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Mon tout premier collage papier exécuté le 5 mai 2022.
7 éléments.
Colle en bâton.
Papier Strathmore «Toned Gray Mixed Media». 184lbs. 23 x 30cm.
Please take a look and consider entering! Still plenty of time to indulge your inner pyromaniac! forums.saber-scorpion.com/index.php?showtopic=10838
I popped out into the garden this morning, in between showers, and found this little Nigella wanna-be flower struggling in the cold and wet. I rescued it so that it could be come a famous model lol
I tried one method of using it. It’s the same one as Lawrence Principe uses in his book, and indeed I asked him about it a year before the book was published. He said the secret was in the temperature, or words to that effect. I had previously tried it this way but had either left it in too long or made it too hot, or maybe not had a very good quality of ‘water’. It is worth nothing that the Leyden papyrus doesn’t specify how to use this water.
So first I dipped the silver into the liquid when it was cold, and not a lot happened except that over 10 minutes in it, the silver turned slightly yellow, but left for longer and it went black. Whilst black is an alchemical colour, it isn’t the one we want here, at the end of the process.
So I heated the golden liquid until it became more red, although nowhere near boiling. Say about hand hot. A few seconds immersed in it gave this, shown with some untreated silver:
Note the shine of the metal and the apparent depth of colour.
I stuck another sample in for longer, it turned black. I’d killed it! (Silver sulphides are black, but a thin layer of them is, as you can see, gold coloured)
Which is of course a possible aim, since much reference is made to the death of metals and their resurrection in Graeco-Egyptian alchemy.
The next step in the use of this substance would probably be to seal the colour in using some kind of varnish, because now, three weeks later, the colour on the silver has faded to a slight yellow as the sulphides have evaporated or oxidised.
The next step after turning the silver black would be to melt it with other ingredients, but exactly what I am not sure.
The funny thing is that I haven’t found any later mention of this recipe than a 9/10th century Arabic text. I suspect that might be because by that time and after, both in Arabic countries and in Europe, such a superficial colour change was nothing special and had no value, since it did not lead to anything really like gold. Whereas the Egyptian alchemists were more interested in the specific colour change using divine/ sulphurous substances, themselves of important colours and unusual behaviour and so it was of great use to them.
Some of the world's most famous scientists did indeed believe iron could be turned into gold, and several of them tried desperately to make it happen for hundreds of years. Long before much of modern science became known, many early scientists were fascinated by a practice called alchemy.
Alchemy was a secret and mysterious practice that reflected a spiritual worldview very different from our modern view of science. The metals we know today as individual elements were believed by alchemists to be alive and growing underground. Metals like iron and lead were thought to be merely immature and undeveloped “early" versions of precious metals, like silver and gold.
Alchemists believed they could refine base metals into precious metals if they could just find the mythical substance they called philosopher's stone. The philosopher's stone they searched for wasn't an actual rock. Instead, it was supposedly a magical wax, liquid, or powder that could heal ailments and prolong life, as well as change base metals into precious metals.
Knowing what we do today about science, alchemy sounds crazy, doesn't it? After all, it's no surprise that alchemists ultimately failed in their quest, since the very idea of alchemy contradicts the basic laws of chemistry and physics. Rather than the atoms and elements we know today, alchemists believed everything in the world was made up of four elements: air, earth, fire, and water.
We now know that air, earth, fire, and water are not actual elements. Therefore, it's not possible to adjust the percentages of those elements within iron to turn it into gold. Despite the utter failure of alchemy to transform iron into gold, it wasn't a completely worthless pursuit. Scientists and historians now credit ancient alchemists for developing the groundwork for what would become modern chemistry.
In fact, you're probably already familiar with one of the more famous alchemists from ancient history. Ever heard of a guy named Sir Isaac Newton? That's right! Sir Isaac Newton, the guy who invented calculus and is considered the father of modern physics, was a devoted alchemist who believed at one time that he had discovered the mythical philosopher's stone.
