View allAll Photos Tagged embedded
SONG:
www.youtube.com/watch?feature=player_embedded&v=KLpQ_...
Listen Carefully....
"You should know there's a time of year,
When the witches and ghosts appear.
They come at night
when there's no more light,Halloween is almost here!"
Dear Second Life,
I am so excited!
Halloween is one of my favorite holidays with its chills and thrills
and all that super scary stuff. Last year I had so much fun finding haunted and scary places for you.
This year, it's no exception.
I will try and post for you at least one scary place for you to visit each day. No promises though but I'll try my best ;)
THE HAUNTED
maps.secondlife.com/secondlife/Darkness/238/176/27
is the first one I have for you.
Haunted House,
The Dungeon,
The Pirate Bay,
Creepy Carnival,
VooDoo Island,
Pet Sematary,
Blood Beach,
Haunted Playground,Zombies, ghosts, skeletons, wolves, Loch Ness Monster, and much more!
There are two hunts going on in this location that I am sure you will enjoy.
DESCRIPTION:
Fabulous interactive experience frightening fun! A whole Sim of Horror!
Most items in Haunted are for sale, a lot is interactive, so please look at everything closely! There are free items around too!
By the way,
The opening text for this post are the lyrics to a song
I used to sing to my kids every Halloween when they were little ;)
LET THE FUN BEGIN!
Forever Yours,
~ Lori Novo ~
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
3. To embed the photo in your page, copy the code in the box below "To link to this photo on other websites you can either:"
4. Paste that code into your blog post, web page, or other web-based resource.
Note: This method doesn't work on some sites. You could also use an IMG tag and the URL for the photo (listed below the code box), but if you do, be sure to make the image a link back to the photo on Flickr. Flickr's guidelines require a link back.
En la fotografia: Àngels i la zona cremada del terme de Malet a Simat de la Valldigna on tot és gris i sec.
EMBED. El moment final del foc, quan sols queda el carbó.
.....
Àngels y la zona quemada de Simat de la Valldigna donde todo es gris y seco.
EMBED. El momento final del fuego, cuando solo queda el carbón.
[Alby]
Built between 1889 and 1895, this grand and massive Chateauesque-style mansion was designed by Richard Morris Hunt for George Washington Vanderbilt II and his wife, Edith Vanderbilt, whom had decided that Asheville would be an ideal place to build a French-style self-sufficient country estate.
The house is the largest private residence in the United States, with a 178,926 square foot (16,622.8 square meter) interior floor space. The house was named for De Bilt, the place where the Vanderbilt family came from in the Netherlands, and originally sat at the center of a 125,000 acre (195 square mile or 510 square kilometer) estate, which included Mount Pisgah, much of the present Pisgah National Forest Biltmore Village, and the upscale Asheville suburbs of Biltmore Forest and Biltmore Park, much of which has been parceled off and sold to help assist with keeping the estate running, with 86,700 acres of reforested land surrounding Mount Pisgah being sold to the United States government in 1915. Prior to becoming part of the estate, the land, which straddles the French Broad River, was home to small farms, and was in very poor condition, with Frederick Law Olmsted designing the landscape of the estate, reforesting large areas and creating a park-like setting with natural and artificial landscaped areas surrounding the house.
Part of the estate included Biltmore Village, formerly a small railroad town known as Best, which was redesigned to resemble a rural French medieval village, with a fan-shaped street grid centering around the Episcopal Cathedral of All Souls, which was attended regularly by the Vanderbilt family. The village also features Norman-style cottages, various shops, a train station, a hospital, and a school for the families of workers at the estate, with many of the buildings being designed by Richard Sharp Smith, who took over as lead architect following the death of Richard Morris Hunt. Today featuring many shops, restaurants, and tourist accommodations, Biltmore Village has since been annexed by the city of Asheville. The portion of the estate bordering Biltmore Village features an iconic gatehouse, which melds the cottage-like materials of the village with the more imposing design language of the mansion inside the estate. Between the gatehouse and the mansion, a 3-mile-long (5 kilometer long) driveway known as the Approach Road winds its way through carefully cultivated landscapes, as well as crossing under Interstate 40.
