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2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
Cliquer sur le collage pour voir les photos en grand format
Exposition "1001 orchidées 2019", Grande serre du Jardin des Plantes, jusqu'au 11 mars :
" Des espèces « sauvages » et horticoles conservées par le Muséum dans les serres de l’Arboretum de Versailles-Chèvreloup seront présentées au public [...] Le jardin botanique de la Ville de Paris (serres d’Auteuil) et le Jardin du Luxembourg qui dépend du Sénat dévoileront de rares spécimens extraits de leurs collections extraordinaires et secrètes. Pour le plaisir des spécialistes et des néophytes, 4 producteurs français d’orchidées - Vacherot & Lecoufle, l’Orchidium, la Cour des Orchidées et Ryanne Orchidée - exposeront, au cœur de la serre, des plantes originales dans des scènes foisonnantes de fleurs".
www.mnhn.fr/fr/communiques-presse-dossiers-presse/mille-o...
Le Théâtre Antique d'Orange est le théâtre romain
le mieux conservé en occident, classé au patrimoine mondial de l'UNESCO. Edifié sous l'empereur Auguste au Ier siècle de notre ère. Son mur de scène (37 mètres de haut sur 103 mètres de long), est l'un des mieux conservés du monde romain, et place le monument parmi les plus grands témoignages de toute la Rome Antique. Le théâtre occupait une place centrale dans la cité et la vie de ses habitants qui y passaient une grande partie de leur temps libre. Pour le pouvoir romain, le théâtre était un moyen de diffusion de la culture latine auprès des populations colonisées mais aussi un prétexte pour les éloigner de toute préoccupation politique. Véritables divertissements, les spectacles duraient toute la journée. Les Romains, peu passionnés par les tragédies grecques dont s'inspiraient au début les auteurs latins, préféraient un répertoire plus léger : dell'Arte. Les mimes, pantomimes, récitals de poésie, et surtout l'attelane, farce assez proche de la Commedia public populaire voulait avant tout du sensationnel : la mise en scène devint donc prédominante avec le développement de la machinerie. Le théâtre, gratuit, était accessible à tous et était le seul endroit public où l'on pouvait côtoyer les femmes. En revanche, la circulation dans les couloirs et les galeries était conçue de telle sorte que les spectateurs de statut social différent ne se mélangent pas. Aujourd'hui, le Théatre Antique d'Orange est un lieu culturel où des événements tels que le théâtre, l'opéra ou des concerts sont proposés. Sa capacité d'accueil est importante avec 9000 places réservées aux spectateurs.
The Roman Theater of Orange is the Roman theater
the best preserved in the West, a UNESCO World Heritage Site. Built under the Emperor Augustus in the first century of our era. Its stage wall (37 meters high and 103 meters long), is one of the best preserved in the Roman world, and places the monument among the greatest testimonies of all the ancient Rome. The theater occupied a central place in the city and the life of its inhabitants, who spent a great deal of their free time there. For the Roman power, the theater was a means of spreading the Latin culture to the colonized populations but also a pretext to remove them from any political concern. True entertainment, the shows lasted all day. The Romans, unenthusiastic about the Greek tragedies that initially inspired Latin authors, preferred a lighter repertoire: dell'Arte. The mimes, pantomimes, recitals of poetry, and especially the attelane, a prank close enough to the Commedia public popular wanted above all the sensational: the staging became predominant with the development of the machinery. The theater, free, was accessible to all and was the only public place where women could be seen. On the other hand, traffic in corridors and galleries was designed in such a way that spectators of different social status did not mix. Today, the Antique Theater of Orange is a cultural venue where events such as theater, opera or concerts are offered. Its capacity is important with 9000 seats reserved for spectators.
El teatro romano de naranja es el teatro romano.