Newton's dedication to alchemy has made modern scientists reconsider its importance in the history of the development of modern science. Many experts now agree that alchemy was an important natural step in laying the foundation for modern science. Instead of superstitious witchcraft, alchemy is now often seen as an ancient practice of early scientists trying to make sense of the world around them.
Other experts point out the many scientific advancements that can be traced back to alchemy. For example, alchemists created new alloys and manufactured acids and pigments for the first time. They also invented distillation apparatuses and conceived of atoms hundreds of years before modern atomic theory. Perhaps most importantly, though, they helped to forge the basis for the modern scientific method by repeating controlled experiments over and over.
For hundreds of years alchemists toiled in their laboratories to produce a mythical substance known as the philosopher’s stone. The supposedly dense, waxy, red material was said to enable the process that has become synonymous with alchemy—chrysopoeia, the metamorphosis, or transmutation, of base metals such as lead into gold.
Alchemists have often been dismissed as pseudoscientific charlatans but in many ways they paved the way for modern chemistry and medicine. The alchemists of the 16th and 17th centuries developed new experimental techniques, medicines and other chemical concoctions, such as pigments. And many of them "were amazingly good experimentalists,” says Lawrence Principe, a chemist and science historian at Johns Hopkins University. “Any modern professor of chemistry today would be more than happy to hire some of these guys as lab techs.” The alchemists counted among their number Irish-born scientist Robert Boyle, credited as one of the founders of modern chemistry; pioneering Swiss-born physician Paracelsus; and English physicist Isaac Newton.
But despite the alchemists’ intellectual firepower and experimental acumen, the philosopher’s stone lay forever out of reach. The problem, Principe says, is that the alchemists did not yet know that lead and gold were different atomic elements—the periodic table was still hundreds of years away. Believing them to be hybrid compounds, and therefore amenable to chemical change in laboratory reactions, the alchemists pursued the dream of chrysopoeia to no avail.
With the dawn of the atomic age in the 20th century, however, the transmutation of elements finally became possible. Nowadays nuclear physicists routinely transform one element to another. In commercial nuclear reactors, uranium atoms break apart to yield smaller nuclei of elements such as xenon and strontium as well as heat that can be harnessed to generate electricity. In experimental fusion reactors heavy isotopes of hydrogen merge together to form helium. (An element is defined by the number of protons in its nucleus whereas an isotope of a given element is determined by the quantity of neutrons.)
But what of the fabled transmutation of lead to gold? It is indeed possible—all you need is a particle accelerator, a vast supply of energy and an extremely low expectation of how much gold you will end up with. More than 30 years ago nuclear scientists at the Lawrence Berkeley National Laboratory (LBNL) in California succeeded in producing very small amounts of gold from bismuth, a metallic element adjacent to lead on the periodic table. The same process would work for lead, but isolating the gold at the end of the reaction would prove much more difficult, says David J. Morrissey, now of Michigan State University, one of the scientists who conducted the research. “We could have used lead in the experiments, but we used bismuth because it has only one stable isotope,” Morrissey says. The element’s homogeneous nature means it is easier to separate gold from bismuth than it is to separate gold from lead, which has four stable isotopic identities.
Using the LBNL’s Bevalac particle accelerator, Morrissey and his colleagues boosted beams of carbon and neon nuclei nearly to light speed and then slammed them into foils of bismuth. When a high-speed nucleus in the beam collided with a bismuth atom, it sheared off part of the bismuth nucleus, leaving a slightly diminished atom behind. By sifting through the particulate wreckage, the team found a number of transmuted atoms in which four protons had been removed from a bismuth atom to produce gold. Along with the four protons, the collision-induced reactions had removed anywhere from six to 15 neutrons, producing a range of gold isotopes from gold 190 (79 protons and 111 neutrons) to gold 199 (79 protons, 120 neutrons), the researchers reported in the March 1981 issue of Physical Review C.
