View allAll Photos Tagged element
Sulfur from Italy. (public display, Carnegie Museum of Natural History, Pittsburgh, Pennsylvania, USA)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5700 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
Elements are fundamental substances of matter - matter that is composed of the same types of atoms. At present, 118 elements are known. Of these, 98 occur naturally on Earth (hydrogen to californium). Most of these occur in rocks & minerals, although some occur in very small, trace amounts. Only some elements occur in their native elemental state as minerals.
To find a native element in nature, it must be relatively non-reactive and there must be some concentration process. Metallic, semimetallic (metalloid), and nonmetallic elements are known in their native state.
Sulfur makes up way less than 1% of the Earth's crust, but it is not valuable. Elemental sulfur is frequently found at or near volcanic vents and fumaroles. Significant concentrations of sulfur occur in the Gulf of Mexico subsurface (Louisiana-Texas area). Sulfur has a nonmetallic luster and a bright canary-yellow color (when heated to a liquid, it becomes reddish-orange). It is fairly soft, lightweight, brittle, lacks cleavage, and has a distinctive scent.
This is a crystal, based on the element Bismuth, Probably mixed with another metal..... I love the colours!
Correction; this is a synthetic crystal, thanx to smiling da vinci
March 2019's theme was WATER!
It’s the main source of all life. The lifeblood element that makes up 60% of our bodies.
It’s the liquid that we don’t drink enough of, yet waste effortlessly.
It’s home to millions of species, mysteries, and undiscovered knowledge.
We know more about the stars in the sky than the depths of our oceans.
We can use it to save lives. If used foolishly, it can take lives.
We think there is an abundance, yet only one percent can be touched. If we don’t protect our waters, then what will happen to life?
Thanks to Nicework and Vega School for helping us make it possible!
Our Perth chapter chose this month’s exploration of Water and Sofia Varano illustrated the theme.
More about our speaker, Banele Khoza -
Banele Khoza was in born in 1994 in Hlatikulu (a small rural town) in eSwatini. During high school he moved to South Africa and is now based in Tshwane. He studied at the London International School of Fashion for a year, studying Fashion Design. Dismayed by the limited oppertunities to draw he transferred to study Fine Arts at Tshwane University of Technology. On completion of his degree he taught Drawing and Art Theory at the same institution. In 2018 he decided to stop teaching to work as a full time artist.
Banele Khoza is a man to watch, with a recent solo show at Zeitz MOCAA, the 2017 Gerard Sekoto Foundation award under his belt and a fleet of taxi’s covered in his work (as the result of him winning the SA Taxi Foundation Art Award) his work is going places. Khoza’s first suite of lithographs published by The Artists’ Press, demonstrate his skill and dexterity. Khoza’s ability to embrace the unknown and to immerse himself in the technical possibilities of what lithography has to offer combined with the skills of Master Printer Mark Attwood have resulted in prints that reveal the artist’s gifts.
Khoza worked on stone and grained film using a combination of pencil, litho crayon and ink and tusche washes. The delicate traces of the dried ink, Khoza’s choice of colours and drawing abilities combine to delight the eye. Khoza has been a keen draftsman since the age of five, drawing images of the toys that he wanted but which his conservative parents refused to get for him. This sense of longing and vulnerability can be seen in Khoza’s lithographs.
Obsessively neat and detailed text weaves through some of the prints, but one cannot read all of the words. It is if the artist entices one into his private world and then stops one from fully accessing it, questioning the viewer’s motives for the intrusion. Khoza’s journals are an integral part of his practice and are reflected in his image making “I have never seen so many sharp pencils” is some of the text included in one of his lithographs. Khoza’s interest in the private and the public merges with his interest in social media, technology, connection/disconnection, isolation and a longing to be whole and completely present with someone as well as with oneself.
In the six two-colour prints faces and bodies are alluded to, the delicacy of the washes contrasting with the boldness of the forms. And just as things seem to be getting really serious the text and titles pull one back with a sense of delight and quirkiness
“Dear Olympia” (a reclining nude with two cats) and “Don’t forget the tomatoes” reminding one of everyday routines.
Find him here - www.bkhz.co.za/
#creativemornings #jhb_cm #cmwater
March 2019's theme was WATER!
It’s the main source of all life. The lifeblood element that makes up 60% of our bodies.
It’s the liquid that we don’t drink enough of, yet waste effortlessly.