El mejor conservado de Occidente, declarado Patrimonio de la Humanidad por la UNESCO. Construido bajo el emperador Augusto en el primer siglo de nuestra era. Su muro escénico (37 metros de altura y 103 metros de largo), es uno de los mejor conservados del mundo romano, y coloca el monumento entre los testimonios más grandes de toda la antigua Roma. El teatro ocupó un lugar central en la ciudad y en la vida de sus habitantes, quienes pasaron gran parte de su tiempo libre allí. Para el poder romano, el teatro era un medio para difundir la cultura latina a las poblaciones colonizadas, pero también un pretexto para alejarlos de cualquier preocupación política. El verdadero entretenimiento, los espectáculos duraron todo el día. Los romanos, poco entusiastas con respecto a las tragedias griegas que inicialmente inspiraron a los autores latinos, preferían un repertorio más ligero: dell'Arte. Los mimos, las pantomimas, los recitales de poesía y, especialmente, el attelano, una broma lo bastante cercana a la gente de la comedia popular, sobre todo sensacional: la puesta en escena se hizo predominante con el desarrollo de la maquinaria. El teatro, gratuito, era accesible para todos y era el único lugar público donde se podía ver a las mujeres. Por otro lado, el tráfico en los pasillos y galerías fue diseñado de tal manera que los espectadores de diferente estatus social no se mezclaron. Hoy en día, el Antique Theatre of Orange es un lugar cultural donde se ofrecen eventos como teatro, ópera o conciertos. Su capacidad es importante con 9000 asientos reservados para espectadores.
4 Princelet Street has 15 rooms conserved in original condition and is available as an event venue
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Nikon Nikkor 18-200mm 1:3.5-5.6 G ED-IF AF-S VR DX
_DSC8156 Anx2 1400h Q90 1.5k
One of the most typical places of Cesenatico is the Piazzetta delle Conserve (The "Conserve" Square). An important renewal in the 80's has faithfully kept the old urban context of the square.
Known in the Adriatic seaside since the 1500, the first documents that mention the "conserve" - also called ghiacciae (iceboxes) - date from the 18th Century. These are structures of great importance to the economy of coastal cities and the the Marine Civilization of the Adriatic, since they were used for the preservation of foodstuffs, particularly fish.
Even if it is difficult to go back to the exact location of the "conserve" in Cesenatico, we know about a change of location of all the "iceboxes" to a sandy area called "il Monte", located on the east side of the canal.
The importance of the fish market as the main source of income for Cesenatico is clear by the number of "conserve" at the end of the 19th Century, when around twenty existed. They were used up to the first quarter of the 1900, until the installation of the first artificial ice factory between 1929 and 1930 meant that the traditional "conserve" were abandoned.
The "conserve" of Cesenatico are cone-shaped holes made of bricks, dug in the ground such as a well, 8 meters wide and 5 to 6 meters deep. They grow a little above the ground level with a round parapet, the hole being covered by bricks isolating the exterior by means of layers of straw, sand, wood roof and sometimes with a doubled door, to avoid the hot air coming in.
Fish and food were placed carefully inside the "conserve", alternated with layers of ice or compacted snow, assuring the preservation by means of freezing, a more modern method compared to the salting technique of meat and fish. The ice and snow usually came from the neighbouring hills or from the Apennines' region, transported on carts and gathered in appropriate tanks or canals. Some "conserve" were also used to collect ice, allowing fishermen to take the ice collected inside the "conserve" to their boats, and put it in the boxes with the fresh fish they had just fished and then put for sale. From the three remaining "conserve" of Cesenatico today, one is covered.
The Piazzetta delle Conserve, due to its central location in the old town of Cesenatico, has today acquired an important role in the social life, in the tourism and economy of the city. Continuing the traditional trade of old times, everyday in the morning the Farmer's Market takes place, selling fruit and vegetables from the local farms.
During summer the Flea's Market takes place, a display of arts and crafts, antiques and modern objects of art, while on Mondays the square becomes an open air place for entertainment with its Notturni alle Conserve evenings dedicated to classical music.
La beauté de la nature conservée est imbattable ! Dans chaque recoin il est possible de rencontrer des espèces prêtes á nous surprendre, comme cet Epidendrum escobarianum, lequel est endémique (exclusif) de Colombie. Observé in situ durant un tour de 11 jours que je viens de guider. dans les départements du Valle del Cauca et du Cauca.
Beauty and perfection of conserved nature is unbeatable ! In any corner you can find impressive species ready to astonish you, like this Epidendrum escobarianum, which is endemic (exclusive) from Colombia. Seen in situ during an 11 days tour I just guided in Valle del Cauca and Cauca departments.