The grounds around the estate include a walled garden with rusticate granite walls, a large rose garden, gardener’s cottage, and a conservatory featuring various tropical plants that would not naturally grow in the local climate. Closer to the house, the large South Terrace enclosed by a rusticated retaining wall stands immediately south of the house, with a gazebo at the southwest corner of the terrace. East of the terrace is the Italian Garden, which features a formal layout, fountains, and Italian-style sculptures, with a more natural Shrub Garden and vine-covered arbor south of the Italian Garden. In front of the house is a large lawn, which runs east to the Esplanade, a stone wall with a series of stairs and ramps that switchback to an upper lawn, with a decorative series of six stone fountains embedded into the base of the wall, and a small belvedere with a Statue of Diana at the upper end of the lawn. West of the house is a grassy knoll, which leaves the views from the house of the surrounding mountains unobstructed. Finally, below the Walled Garden, an enlarged former mill pond, which predated the estate by many decades, is now known as the Biltmore Bass Pond, and has been stocked with fish, and features a boathouse, with a dam and waterfall at the lower end of the pond along the exit road from the house.
The Biltmore House features elements from various historic French Chateaux, including the stair tower and hipped roofs of the Chateau Royal de Blois, as well as various elements from the Chateau de Chenonceau, Chateau de Chambord, also in France, and Waddesdon Manor in England. The house features a facade clad in Indiana Limestone, with lots of Gothic details, leaded glass windows, casement windows, and double-hung windows, towers with steeply pitched hipped slate roofs and decorative copper cresting, ornate wall dormers, an elevator tower at one side of the staircase, a large conservatory known as the Winter Garden next to the front entrance tower, which features an octagonal glass roof with an wooden Gothic support structure, a loggia on the west side of the house with sweeping views of the Pisgah National Forest in the distance, and a stable wing on the north end of the house, with a porte cochere tower entrance to the stable courtyard, stone chimneys, and a loggia on the south side of the house. The smooth limestone exterior of the house is contrasted by the house’s rusticated granite base, quarried on the grounds of the house, which also was utilized in the massive retaining wall around the adjacent South Terrace.
Inside, the house features luxurious finishes, including carved woodwork, intricate plaster details, electric lighting and steam heat, multiple fireplaces, a large kitchen and laundry in the basement, many guest rooms, a massive four-story chandelier in the grand staircase, a basement swimming pool, bowling alley, and gymnasium, a large grand banquet hall, bedrooms for staff, and a two-story library. The house features antiques and decorations sourced from the Vanderbilts’ many international excursions and antique dealers, as well as lots of art.
The house was opened for public tours in 1930, which has, over time, expanded in scale to feature more areas of the house and estate. The house was utilized to store 62 paintings and 17 sculptures from the National Gallery of Art in Washington, DC 1942, with Asheville believed to be a safe haven for them in the event that the United States was invaded by a foreign military, with the house remaining the repository for these important works until 1944, when the tides of war had turned. Biltmore Estate was designated as a National Historic Landmark 1963, and was listed on the National Register of Historic Places in 1966, owing to the house’s significant size, intact detailing, and connections to notable individuals. Still owned by the Cecil family, the descendants of Cornelia Vanderbilt Cecil, George and Edith Vanderbilt’s only child, the house is today utilized as a museum and open to tours, with the 8,000 remaining acres comprising the modern grounds of the estate having been developed with tourist amenities, including the conversion of the estate’s various barns into museums, restaurants, and a winery, as well as the construction of a luxury hotel, shops, and additional support facilities. The estate today is a major tourist attraction, seeing nearly 2 million visitors every year.