It’s home to millions of species, mysteries, and undiscovered knowledge.
We know more about the stars in the sky than the depths of our oceans.
We can use it to save lives. If used foolishly, it can take lives.
We think there is an abundance, yet only one percent can be touched. If we don’t protect our waters, then what will happen to life?
Thanks to Nicework and Vega School for helping us make it possible!
Our Perth chapter chose this month’s exploration of Water and Sofia Varano illustrated the theme.
More about our speaker, Banele Khoza -
Banele Khoza was in born in 1994 in Hlatikulu (a small rural town) in eSwatini. During high school he moved to South Africa and is now based in Tshwane. He studied at the London International School of Fashion for a year, studying Fashion Design. Dismayed by the limited oppertunities to draw he transferred to study Fine Arts at Tshwane University of Technology. On completion of his degree he taught Drawing and Art Theory at the same institution. In 2018 he decided to stop teaching to work as a full time artist.
Banele Khoza is a man to watch, with a recent solo show at Zeitz MOCAA, the 2017 Gerard Sekoto Foundation award under his belt and a fleet of taxi’s covered in his work (as the result of him winning the SA Taxi Foundation Art Award) his work is going places. Khoza’s first suite of lithographs published by The Artists’ Press, demonstrate his skill and dexterity. Khoza’s ability to embrace the unknown and to immerse himself in the technical possibilities of what lithography has to offer combined with the skills of Master Printer Mark Attwood have resulted in prints that reveal the artist’s gifts.
Khoza worked on stone and grained film using a combination of pencil, litho crayon and ink and tusche washes. The delicate traces of the dried ink, Khoza’s choice of colours and drawing abilities combine to delight the eye. Khoza has been a keen draftsman since the age of five, drawing images of the toys that he wanted but which his conservative parents refused to get for him. This sense of longing and vulnerability can be seen in Khoza’s lithographs.
Obsessively neat and detailed text weaves through some of the prints, but one cannot read all of the words. It is if the artist entices one into his private world and then stops one from fully accessing it, questioning the viewer’s motives for the intrusion. Khoza’s journals are an integral part of his practice and are reflected in his image making “I have never seen so many sharp pencils” is some of the text included in one of his lithographs. Khoza’s interest in the private and the public merges with his interest in social media, technology, connection/disconnection, isolation and a longing to be whole and completely present with someone as well as with oneself.
In the six two-colour prints faces and bodies are alluded to, the delicacy of the washes contrasting with the boldness of the forms. And just as things seem to be getting really serious the text and titles pull one back with a sense of delight and quirkiness
“Dear Olympia” (a reclining nude with two cats) and “Don’t forget the tomatoes” reminding one of everyday routines.
Find him here - www.bkhz.co.za/
#creativemornings #jhb_cm #cmwater
Super-Takumar 35mm f/3.5 taken with Super Takumar 50mm f/1.4 (8 element) SOOC
Bounce flash with window as backdrop. Cropped only. My jaw dropped at how beautiful these JPEGS were.
100mm equiv. on micro four thirds.
Des éléments du SS-Panzer-Battalion 7 de la 7. SS-Freiwilligen-Gebirgs-Division “Prinz Eugen” près d'une ville Bosniaque courant 1941.
Cette unité est équipée de matériel de prise français destiné à la lutte anti-partisans : on y compte ainsi des Hotchkiss H-35 modifiés 39 (avec canon SA-38) et de très bons Somua S-35.
Deutsches Bundesarchiv Bild 101I-169-0915-24
Jugoslawien.- Rastplatz deutscher Truppen mit Lastwagen und Panzern, u.a. erbeutete französische Panzer Hotchkiss H-39 der deutschen Wehrmacht, Aufstellung im Quarré; PK 690
I hereby nominate myself for dumbass of the year. Here's the story:
I was returning from Tucson (about 1.5 hours from home) with some friends and there was a bad accident on 10 FWY and traffic was at a standstill for as far as the eye could see. We could see roads on both sides and trucks were using the one on the right side. A whole bunch of cars did a U-turn and headed back to the previous exit to catch said frontage road. I stopped for gas and asked the attendants whether the roads on either side cold be used. They said yes. (I guess I should have been more specific with my question).