La belleza de la naturaleza conservada es imbatible ! En cualquier rincón se puede encontrar especies listas para sorprender nos, como este Epidendrum escobarianum, el cual es endémico (exclusivo) de Colombia. Observado in situ durante un tour de 11 días que acabo de guiar en los departamentos del Valle del Cauca y del Cauca.
.....conserving energy to be able to eat more. lol
They need more sleep than most animals because eucalyptus leaves contain toxins and are very low in nutrition and high in fibrous matter so they take a large amount of energy to digest.
Rome, Esquilino, Villa Palombara (1781). Marbre de Paros.
Seul exemple presque entièrement conservé de ce type, la statue est une copie fidèle de l'une des œuvres les plus admirées de l'Antiquité : le discobole en bronze du sculpteur grec Myron (vers 450 av. J.-C.). Capturé au moment précédant le lancement du disque, l'athlète se déplace dans l'espace environnant avec une action complexe, illustrant l'expérimentation de nouveaux canons pour la représentation plastique du corps humain en mouvement. Milieu du IIe siècle de notre ère.
The only almost fully preserved example of its type, the statue is a faithful copy of one ef the most admired works of antiquity: the bronze discobolus by the Greek sculptor Myron (ca. 450 BC). Captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the palstic representation of the moving human body. Ca. mid-2nd century AD.
Le site de Stonehenge situé à treize kilomètres au nord de Salisbury, comté du Wiltshire, région du Wessex, en Angleterre.
De cet angle, on aperçoit la partie la mieux conservée du cercle extérieur de monolithes surmontés de linteaux. on remarque sur le plus haut monolithe (à droite), le tenon taillé sur lequel s’encrait la mortaise du linteau qui était déposé sur le dessus.
Stonehenge est un monument mégalithique composé d'un ensemble de structures circulaires concentriques, érigé entre -2800 et -11001, du Néolithique à l'âge du bronze. L'ensemble du site de Stonehenge et le cromlech d'Avebury, à une quarantaine de kilomètres au nord, sont inscrits depuis 1986 sur la liste du patrimoine mondial de l'Unesco (WHL-373bis) dans un ensemble intitulé « Stonehenge, Avebury et sites associés ». Le site attire environ un million de visiteurs par an. Il est fort probable que l’alignement des pierres a un lien avec le soleil et l’enchaînement des saisons.
La structure a évolué au fil du temps. Ainsi la phase II, vers -2100/-2000, nous a laissé des pierres bleues formant un cercle et aussi une forme de fer à cheval. On sait depuis 1923 que toutes ces « pierres bleues » étaient probablement issues d'un cromlech aujourd'hui démonté, situé dans les Preseli Mountains, au pays de Galles. Le transport des pierres a pu être effectué entièrement par mer en contournant la péninsule de Cornouailles ou bien, depuis la région de Bristol, par voie fluviale et halage terrestre. La phase III, de l’âge du bronze, vers -2000 / -1100, comprend d’abord les trilithes soit cinq groupes de trois monolithes de grès sarsen levés et disposés comme des portiques selon un plan en forme de fer à cheval laissant au nord-est une ouverture de 13,70 mètres de largeur.
Autour a été formé un grand cercle de grès sarsen constitué de trente monolithes érigés en un cromlech de trente-trois mètres de diamètre et surmontés de trente linteaux, qui tiennent par un système de tenon et de mortaises. Les monolithes ont été extraits de carrières situées à 40 km environ au nord de Stonehenge. L'ensemble forme ainsi un anneau continu suspendu au sommet de la structure. L'effet visuel final a été le souci permanent des constructeurs: les orthostats (pierres verticales) s'élargissent légèrement vers le haut, afin que, vue du sol, leur perspective demeure constante, tandis que les linteaux de pierre sont taillés légèrement en courbe, afin de conserver la disposition circulaire générale du monument.
Conserve Landscaping and CerberusXing present The Bay Photography Contest.