The amount of gold produced was so small that Morrissey and his colleagues had to identify it by measuring the radiation given off by unstable gold nuclei as they decayed over the course of a year. In addition to the several radioactive isotopes of gold, the particle collisions presumably produced some amount of the stable isotope gold 197—the stuff of wedding bands and gold bullion—but because it does not decay the researchers were unable to confirm its presence. “The stable isotope would have to be observed in a mass spectrometer,” Morrissey says, “but I think that the number of atoms was, and is still, below the level of detection by mass spec.”
Isolating the minute quantities of gold would be even more difficult using lead as a starting material, but smashing high-speed nuclei into a lead target would indeed complete the long-sought transmutation. Some of the collisions would be expected to remove three protons from lead, or one proton from mercury, to produce gold. “It is relatively straightforward to convert lead, bismuth or mercury into gold,” Morrissey says. “The problem is the rate of production is very, very small and the energy, money, etcetera expended will always far exceed the output of gold atoms.”
In 1980, when the bismuth-to-gold experiment was carried out, running particle beams through the Bevalac cost about $5,000 an hour, “and we probably used about a day of beam time,” recalls Oregon State University nuclear chemist Walter Loveland, one of the researchers on the project. Glenn Seaborg, who shared the 1951 Nobel Prize in Chemistry for his work with heavy elements and who died in 1999, was the senior author on the resulting study. “It would cost more than one quadrillion dollars per ounce to produce gold by this experiment," Seaborg told the Associated Press that year. The going rate for an ounce of gold at the time? About $560.
If you had lived hundreds of years ago, do you think you would've wanted to be an alchemist? Be sure to explore the following interesting activities with a friend or family member:
You might not be able to turn iron into gold, but you can change the form of a simple compound you use every day. What are we talking about? Water, of course! Get an ice cube out of your refrigerator and turn it to liquid water. You can do that a number of ways. You could simply let it melt on the kitchen countertop, or you could put it in a pan and heat it up to watch it melt quickly. You will definitely need that pan if you want to turn your liquid water into a gas. Keep heating some water in a pan until it reaches the boiling point. When it does, you'll see the water in the pan turning into water vapor right before your eyes. Have fun exploring the different states of water!Want to learn more about Isaac Newton's Experiments with Alchemy? Just follow the link to watch videos of some of Isaac Newton's most famous alchemy experiments. How do you think these experiments helped Newton become the famous scientist he was? Was all of alchemy a waste of time? Why or why not?If you could turn one element into another, what would you do? Think about what elements or things you have plenty of. Then think about things that you don't have much of, but would like more of. For example, if you could do it, would you invent a machine that could change air into soda? How about vegetables into ice cream? Let your imagination run wild and write a short story about what you would do as a modern-day alchemist. Have fun and be sure to share your story with a friend or family member!
distillatio.wordpress.com/2013/05/28/how-to-use-the-divin...
Estes Park, CO - Ever try to zip up a jacket with gloves on? It takes patience, coordination, and luck. I posses only one of those. It was nice to visit Colorado again, a place that I can definitely relate to. It was a yet another reminder how much my Southern Californian skin is not adapted to this weather.
Irregardless, I loved every minute of it.
Photo was taken by my middle brother -> This Guy.
I due elementi Acqua e Fuoco catturati dagli scatti fotografici di ricerca figurativa di Osvaldo Amari e interpretati nella scomposizione astratta di colore, luce e forma, nelle opere musive di Studio Cosma.
Praktica MTL3
Zeiss aus Jena Flektogon 20/2.8
Kodak Ektachrome
This footage is taken around the village of Port sunlight on the Wirral and showcases the unique architecture and design of the village, created by William Lever (later Lord Leverhulme) as a model village to house the workers of his soap making business.
Started in 1889 and continuing until the 1930's, 800 houses were built to house some 3500 people along with schools , a hospital ,workers clubs and recreational facilities such as a swimming pool (now a garden centre).
Port Sunlight is home to the Lady Lever art gallery which opened in 1922 and houses the collection of Lord and Lady Leverhulme.