173 Airborne Brigade US Army - Provincia di Kunar Marzo 2008 - 173 Airborne Brigade US Army - Provincia di Kunar Marzo 2008 - Kunar Province March 2008
This is the inner portion of the Taj Mahal. The fake tomb of Shan Jahan and Mumtaj Mahal. Below this tomb lie the real tombs which are opened once a year and the public is allowed to view them. The place is a secure zone and photography is not allowed in here. So how did I manage to get this?
In India, there is a general rule based on an assumption. If you do not fire a flash = you did not take a picture. Open the Canon EF 50MM F/1.4 USM to F/1.4, slow down the shutter to 1/3rd of a second. Cradle camera between the arm and chest for stabilization (no tripods here) and shoot pictures while our guide showed is some magic. The light you see here is nothing but a small pen LED light. Notice that the surrounding marble area in the tomb is dull and lifeless (dirty from pollution as well) and the red marble and green jade glows like a bulb from the LED reflection. The Taj is more splendid in the night, compared to the day as I was told before I went in here. I thought people were kidding me, I realized what they meant when I saw this. I know this is not a great picture but im happy it tells the tale. If you take my advice, go to the Taj at around 4 pm, so you can see the daylight as well as stay back and see it in the night after dusk as well.
The Jade is embeded into the white marble from rajasthan by constantly grinding and carving out the marble and making .25cm width jade platelets and stuck to the marble with holy gum/paste made of material that the koran specifies as usable in a construction like this. It takes a week to cut out and design a foot long of such marble art work so that explains why the Taj took so long to build. Not just that, its so delicate a mere flick of the finger and pressure from that can break the design work. Ultimately after all of this happened what remains for us to see is how the whole of Taj glows like a firefly (inside the Taj/Tomb) at night and how it’s a spectacle worth watching.
P.S. If you are retarded enough to sneak a picture like me, i will also warn you. The guards here are merciless. Your $1000+ lens and camera will be confiscated if you’re caught in the act and you shall never see the gear until you probably pay a bribe worth the camera price. If you are nuts enough to do what I did, good luck to you :-D
Canon EOS 400D with the Canon EF 50MM F/1.4 USM. Manual, F/1.4 at 1/3rd of a Second, ISO100, handheld.
All Rights Reserved. Owner and Usage Rights belong to Dilip Muralidaran. Any use of this work in hard or soft copy or transfer must be done with the expressed consent of Dilip Muralidaran in written. Failing to do so will result in violation as per Section 63 of the Indian Copyrights Act, 1957 & Forgery, Fraud, Misrepresentation and Misinformation as per the Indian Penal Code Section 420 leading to severe legal consequences.
Although I've been using texture layers for years, it was only a few months ago that I learned about "luminosity masks." Rather than the texture layer appearing to lay flat on top of the background image (even with different layer blending modes), a luminosity mask helps embed it into the background image by varying the strength of the texture according to the tones of the background. The difference is quite significant. In this case, there are two layers embedded into the background - a texture layer and the yin/yang symbol layer.
------------------------------
-----------------------------
.
2014 Computex Taipei_AEWIN Technologies_IoT and Industrial Automation_Networking and Embedded solution
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Resin embedded cutlery in Fonda Lola's back bar. Really interesting list of mixed drinks that mixes kombucha with tequila, etc. Lots of eclectic, worn and
Fonda Lola
942 Queen St. West
Toronto, ON
(647) 706-9105
fondalola.ca
Twitter @FondaLola
Owners: Ernesto Rodriguez, Howard Dubrowsky and Andrés Márquez
Chef: Howard Dubrowsky
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
This ring is from my Embedded series. It is a one-of-a-kind production. The ring was cast in fine silver using the lost wax technique. A volcanic beach pebble is embedded in the silver of the ring.