December 1st - 23rd
Location:
maps.secondlife.com/secondlife/Cats/26/217/25
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(First Place) 8,000L$ + Gift card courtesy of CerberusXing
(Second Place) 3,500L$ + 1/4th sim with 800 prims for 2 weeks
(Third Place) 2,500L$ lindens
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Rules of Participation
**All photos must be taken on -The Bay- Sim.
**Maximum of 3 entries per person (but only one will be eligible to win a prize).
** Photos must be titled; -The Bay- Photography contest (Yourname)
**Entries must be uploaded to the flickr group pool. (www.flickr.com/groups/2719992@N24/)
**Must be a new, original photo. Old photos may not be submitted.
**Photos may not be submitted into any other competition.
**All entries must include a SLURL to The Bay sim in the Flickr description
**By entering you give The Bay permission to modify and display your entry on The Bay’s website and use in any future marketing/advertising.
**Judges highly recommend participants to utilize adult themes and membership to our VIP group.
Entre 1836 et 1846, la place est transformée par l'architecte Jacques-Ignace Hittorff qui conserve le principe imaginé par Gabriel. Il ajoute deux fontaines (qui ont l'audace d'être en fonte de fer) monumentales — la Fontaine des Mers et la Fontaine des Fleuves. Les deux fontaines — inaugurées le 1er mai 1840 par le préfet Rambuteau — célèbrent la navigation fluviale (fontaine nord, avec des figures assises représentant le Rhin et le Rhône et les récoltes de raisins et de blé) et la navigation maritime (fontaine sud, avec la Méditerranée, l'Océan et la pêche). Pour la réalisation des statues ornant ces fontaines, l'architecte fera appel à de nombreux artistes : Jean-François-Théodore Gechter, Honoré Jean Aristide Husson, François Lanno, Nicolas Brion, Auguste-Hyacinthe Debay, Antoine Desboeufs, Jean-Jacques Feuchère, Antonin-Marie Moine, Jean-Jacques Elshoecht (dit Carle Elshoecht) et Louis-Parfait Merlieux. Les colonnes rostrales portent des proues de navire, qui évoquent également l'emblème de la Ville de Paris. Les statues allégoriques de huit villes françaises dessinent le contour de l'octogone imaginé par Gabriel. Celle évoquant Strasbourg est drapée de noir à partir de 1871, date du rattachement de l'Alsace-Lorraine à l'Allemagne.
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The two fountains in the Place de la Concorde have been the most famous of the fountains built during the time of Louis-Philippe, and came to symbolize the fountains in Paris. They were designed by Jacques-Ignace Hittorff, a student of the Neoclassical designer Charles Percier at the École des Beaux-Arts. The German-born Hittorff had served as the official Architect of Festivals and Ceremonies for the deposed King, and had spent two years studying the architecture and fountains of Italy.
The north fountain was devoted to the Rivers, with allegorical figures representing the Rhone and the Rhine, the arts of the harvesting of flowers and fruits, harvesting and grape growing; and the geniuses of river navigation, industry, and agriculture.
The south fountain, closer to the Seine, represented the seas, with figures representing the Atlantic and the Mediterranean; harvesting coral; harvesting fish; collecting shellfish; collecting pearls; and the geniuses of astronomy, navigation and commerce.
thanks to all for visits and faves :)
Caméra Sony DSLR-A850
Exposition 75s
Ouverture f/16.0
Longueur focale 20 mm
Vitesse ISO 100
Exposition +0.7 EV
HDR with 9 jpeg from 1 raw assembled in PS5
[My GETTY Images @] [My MOST FAVE on Flickriver] [My RECENT on Fluidr] [My STREAM on Darckr]
Le jardin Botanique est aujourd’hui un parc urbain pris en étau dans le tissu routier du quartier nord de Bruxelles. De sa vocation première de jardin botanique, il conserve un mélange de styles (français, italien, anglais) et une grande variété d’arbres et de plantes.
S’étendant sur plus de 6 ha, ce parc aménagé en terrasses fut inauguré en 1829. La terrasse la plus haute, au pied de l’orangerie, est de construction géométrique à la française.
L’étage intermédiaire, à la mode italienne, comporte une roseraie en étoile et le jardin de l’Iris où fleurissent, d’avril à juin, quelque 40 variétés d’iris, symbole de la Région de Bruxelles-Capitale.
La dernière partie du jardin descend en pente douce vers l’étang par des sentiers sinueux. Les pelouses sont parsemées d’arbres et encadrent des aires de repos.