So we take off on the road less traveled (left side frontage road). Approx 3 miles down a sign says "Pavement ends in 100 feet". Perhaps this is why the truckers used the other road. At this point sensible people would have turned back. Not us. So the dirt road starts veering away from the freeway. No big deal. How hard can it be? We're in an "all wheel drive" :-)
We are now in the middle of cotton fields, on dirt roads - and no sign of life. We come to a T intersection. To the left is a stop sign and likely a real road. To the right is all dirt and the general direction of the freeway. My friend Ben suggests left. I suggest we take the more "adventurous route". Sure, why not? Road starts to get worse - and I am fishtailing a bit and drifting off due to the camber of the road, but trying to keep a good momentum. It worked for about 1 mile and then we just drifted off into the slush and the poor Honda stopped on it's belly in the mud!
Middle of nowhere. No sign of life. We didn't even know what exit we left. But we could see the an Air Base - so after a few failed attempts at digging it out, I start walking (about 3 miles) to the air base to find our location. Meanwhile Ben calls another friend named Gary and manages to describe landmarks. I get to the airbase, find out our location and call the Auto Club (who said that such idiocy was covered but it would be at the tow driver's discretion as to whether he would be willing to attempt a tow.) While I am on the phone with AAA, Gary show up! We head back to the stranded Honda. Gary also almost gets stuck but in 4 low, after rocking back and forth, he gets out. And after a lot of mud spraying in all directions, he tows us out and guides us back to civilization.
So - moral of the story - when your instinct tells you there is a reason everyone else is taking the "other" road, listen to your instincts :-)
Elementos de la Secretaría de Seguridad Pública Municipal detuvieron a Jesús Robles Villa y Raúl Núñez Gutiérrez, quienes traían consigo dos escopetas marca Winchester mientras circulaban en una camioneta Cheyenne en la colonia Lomas de Casablanca.
Element Townhomes all have Energy Star heat pumps. You will save money on your utilities when you own a townhome at Element.
Literarische Motive
Von allen Elementen wird der Drache am häufigsten mit dem Wasser in Verbindung gebracht. Der ostasiatische Drache bringt den Regen und garantiert die Fruchtbarkeit der Felder, die antiken Drachen sind häufig Meeresungeheuer. In Märchen und Sagen tritt das wasserhütende Untier auf: Es bewacht die einzige Quelle oder den Fluss, der als Nahrungsgrundlage dient, und ist verantwortlich für Überschwemmungen und Dürrekatastrophen. Im Märchen fordert die Bestie regelmäßig Menschenopfer. Die Rettung des Opfers, vorzugsweise einer Jungfrau und Königstochter, sichert dem Sieger ein Königreich. In Höhlen hausende Erd-Drachen bewachen Schätze. Dieses Motiv, das seit der Antike bekannt ist, steht möglicherweise im Zusammenhang mit dem Totenglauben. Noch in Volkssagen des 19. und 20. Jahrhunderts sind es oft Verstorbene, die in Drachengestalt ihre Hinterlassenschaften vor dem Zugriff der Lebenden sichern. Als chthonische Gestalt weist den Drachen auch seine Verbindung zu Schlangen aus. Der Drache ist die Vergrößerung der Schlange ins Grotesk-Phantastische.
CATEDRAL METROPOLITANA DE SANTA MARIA
s. XIII-XIX
Pza. de la Reina, Pza. de la Virgen, Pza. de la Almoina
La Catedral de Valencia comenzó a construirse en 1262 sobre un esquema de tres naves con crucero saliente, presbiterio poligonal y girola. Por su escasa altura y sus proporciones resulta más próxima a las iglesias de predicación italianas que a las catedrales de tradición francesa, aunque elementos como la girola remiten a las innovaciones del gótico francés. De esta primera época destaca la portada del Palau, obra arcaizante todavía dentro de la tradición románica.
Entre las principales obras del XIV se encuentra la portada de los Apóstoles, probablemente realizada a mediados de siglo y muy restaurada desde antiguo a causa de la mala calidad de la piedra y la orientación a norte. En origen poseía parteluz con una imagen de la Virgen, que se trasladó posteriormente al tímpano. La sala capitular, construida por el maestro Andreu Juliá (1356-1369), se cubre con una interesante bóveda estrellada que avanza la solución de la Sala dei Baroni de Castelnuovo de Nápoles, ya de mediados del XV. Alrededor de ella cabe destacar la portada de acceso, obra de Pere Balaguer (1424), el antiguo trascoro de alabastro realizado por Antoni Dalmau (1441-1446) con doce bajorrelieves labrados por artistas italianos (1415–1424) que actualmente alberga el Santo Cáliz.