Probably every person who has worked with stones and metal has longed for the possibility to inset the stone directly into the metal without the obtrusive interference of prongs and bezels. Embedded is my personal fulfillment of this longing. The resulting jewelry gives me great satisfaction
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Glaciers are rivers of ice. Ice is a mineral (H2O). Glacial ice is a rock (technically, a metamorphic rock). Despite being solid, ice does flow under certain conditions at the Earth’s surface. Occasionally, Earth experiences Ice Ages, during which extensive ice sheets cover and move over significant portions of the Earth’s surface. As ice moves over landmasses, it erodes underlying rocks and picks up small to large pieces of debris. This debris accumulates at the base of the ice sheet and scrapes bedrock as the glacier moves, resulting in glacial scratches (glacial striations) (= thin scratch lines on rock) and glacial grooves (= large channels incised in rock).
The world-class glacial grooves seen here were incised on Devonian fossiliferous limestone during the Pleistocene (= last Ice Age).
--------------------------
From public signage:
GLACIAL GROOVES STATE MEMORIAL
Welcome to the Glacial Grooves State Memorial. This memorial, consisting of three and one-half acres on Kelleys Island, has been administered by the Ohio Historical Society since 1932.
Impressive in size and shape, these glacial grooves are of great geologic significance as well. Approximately 25,000 years ago, when the climate was much cooler and wetter, a great continental glacier flowed from Canada into northern Ohio. After the climate warmed and the ice melted (about 10,000 years ago), this island retained a spectacular reminder of the glacier’s presence here -- these huge glacial grooves, which had been carved in the limestone bedrock by the action of the advancing glacier.
Due to their size and ease of accessibility, these are the most famous glacial grooves in the world. Since this formation was discovered over a century ago, it has been an object of fascination to students, vacationers, and scientists alike. Geologists have studied these grooves for many years in an effort to determine exactly how they were carved by the glacier. Several theories have been proposed, but there is still no entirely satisfactory explanation.
THE OHIO HISTORICAL SOCIETY 1977
OTHER GROOVES
Have you noticed any other glacial grooves on Kelleys Island? There are still more grooves, mostly smaller than those featured here, to be found throughout the island area as well as on the mainland. Several examples of grooves, striations, and planed surfaces may be found in the Kelleys Island State Park along the north shore of the island just north of the Glacial Grooves State Memorial. Some very spectacular grooves which were destroyed during quarrying operations on the island were called the “Great Grooves”. These grooves extended for at least 2,000 feet with maximum measurements estimated at 15 feet in depth and 30 feet in width.
ISLAND HISTORY
The human history of Kelleys Island is estimated to extend back to the early 1600s. There is evidence that during that time the island was the home of at least two Indian villages, probably of the Erie (or Cat) nation, which was annihilated by the Iroquois in 1665. The petroglyphs of Inscription Rock, on the south shore of the island, were probably carved over a period of years by the Eries and may describe certain important events in their history.
A man named Cunningham is believed to have been the first white man to inhabit the island, living here from about 1800 until about 1812.
The island became the property of the Connecticut Land Company in about 1817 and was divided into 13 lots which were given to stockholders in the Company. In 1833 the Kelley brothers, Datus and Irad, immigrants to the Cleveland area from Connecticut, began to buy the parcels of land and soon owned the entire island. The Kelleys and their families began developing the island and its industries - wine-making, quarrying, logging, fruit-growing, and fishing - as well as encouraging the cultural enrichment of the inhabitants.
Eventually the island, previously known as Cunningham Island, or island No. 6, became known as Kelleys Island.
BEDROCK JOINTS
The straight cracks running across the grooves are called joints. Joints usually form in sedimentary rocks, such as this limestone, as a result of the application or release of pressure on the bedrock. It is not known exactly how these joints were formed, but we can be fairly certain that some pressure change occurring before the advance of the glacier responsible for the grooves was a major factor in the formation of the joints.