The Botanical Garden is today an urban park squeezed into the road network of the northern district of Brussels. From its original vocation as a botanical garden, it retains a mixture of styles (French, Italian, English) and a wide variety of trees and plants.
Extending over more than 6 hectares, this terraced park was inaugurated in 1829. The highest terrace, at the foot of the orangery, is of French geometric construction.
The intermediate floor, in Italian style, includes a star-shaped rose garden and the Iris garden where, from April to June, some 40 varieties of irises, symbol of the Brussels-Capital Region, bloom.
The last part of the garden slopes gently towards the pond via winding paths. The lawns are dotted with trees and frame rest areas.
Work and weddings and work…. Haven't had much time to shoot or work. That will change here before too long.
Cheers,
-jared ropelato
It is believed that the first Orongo constructions were not related to the manutara cult. In fact, just before the start of the village, on the edge that looks at the lagoon, there are the remains of a small ahu or platform. Only the base at ground level of a single moai is conserved, which according to some hypothesis could be the famous Hoa Hakananai’a moai.
In front of the ahu some holes in the stones can be seen, which could have been used as an astronomical observatory to determine the position of the sun.
The first stone houses in Orongo seem to have been built around 1400 AD. from the outcrop of rocks that rises in what would now be the center of the village.
Over time and especially around the Tangata Manu ceremony, 54 houses lined up on the edge of the crater were built, forming three independent sets facing the sea. Almost all the houses were looted and destroyed during the different European expeditions and rebuilt several times in the last decades.
At the edges of the crater there are laminar basalt slabs, called keho. This was the material used to built the thick stuffed walls that reach 2 meters wide. The roof is formed by longer slabs, placed horizontally on the walls as a vault. On these they put other smaller slabs. Finally, the roof was covered with a thick filling of earth and stones on which the grass grew, giving stability to the construction and protection against the weather.
The houses have an oval floor with a variable length of between 6 to 12 meters and a maximum width of about 2 meters. The interior height is scarce, from 1 to 2 meters in the best of cases, and in most of them is not possible to stand up. Some are connected to each other by narrow corridors.
The access to the houses is located in the front that gives to the sea and its reduced size in square form, forces to enter and to leave crawling and even to creep. This was the only opening in the structure through which the light penetrated, so that the dark, difficult-to-ventilate interior was only used for sleeping.
Upon entering the village, near the edge of the cliff, there are two houses that were left unrestored intentionally, to appreciate its internal structure.
The idea of building houses with solid walls here instead of using vegetable fibers as in the traditional boat-houses (hare vaka or hare paenga) found in the rest of the island, arose from the need to protect themselves from the strong winds that whip this place.
In fact, it seems that the first housing option was the hare paenga, as evidenced by the recycled basalt blocks of old boat-houses found in some walls and especially in the openings of some of the narrow doors. However, the adverse weather, the availability of basalt slabs as raw material and the application of a simpler construction technique led to the design of a unique architectural ensemble on the island.
Eurasian collared dove stocking up with some stones to conserve balance.
Specially for blog:
garmonpictures.blogspot.com/2015/12/late-october-walk-in-...
Pam and I have just returned from five nights at Tugwell Creek, on Vancouver Island. We stayed in a cabin that her old friend, Barry Macleod, occupied in the late 1970s, early 1980's. (Our Harland Press has conserved some of his writings: www.harlandpress.ca/tugwell-years.html)
While staying at Tugwell, Pam and I explored some of the nearby beaches. This photo was taken at Muir Beach, very close to the cabin.
Les grues Titan sont deux grues aujourd'hui désaffectées situées sur l'île de Nantes, conservées en témoignage du passé industriel du centre de Nantes
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
NEW JERSEY 2017 (Year End) BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
Un des joyaux sauvages á conserver avant tout dans leurs habitats naturels oú ils intéragissent avec le reste de la vie sauvage. Laissons l'évolution naturelle suivre son cours... La petite Kefersteinia ocellata in situ dans le département du Valle del Cauca, Colombie.
Una de las joyas silvestres por conservar ante todo en sus hábitats naturales donde interactúan con el resto de la vida silvestre. Dejemos la evolución natural seguir su curso... La pequeña Kefersteinia ocellata in situ en el departamento del Valle del Cauca, Colombia.
L'original de ce tableau est conservé au Musée Städel à Francfort.
