Cassini spacecraft narrow-angle camera at a distance of approximately 15,000 miles (23,000 kilometers) from Daphnis and at a Sun-Daphnis-spacecraft angle, or phase angle, of 94 degrees. Image scale is 520 feet (160 meters) per pixel. Unlike the main image, the image in Figure 1 was taken on the unlit side of the rings.
The Cassini mission is a cooperative project of NASA, ESA (the European Space Agency) and the Italian Space Agency. The Jet Propulsion Laboratory, a division of Caltech in Pasadena, manages the mission for NASA's Science Mission Directorate in Washington. The Cassini orbiter and its two onboard cameras were designed, developed and assembled at JPL. The imaging operations center is based at the Space Science Institute in Boulder, Colorado.
For more information about the Cassini-Huygens mission visit solarsystem.nasa.gov/cassini. The Cassini imaging team homepage is at ciclops.org.
Complexity Group Grapes On a Train 2013
My first time riding a train from NYC's Penn Station to Montreal, Quebec, Canada.
To read more about this trip, please CLICK HERE
I went to Montreal for the weekend for Complexity Group's Grapes On a Train 2013 wine industry event via a vintage train, inspired by the Cary Grant movie, "North by Northwest." The group hired me to photograph and video their event.
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Ultimately, I'm out for a little under an hour taking in the snowy morning sights after our first snowstorm of the winter. I never make it more than about three blocks from my house, and no Alpine rescue dogs are required.
It's dark when I set out, and the sky is pearling when I decide to head back in.
Just a few hours later the salt, the shovels, and the snowblowers are deployed in force. This is an industrious neighborhood, and by early afternoon the peace of the morning snow is gone, replaced by slush and scraped drifts already accumulating the grit and trash of city life. Alas!