FOSSILS
The fossils found in the bedrock of Kelleys Island are the remains of plants and animals which lived in Ohio many thousands of years ago when the area was covered by a shallow saltwater ocean. When these marine organisms died, they settled to the bottom where they became embedded in soft sediments. Later, as these sediments hardened into limestone bedrock, the remains of the organisms were preserved in place. Fossils of many kinds are very abundant in the limestone of Kelleys Island, and can be seen almost everywhere if you look very closely.
Fossils are very useful to scientists in the study of early life forms, climate, environment, evolution, and the relative ages of different rock layers.
THE QUARRY [= adjacent to this site]
This quarry is one of several now-abandoned quarries to be found on Kelleys Island. At one time quarrying was a major industry on the island and the fine quality limestone found here was highly valued for its many uses. It was cut to shape for buildings, removed in large blocks for the construction of piers and breakwaters, burned to make lime, and crushed for use as flux in the production of steel.
Kilns and crushers were built on the island in the early 1900s and the industry reached its peak in 1918. By this time most of the quarries were owned by the Kelleys Island Lime and Transport Company. By 1941, however, most of the quarries had closed due to the opening of quarries in Michigan which could supply limestone less expensively.
One unfortunate aspect of the old quarrying industry was the destruction of many very spectacular grooves, some of which were more impressive than the ones exposed here today.
The long vertical marks on the quarry walls were made by the drills used in quarrying operations. Before the use of machine drills and explosives, the holes were hand-drilled and pieces of green wood were packed into the holes. Water was then poured into the holes and the wood absorbed the water and expanded. The resulting pressure caused large sections of the rock to be broken loose from the quarry wall.
THE TRIBUTARY
Notice the small branch of the grooves extending away from the main grooves. Although no one knows for certain just how this feature was formed, it is sometimes cited as an argument in favor of the theory that the grooves were formed as glacial ice reshaped an earlier stream channel. If this were the case, this branch would represent a tributary stream which once flowed into the main stream, represented by the main grooves. The glacial ice, which is quite plastic at its base, would have molded itself to the existing stream channel. While confining most of its grinding and rasping to the channels of this former stream and its tributaries, it widened, smoothed, and deepened the channel, thus giving it its present shape and form.
According to one theory, the tremendous grinding force resulting from the convergence of ice and a large concentration of debris in the confined space of the stream channel produced the extensive grooving seen here.
GROOVE DETAILS
The grooves, which for the most part are straight, are marked in many places with some very interesting details. The most noticeable in this spot is the tortuous winding of some of the smaller grooves and scratches, possibly due to pre-glacial or sub-glacial stream flow. This features was also noticed in some of the photographs of the “Great Grooves”, and others that have now been destroyed.
There are sections where the rock seems to be undercut, and places where the formations indicate that the ice flowed around melon-shaped knobs, possibly due to some obstruction such as broken joints in the bedrock. In many places you may notice small grooves superimposed on larger grooves. It is common to see very fine scratches or striations on the limestone, probably caused by the scraping of sand parrticles in the glacier’s base.
When the grooves were uncovered for the first time, after thousands of years under several feet of soil and debris, a high polish was noticed on some of the rocks. This polish was most likely procued by the scraping of clay. Soon after the rock was exposed the polish disappeared due to weathering. Weathering also caused the pitted effect noticed on some parts of the grooves. It is believed that these pitted areas were exposed to the weather once before, many years ago, and were later covered again until the most recent exposure was made.
All these details are helpful to scientists in determining how the ice sculpted the grooves. Many clues are provided here, but the challenge lies in their correct interpretation.
--------------------------
Stratigraphy: Columbus Limestone, Eifelian Stage, lower Middle Devonian
Locality: Glacial Grooves State Park, northwestern Kelleys Island, western Lake Erie, Ohio, USA
It's possible to embed tweets in a website, blogpost, or LibGuide. Created for this post: www.ned-potter.com/blog/twitter-video-is-here-and-its-a-g...