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in musée Städel in Francfort.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
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Siamang Gibbon ~ Miami, Florida ~ The LOUDEST CALL in nature!
(three more photos 'of the gibbon' in the comments)
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The siamang is a tailless, black-furred gibbon native to the forests of Malaysia, Thailand, and Sumatra. The siamang has long, dense, shaggy hair which is the darkest shade of all gibbons. They have long, gangling arms, longer than their legs. The face of this large gibbon is mostly hairless apart from a thin mustache. They have a large gular sac (found in males and females of the species), which is a throat pouch that can be inflated to the size of the siamang's head, allowing the animal to make loud, resonating calls or songs.
Siamangs are a very social species of primates and exhibit a variety of tactile and visual gestures, along with actions and facial expressions to communicate and increase social bonds within their family group. Siamangs are also territorial and interact with other family groups by making loud calls to let other groups know where their territory is.
The siamang starts its day by calling in the early morning; it calls less after midday, with the peak of the calls around 9:00 am to 10:00 am. Most of the siamang's calls are directed to its neighbours rather than to inside its home range. This means the siamang's calling is in response to disturbances and to defend its territory. Calls in the late morning typically happen when it meets or sees another siamang group. The edge of the siamang's home range, which may overlap another, is often the place where calling is made. Counter (co-response) calling occasionally happens near the border or in the overlap area. Calls are numerous when fruit is more abundant rather than when it is less available. Branch shaking, swinging, and moving around the tree crowns accompany the calling. This movement shows other groups where they are.
Mated pairs produce loud, well-patterned calling bouts, which is referred to as duetting. These calls function to advertise the presence and status of a mated pair. Newly formed pairs spend more time singing than an established pair. Advertising the presence of a strong bond is advantageous in territorial defense. Siamang duetting differs from other species because it has a particularly complex vocal structure. Four distinct classes of vocalizations have been documented: booms, barks, ululating screams and bitonal screams. Females typically produce long barks and males generally produce bitonal screams, but both sexes have been known to produce all four classes of vocalization.
en.wikipedia.org/wiki/Siamang_gibbon
"Monkey Man" - The Rolling Stones
Le temple de la Concorde est, avec l'Héphaïstéion (Théséion) d'Athènes et le temple de Poséidon à Paestum, l'un des temples les mieux conservés de l'antiquité grecque. Son appellation arbitraire n'est due qu'à une inscription romaine trouvée à proximité, où figurait le mot latin concordia. Il a été construit dans les années -440 à -430.
Les inégalités du terrain sur lequel il est édifié sont compensées par un soubassement (krépis) important. Son plan correspond à la forme la plus classique des temples d'Agrigente : pronaos, naos, opisthodome et péristyle de 6 × 13 colonnes.
Le temple de la Concorde est de tous ceux d'Agrigente celui qui a été réalisé avec le plus de précision. Le problème des extrémités propre aux temples doriques (conflit entre la régularité des métopes et des triglyphes d'une part, et l'espacement régulier des colonnes d'autre part) a été résolu d'une manière inhabituelle : il a été procédé tout à la fois au rétrécissement de l'espace entre les deux dernières colonnes et à l'allongement de la métope extrême, pour un meilleur effet visuel.
Les recherches ont également montré que les parties inférieures du temple étaient ornées de stucs blancs, tandis que les frises, métopes et parties hautes étaient peintes de couleurs vives. Le toit était couvert de tuiles de marbre.
En 597, l'évêque Grégoire d'Agrigente a fait du temple une basilique chrétienne consacrée aux apôtres Pierre et Paul, après en avoir chassé les démons païens Eber et Raps qui y demeuraient11. Chacun des murs de la cella fut alors percé de douze arcatures, et les entrecolonnements furent murés, tout comme on peut encore le voir de nos jours à la cathédrale de Syracuse. L'entrée fut reportée sur le côté ouest, ce qui entraîna la suppression de la cloison entre le naos et l'opisthodome, tandis que la sacristie trouvait sa place dans l'ancien pronaos.
La découverte dans le temple de deux figures de dieux puniques mises de côté a fait déduire que déjà les Grecs y honoraient deux divinités, peut-être les Dioscures.