The war memorial is in the village centre designed by Goscombe John and lies at the junction between The Causeway and the 2 roads of King George's Drive and Queen Mary's Drive.
At the opposite end to the Lady Lever Art gallery is the Rose Garden now dedicated to those who lost their lives at the Hillsborough tradgedy.
Some of the footage is concentrated in the area known as The Dell. This was once a marshy inlet from the Bromborough Pool which was drained and landscaped as part of the initial construction of Port Sunlight.
For further info
historicengland.org.uk/listing/the-list/list-entry/1001637
Flying the DJI Mini 2 for the first time in an urban environment was stressful, not least because of the number of trees around and I had a couple of near misses.
I think that the key element was ensuring the safety of those around me, even though the Mini 2 is small and light it can still cause an injury and that meant a lot of concentration.
Another first this time was flying under things , in this case a bridge (twice) and an archway. It certainly gives a dramatic reveal to the footage but I think I need more practice.
More videos at youtube.com/playlist?list=PLToThhJrYpku_kpXbbmYWmY4tkIEcIqWq
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Clouds - Huma Huma
A wnderful sulphur crystal over bitumen
I did this with a macro lens, this element crystal was really small.
It´s great how geometry is something that is in the most basic structures of the universe.
An image i included in my photo exposition a couple of months ago.
View from my loft windows early spring 2011
Watercolor filter enhamced with Photoshop Elements
If you'd like to buy this work
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One of the many beautiful partially gilded wooden ushabti figures found in Tutankhamun's tomb, and bearing the king's own likeness.
The ushabti were a common element of ancient Egyptian tombs and were often found in great numbers. The small figures were supplied as helpers with the intention that they would be magically animated to assist the deceased in the afterlife.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
Photography: Jose Sarmiento García / @josesarmiento
Model: Sara Saldarriaga / @saldarriagasara
Styling: Juliana Zapata / @julizapatar
Make Up: Verónica Ospina / @verospi
Hair: Natalia Tamayo / @natitamayo
Accesories: Lattimo / @lattimo_
The Robert and Arlene Kogod Courtyard.
The Robert and Arlene Kogod Courtyard, a signature element of the renovated Donald W. Reynolds Center for American Art and Portraiture, it is a part of the building houses the Smithsonian's National Portrait Gallery and the Smithsonian American Art Museum.
The enclosed courtyard with its elegant glass canopy designed by world–renowned architects Foster + Partners provides a distinctive, contemporary accent to the museums' Greek Revival building. Foster + Partners was assisted by internationally acclaimed landscape designer Kathryn Gustafson of Seattle–based Gustafson Guthrie Nichol Ltd. in the creation of the courtyard's interior design, with a variety of trees and plantings, as well as a unique water feature. The courtyard is named for major donors Robert and Arlene Kogod, Washington philanthropists and art collectors.
Foster + Partners worked with the Smithsonian to create an innovative enclosure for the 28,000–square–foot space at the center of the building that was sensitive to the historic structure and yet added a modern element to the building. The light–filled Kogod Courtyard is a major gathering place in the nation's capital. It is a welcoming space downtown, as well as a public venue for the museums' performances, lectures and special events. Free public wireless Internet access (Wi–Fi) is available in the courtyard. The Courtyard Cafè offers casual dining during public museum hours (11:30 a.m. to 6:30 p.m.).
In 2004, following an international competition, the Smithsonian announced that a panel of jurors had selected the designs of London–based architects Foster + Partners. Foster + Partners has designed numerous innovative and award–winning projects, such as the Great Court at the British Museum in London and the Reichstag, the New German Parliament in Berlin. The firm's most recent project in the United States is the Hearst Tower in New York City.
The roof is a wavy glass–and–steel structure that appears to float over the courtyard, letting in natural light but protecting visitors from the elements. The double–glazed glass panels are set in a grid completely supported by eight aluminum–clad columns located around the perimeter of the courtyard so that the weight of the roof does not affect the National Historic Landmark building.