En 1381 se comenzó la construcción del campanario, conocido popularmente como Miguelete por el nombre de una de sus campanas. De forma octogonal, el desarrollo de su planta es igual a su altura, 51 metros. En su ejecución se sucedieron los maestros Andreu Juliá, Joan Franch, Pere Balaguer y Martí Llobet, quien en 1424 colocó el antepecho. Antoni Dalmau proyectó un remate en aguja que nunca se ejecutó, datando la actual espadaña de 1727. Obra prácticamente coetánea fue la construcción del elevado cimborrio, superponiendo atrevidamente un nuevo tambor sobre el primitivo en las primeras décadas del s. XV.
A partir de 1458 Francesc Baldomar construiría el tramo de los pies o arcada nova, incorporando atrevidos esviajes y novedosas soluciones geométricas, conectando también el templo al campanario. Pere Compte le sucederá finalizando las obras y cubriendo el paso a la sala capitular. En 1472 comenzarán las labores en la bóveda del presbiterio a cargo de los pintores italianos Francesco Pagano y Paolo de San Leocadio, que realizarán las escenas de los ángeles músicos recientemente recuperadas. El retablo renacentista del altar mayor, de plata repujada, desapareció en 1812, aunque se conservan sus magníficas puertas con pinturas de Fernando de los Llanos y de Fernando Yáñez de la Almedina, realizadas a partir de 1507.
Gaspar Gregori realizará la llamada obra nova (1566), la gran tribuna de forma circular recayente a la plaza de la Virgen, dentro de un lenguaje renacentista ya canónico. Un siglo después (1674-1682), se ejecutaron las obras de renovación de la capilla mayor a cargo del maestro Juan Pérez Castiel, quien diseñaría una recargada decoración incluyendo bajorrelieves de mármol y estatuas doradas de santos valencianos. Pérez Castiel transformaría también la capilla de San Pedro (1696-1701) con estucos del milanés Aliprandi.
La fachada de los pies tiene 32’66 m. de altura. De claras referencias borrominianas y concebida originariamente como fondo de perspectiva de una estrecha calle, fue proyectada en 1701 por el alemán Conrado Rodulfo, que construyó el primer cuerpo (1703-1707) finalizándose el resto por Francisco Vergara (1735-1741). A partir de 1774 se remodelaría la fábrica gótica según el proyecto academicista de Antonio Gilabert. El revestimiento académico se eliminaría en gran parte por la repristinación comenzada en 1972, aunque se ha conservado en las capillas, la girola y otros lugares aislados.
La catedral custodia una soberbia colección de orfebrería y pintura, entre estas últimas se encuentran los lienzos de Goya de la capilla Borja.
En estos últimos años se han seguido realizando diversas obras de mantenimiento, emergencia o recuperación en el edificio, a cargo de arquitectos de la Consellería de Cultura (arquitecto responsable Julián Esteban Chapapría), como las ejecutadas en las puerta de los Apóstoles (1991-92), las puertas románica y barroca (1998-1999), la Girola (1998) y el Archivo catedralicio (1993-2004). La última actuación hasta el momento con motivo del descubrimiento de las frescos renacentistas de la bóveda gótica, en la que se ha desmontado la bóveda barroca, ha sido dirigida por Salvador Vila Ferrer (2005-2007).
(Texto extraido de la "Guia de Arquitectura de Valencia" CTAV 2007. + Información)
Name:Celebrity Solstice
Owner:
Royal Caribbean Cruises Ltd.
(2008)
Celebrity Solstice Inc.
(2008–present)[1]
Operator:Celebrity Cruises
Port of registry:
Nassau, Bahamas
(2008)
Valletta, Malta
(2008–present)
Builder:
Meyer Werft
Papenburg, Germany
Cost:US$750 million
Laid down:March 17, 2007[2]
Launched:August 10, 2008[3]
Sponsored by:Professor Sharon L. Smith
Christened:November 14, 2008
Completed:October 2008[4]
Maiden voyage:November 23, 2008
In service:November 2008–present
Identification:
Call sign: 9HRJ9
IMO number: 9362530
MMSI number: 249409000
Status:In service
Notes:[5]