Après l'abandon de la cité, l'église fut à nouveau remise en usage, jusqu'au XVIIe siècle. Elle est désaffectée en 1748. En 1788, les dernières structures appartenant à l'église chrétienne sont enlevées par ordre du prince de Torremuzza. Depuis lors, le temple a été restauré dans son état initial.
The Temple of Concord is, along with the Hephaestion (Thesion) of Athens and the Temple of Poseidon at Paestum, one of the best-preserved temples of Greek antiquity. Its arbitrary name is only due to a Roman inscription found nearby, where the Latin word concordia appeared. It was built in the years -440 to -430.
The unevenness of the land on which it is built is compensated by a significant base (krépis). Its plan corresponds to the most classic form of the temples of Agrigento: pronaos, naos, opisthodome and peristyle of 6 × 13 columns.
The temple of Concord is of all those of Agrigento the one that was created with the most precision. The problem of extremities proper to Doric temples (conflict between the regularity of the metopes and triglyphs on the one hand, and the regular spacing of the columns on the other hand) has been solved in an unusual way: both by narrowing the space between the last two columns and by lengthening the extreme metope, for a better visual effect.
Research has also shown that the lower parts of the temple were decorated with white stucco, while the friezes, metopes and upper parts were painted in bright colors. The roof was covered with marble tiles.
In 597, Bishop Gregory of Agrigento made the temple a Christian basilica dedicated to the apostles Peter and Paul, after having driven out the pagan demons Eber and Raps who lived there11. Each of the cella's walls was then pierced with twelve arches, and the intersections were walled, just as we can still see today in the cathedral of Syracuse. The entrance was moved to the west side, which led to the removal of the partition between the naos and the opisthodome, while the sacristy found its place in the old pronaos.
The discovery in the temple of two figures of Punic gods put aside made it deduce that already the Greeks honored two deities there, perhaps the Dioscuri.
After the abandonment of the city, the church was again put back into use, until the 17th century. It was abandoned in 1748. In 1788, the last structures belonging to the Christian church were removed by order of the prince of Torremuzza. Since then, the temple has been restored to its original state.
Leaf of Hymenaea, enclosed in Amber 25 000 000 years ago somewhere in a land, we now call the Dominican Republic.
A young osprey cools itself by panting on a warm morning with little wind. I surveyed this nest along with 15 others as part of the 2017 Osprey Census being conducted by Conserve Wildlife Foundation of NJ. We how to find over 600 nesting pairs of Ospreys in NJ.
Londres 2013 [On Explore June 3, 2013 #258]
my website: the street as it is
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Conservée au musée Jacquemart-André à Paris, cette oeuvre de Rembrandt de 1628 représente Jésus de profil à contre-jour à Emmaüs.
En 2025-2026, la peinture est exposée au musée des beaux arts de Rennes en échange du "Nouveau né" de Georges de La Tour.
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
Sténopé boîte de conserve. Papier Ilford.
8 sec d’exposition.
Pinhole tin can. Paper Ilford.
8 sec of exposure.
Prière du sténopiste :
1,2,3,4, merde, la boîte a bougé, 5, non, 9…, no, 7, 8 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, zut, un nuage, j’ajoute 20 secondes… 28, 25, 26, 27, 28, 29, 30, 31, 32, C’est quoi ce type, 34, 35, 36, 37, 38, non, pas ici !, 42, 43, 44, 45, 46, 47, 48, Je parie qu’il va me demander ce que je fait ! 52, 53, 54, 55… (à voix haute : 58, 59, 60, une seconde s’il vous plaît, 63, 64, 65, 66, 67, 68, 69, 70. Ce que je fais ? J’essaie de faire une photo… Oui, monsieur, avec une boite de conserve !)
Prayer of pinholer :
1,2,3,4, shit, the box has moved, 5, no 9 ..., no, 7, 8, 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, heck, a cloud, I add 20 seconds ... 28, 25, 26, 27, 28, 29, 30, 31, 32, What is this man, 34, 35, 36, 37, 38, no, not here !, 42, 43, 44, 45, 46, 47, 48, I bet he will ask me what I did! 52, 53, 54, 55 ... (out loud: 58, 59, 60, one second please, 63, 64, 65, 66, 67, 68, 69, 70. What I do? I trying to get a picture ... Yes, sir, with a tin!)
dépôt de l'Eglise Saint Denis - Rocquemont
bois polychrome
XVIème siècle
Musée de l'Archerie et du Valois
Kr_08-05-19 15-20-06
Erigé en 1905 pour l’exposition universelle de Liège, le musée d’art moderne a conservé toute sa majesté. Construit dans un écrin de verdure, il trône depuis un siècle au milieu du parc de la Boverie et a abrité les collections des beaux-arts de la ville. Mais il avait besoin d’une sérieuse rénovation pour pouvoir rivaliser avec les plus grands.
C’est au célèbre architecte français Rudy Ricciotti (à qui on doit le musée des Civilisations de Marseille) et au bureau pHD de Liège que le chantier a été confié.
Soucieux de préserver la beauté du bâtiment historique et du parc qui l’entoure, le seul changement qu’ils se soient permis est cette annexe construite sur la façade arrière du bâtiment, face à la Dérivation.
Grande de 1.000 m² et haute de huit mètres, toute vitrée, elle semble flotter dans l’air. Elle propose un espace d’exposition unique où la lumière arrive de partout.
la Ville de Liège et le musée du Louvre ont décidé d’unir leurs efforts en matière de programmation artistique et de présentation des collections.
Le Louvre, afin de se rapprocher de ses publics et dans le cadre d’une politique d’action internationale contribuant ainsi au rayonnement culturel de la France, s’engage dans cette collaboration pour une durée de 4 ans.
www.liege.be/culture/musees/boverie-beaux-arts-expos-liege
Erected in 1905 for the Universal Exhibition of Liege, the museum of modern art has retained all its majesty. Built in a green setting, he sits in a century in the middle of the Boverie park and housed the collections of fine arts in the city. But it needed a serious renovation to be able to compete with larger ones.
This is the famous French architect Rudy Ricciotti (who must be the Museum of Civilization from Marseille) and pHD office Liège that the site has been entrusted.
Anxious to preserve the beauty of the historic building and the surrounding park, the only change is that they are allowed this annex built onto the rear facade of the building, facing the Bypass.
Large 1,000 m² and eight meters high, all glass, she seems to float in the air. It offers a unique exhibition space where light comes from everywhere.
Cork City and the Louvre Museum have joined their efforts in artistic programming and collections presentation.
The Louvre, to be closer to its public and as part of an international action policy contributing to the cultural influence of France, engages in this collaboration for a period of 4 years.
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Un autre endrot incroyablement conservé que j'ai visité il y a presque 10 ans, durant mes trekkings dans la Grande Savane, est "El Abismo" (L'abîme) C'est un tepuy bas dont le flanc sud tombe dans le début de l'Amazonie (oú je suis aussi descendu) juste á la frontiêre avec le Brésil dans l'état de Bolivar au Venezuela.
Otro lugar increíblemente conservado que visité hace casi 10 años, durante mis trekkings en la Gran Sabana, se llama "El Abismo". Esto es un tepuy bajo de cual el flanco sur cae al principio de la Amazonia (allí bajé también) justo a la frontera con Brasil en el estado de Bolivar, Venezuela.
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
J'ai placé cette rose dans ce pot il y a deux jours. À l'extérieur sur la neige. Il a neigé et le mercure a marqué moins 6° c. La rose est toujours aussi jolie que lorsque je l'ai mise. Peut-être que le pot Mason a reproduit les conditions comme dans une serre. Enfin je ne comprends exactement. Elle y est toujours,alors à voir demain...Red rose.
Reconstruite par Lambert von Haven sur l'ordre de Christian V en 1681 après l'incendie de 1665, c'est la seule partie du château conservée depuis le XVIIe siècle.
A Fox Squirrel conserves energy and relies on its insulated fur to thrive during cold winter days: stevecreek.com/winter-survival-adaptations-how-birds-and-...
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
Le château abrite le musée Jacquemart-André. Il regroupe les oeuvres léguées par Nélie Jacquemart-André en 1912 à l'Institut de France avec sa propriété de l'abbaye de Chaalis et conservées sur place. Les tableaux, sculptures, pièces de mobilier sont répartis dans toutes les salles du musée, ancienne résidence de Nélie Jacquemart. www.domainedechaalis.fr/a-propos/