The courtyard, which can be viewed from the museums' galleries, accommodates an array of activities, including art–making programs, children's activities, concerts and performances.
Funding
The total cost of renovation for the Donald W. Reynolds Center is $283 million. Federal funds—$166 million—paid for the infrastructure work and historic preservation of the building. Private support totaled $117 million, which includes $63 million for the courtyard enclosure and its interior design ($25 million from Robert and Arlene Kogod and $38 million from private donors).
Renovation of the Building
The Smithsonian began an extensive renovation of the museums' building in 2001, following the replacement of the roof in 1999. The renovation of the structure, known to historians as the Patent Office Building, included replacing all key mechanical systems (heating, ventilation, air conditioning); replacing more than 550 windows with an ultraviolet light filter to protect artworks from damaging sunlight and a hand–blown exterior layer that looks like historic glass; restoring original marble floor pavers and matching others with historically accurate reproductions; installing new fire and security systems; and replacing elevators and electrical systems throughout the entire building.
The scope of the renovation project expanded dramatically in 2002, when the Smithsonian began to consider enclosing the outdoor courtyard. From 1968, when the Smithsonian opened its two museums in the National Historic Landmark building, until it closed for renovations in 2000, the courtyard was a grassy outdoor space with paths leading into the museums, trees, and tables and chairs, where visitors relaxed and enjoyed the quiet of a city space enclosed on all four sides. Now, with the glass canopy allowing natural light, the courtyard can be used year–round in all kinds of weather, enabling the public more opportunities to visit and enjoy the space. The courtyard landscaping enhances the outdoor feeling with mature trees, plantings and a water feature along the floor. The courtyard is essentially an elaborate rooftop garden; below it is the Nan Tucker McEvoy Auditorium.
Plans for enclosing the courtyard began in 2002, and the following year, the Institution received approval from Congress (August 2003) for the privately funded enhancement of the building. Proposals were sought for a design that would not affect the structure or integrity of the National Historic Landmark building. Foster + Partners was selected, and approvals from the National Capital Planning Commission and the Commission of Fine Arts were obtained.
THEME: www.youtube.com/watch?v=tUAcDMHuC2E
Introducing my Self-MOC! This is actually the 12th version (12.4 to be exact) and a character reboot, though, and I have revamped the whole thing again since this version, too. I will post a picture showing some of the previous versions (I don't have pictures of pre-7th versions, except for the very first), just so you can get an idea of the evolution of the character.
---DESCRIPTION---
Nicknamed "Rahksha" due to her Makuta heritage, Nyctoria is somewhat of a Toa: the most accurate way to put it is, she's a protector...of sorts. She has a strong link with the Netherverse, enabling her to draw on its dark power to perform necromancy, as well as harvest souls and summon them as Netherwalkers (inhabitants of the Netherverse) with her scythe. She can also reanimate corpses to serve her by using seals on their Kanohi.
However, the power of the Netherverse always takes it toll, and the user's soul - and therefore body - will decay the more they use it. The only way to maintain oneself is to harvest the souls of others. Hence, Nyctoria hunts down villains to defeat and consume.
While Nyctoria does defend others from Makuta and other threats, she is not altrustic in her motives -- she will just as easily consume innocents if there is no other source available, and rarely helps others unless she perceives them or the target as useful in her quest for revenge against her "father", Teridax -- and by extension, her de facto creator, Mutran.
As an individual, Nyctoria is largely anti-social, apathetic and an on-off misanthrope - hardly surprising considering her origins. That being said, she is not without a sense of justice and empathy, although her concept of morality is nonexistent at worst and dubious at best.
---BIO---
NAME: Nyctoria
ALIASES: Rahksha, Daughter of Teridax, Destral's Shadowborne
SPECIES: Rahkshi/Toa (mutant; Kraata infused with energy from a Nui Stone)
GENDER: Female
KANOHI: N/A
ELEMENT: Shadow
WEAPON: Harvest Scythe - "Slayer's Slave"