This is a photograph of the 34th Airtricity sponsored Dublin City Marathon which was held in Dublin, Ireland on Bank Holiday Monday 28th October 2013 at 09:00. There was dry but very blustery conditions for the runners over the famous Dublin Marathon course which seen over 14,000 people participating in the event making it a record participation at the event. Please see the extensive set of links below for more details about the race itself.
This is part of a larger set of photographs available on our Flickr photostream which is available here [http://www.flickr.com/photos/peterm7/sets/72157637013735556/].
Photographs were taken at the start of all three waves, near the finish line from the winner to 2:43 finish time, and then some photographs at the 25.5 mile mark of approximately 3:40 finish time participants.
Athlete Tracking and Timing are provided by www.tdl.ltd.uk/race-results.php
These are completely unofficial photographs of the event: Please see the official website dublinmarathon.ie/ for details of the official authorised distributor of race-day photographs. Our photographs are taken on a completely non-commercial basis and are not for sale.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some Useful Links Associated with this Race Event
The Dublin Marathon Official Web Homepage: dublinmarathon.ie/
The Dublin Marathon Official Facebook Page: www.facebook.com/dublinmarathon?fref=ts (Requires Facebook Logon)
The Dublin Marathon Official Twitter Feed: twitter.com/dublinmarathon
Boards.ie Athletics Forum Discussion Pages on the Dublin Marathon 2013: www.boards.ie/vbulletin/showthread.php?t=2056896382
Racepix.com where you are likely to find links to many different photographers' photographs from Dublin Marathon 2013: www.racepix.com/Dublin-Marathon-2013/pictures/1024/
A PDF Document containing the Dublin Marathon 2013 Route: dublinmarathon.ie/s/AT-DM13-ROUTE-MAP.pdf
An unofficial GPS Garmin Trace of the Route from 2012 (same for 2013) connect.garmin.com/activity/243433212
For runners based in the Province of Munster the well known running blog munsterrunning.blogspot.ie/ might have some links to pictures and videos from 2013
William Murphy's Dublin Marathon 2012 Photographs on Flickr: www.flickr.com/photos/infomatique/sets/72157631881471894/
William Murphy's Flickr Sets: www.flickr.com/photos/infomatique/sets/
Pixels Promotions on Facebook have an extensive set of Dublin Marathon 2013 Photographs: www.facebook.com/Pixelspromotions?fref=ts
Action Photography will have photographs available from the Dublin Marathon 2013: www.actionphotography.ie/
Boards.ie Athletics Forum - Dublin Marathon Novices Thread 2013: www.boards.ie/vbulletin/showthread.php?t=2056913937
Dublin Marathon 2013 Race Results will Appear Here: www.tdl.ltd.uk/race-results.php
Our Flickr Set from the Dublin City Marathon 2012: www.flickr.com/photos/peterm7/sets/72157631880879021/
Our Flickr Set from the Dublin City Marathon 2011: www.flickr.com/photos/peterm7/sets/72157628021593264/
Our Flickr Set from the Dublin City Marathon 2010: www.flickr.com/photos/peterm7/sets/72157625240675108/
Our Flickr Set from the Dublin City Marathon 2009: www.flickr.com/photos/peterm7/sets/72157622543521201/
Our Flickr Set from the Dublin City Marathon 2008: www.flickr.com/photos/peterm7/sets/72157608459477451/
Our Flickr Set from the Dublin City Marathon 2007: www.flickr.com/photos/peterm7/sets/72157602802514024/
Please note: These links are provided for information purposes. Some of these links might become obselete or dead links as time passess. We cannot be responsible for the content on these external websites. All websites were checked before posting here to ensure that they 'did what they said on the tin'.
Can I use these photographs directly from Flickr on my social media account?
Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.
How can I get full resolution copies of these photographs?
To prevent missue of these photographs there is a watermark embedded into the images. All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution without the watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets