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The white form of Calopogon tuberosus or Common Grass-pink orchid is currently blooming in my bog garden.
L’interno
L’interno è formato da un’unica aula di sei metri per dodici con abside semicircolare. Le pareti, in mattoni a vista, sono spoglie. Quella di destra presenta, in alto, due feritoie che lasciano passare un po’ di luce dall’esterno.
Gli affreschi
Gli affreschi presenti nell’abside sono opera di Guglielmetto Fantini e di un pittore sconosciuto, di cui è riconoscibile la minore qualità pittorica. Guglielmetto Fantini è stato protagonista della pittura piemontese realizzando, fra gli altri, il ciclo della Passione di Cristo nel battistero di Chieri, sua città natale, e gli affreschi della cappella di San Sebastiano a Pecetto. Gli affreschi presenti in questa chiesa sono stati realizzati nella prima metà del XV secolo. Secondo gli storici dell’arte Guglielmetto Fantini ebbe due fonti di ispirazione: i pittori fiamminghi da cui ha imparato l’arte del colore ed il maestro Giacomo Jaquerio da cui ha imparato a caratterizzare le espressioni dei personaggi ritratti.
Nel catino absidale, racchiuso da una ricca cornice geometrica, il Fantini ha affrescato una Pietà o Compianto sul Cristo morto. Maria regge in grembo il corpo del figlio morto. Con la mano destra sorregge il capo di Gesù su cui posa un tenero sguardo.
Alla sua destra Santo Stefano indossa la dalmatica, veste diaconale, e sul capo porta la tonsura. Nella mano destra ha una pietra, a ricordarci il martirio subito per lapidazione e nella sinistra regge un libro. Santo Stefano era un ebreo di origine ellenica. Condotto nel Sinedrio sostenne una lunga disputa poiché accusato di aver proferito parole blasfeme contro Dio e Mosè. Nel corso della disputa disse di vedere la gloria di Dio in cielo. A quel punto i sacerdoti, scagliatisi contro di lui, lo fecero condurre fuori città e lo fecero lapidare.
Alla sinistra della Vergine è dipinta Santa Lucia. Tra le mani ha un piatto su cui sono raffigurati gli occhi, che secondo alcune fonti le furono cavati, motivo per cui è ritenuta protettrice della vista. La santa visse ai tempi delle persecuzioni di Diocleziano. Grazie alla propria fede cristiana ottenne la guarigione della madre Eutychia da tempo malata confermando in cambio la propria verginità, già offerta a Dio in tenera età, respingendo il suo pretendente. Questi per vendicarsi la denunciò all’autorità perché cristiana. Non rinnegò il proprio credo dinnanzi al prefetto Pascasio subendo così il martirio.
Gli elementi geometrici presenti sullo sfondo sono stati realizzati mediante stampini con diverse tonalità di verde. Ai lati della scena sono dipinte nude rocce.
In alto, al centro, sullo sfondo di un cielo blu, i simboli della passione di Gesù: la croce, la pertica con la spugna imbevuta di aceto e la lancia con cui gli venne trafitto il costato.
Nella parte bassa, partendo da sinistra, il primo dipinto ci propone San Cristoforo con il Bambino seduto sulla sua spalla destra, che si regge tenendosi al copricapo di color rosso mattone del Santo. Quest’ultimo indossa una tunica ocra coperta in parte da un mantello del colore del copricapo. La leggenda di San Cristoforo è giunta a noi tramite il frate domenicano Jacopo da Varagine. Si narra che Cristoforo avesse un corpo di dimensioni gigantesche. Mettendo la sua forza al servizio dei potenti finì per essere preda del diavolo. Accortosi che il diavolo temeva Cristo si convertì al cristianesimo, influenzato da un eremita che lo convinse ad aiutare le persone che dovevano attraversare un fiume impetuoso. Un giorno, aiutato dal suo inseparabile bastone, ebbe il compito di trasportare un bambino che risultò molto più pesante del dovuto perché era Gesù Cristo. Provò così in quel momento la sensazione di dover reggere il peso del mondo.
Spostandoci a destra troviamo un santo con gli attributi del pellegrino. Purtroppo risulta visibile solo la parte superiore della veste che probabilmente era corta per non essere di intralcio durante le lunghe camminate. Nella mano destra regge, come tutti i viandanti, un bastone Sulla testa porta un cappello dalle larghe falde per proteggersi dal caldo ed una conchiglia (simbolo del Cammino di Santiago) al centro del copricapo. Nella mano sinistra regge una ciotola con delle monete ed ha una bisaccia a tracolla che ne completa l’abbigliamento. Si tratta di san Giacomo che fu il primo apostolo martirizzato. San Cristoforo e San Giacomo sono entrambi protettori dei pellegrini e sottolineano il fatto che la chiesa di santa Maria Assunta sia posta sulla via francigena, uno dei cammini più frequentati nel medioevo.
Alla destra di questo santo, in un riquadro, è possibile leggere la data, ottobre 1450, ed il committente del ciclo di affreschi, ‘presbiter Martinus de Panicis de Cortellano’.
Il santo successivo è San Sebastiano: ha il corpo trafitto dalle frecce ed è sanguinante. Ha una folta capigliatura e lo sguardo triste che va oltre la sofferenza del momento. La tradizione vuole che riuscisse a sopravvivere al martirio, Si ripresentò davanti a Diocleziano che a quel punto ordinò di percuoterlo fino alla morte.
Troviamo ora un affresco di autore ignoto, a differenza di quelli descritti finora che sono tutti opera del Fantini. Si tratta di Maria in trono. Con il seno nudo, allatta il Bambino che è assiso sulle sue ginocchia. La Vergine indossa un vestito rosso ed un mantello blu. Il Bambino, sguardo adorante, porta al collo un crocifisso. E’ un’immagine ricca di significati spirituali e teologici e si ispira al Vangelo di Luca. Il capitolo 11 ai versetti 27 e 28 narra che una donna disse al Signore: “Beato il seno che ti ha allattato”. Ad ella Gesù rispose; “Beati piuttosto quelli che ascoltano la parola del Signore e la osservano”. La rappresentazione qui proposta vuole rassicurare i fedeli sul fatto che Dio si è fatto uomo in Gesù, fondendo così in lui l’aspetto divino e quello umano.
Tre santi, posti all’estrema destra, completano la fascia absidale. L’unico riconoscibile è quello al centro: si tratta di San Valeriano, come recita la scritta posta sulla sua figura. Indossa una tunica rossa e nella mano sinistra ha una palma, simbolo del martirio. Lo sfondo, come in altri dipinti, è verde. Il colore preferito dal Fantini, autore dell’unico di questi tre santi, come facilmente si può riconoscere dai tratti più accurati. Secondo la tradizione, San Valeriano, legionario tebeo agli ordini di San Maurizio ed impegnato in combattimenti nella valle del Rodano, riuscì insieme ad altri legionari a fuggire e raggiungere chi la Valle d’Aosta, chi il Piemonte ed altri infine la Lombardia. San Valeriano evangelizzò le genti nel territorio di Cumiana finché un drappello di soldati scoprì il suo nascondiglio e lo decapitò. La leggenda vuole che prima di morire il santo si sia inginocchiato lasciando impresse nella roccia le impronte delle sue ginocchia.
Fonte: www.chieseromaniche.it/Schede/127-Marentino-Santa-Maria-A...
Chiesa visitata grazie all'app 'Chiese a porte aperte' www.cittaecattedrali.it/it/chiese_aperte
Who doesn't like to take a photo of probably THE most popular form of transportation in all of Walt Disney World. This is probably my most photographed form of Disney transportation and I bet I have hundreds of photos, most likely in every color. Is the monorail your favorite. Please enjoy and have a magical day!
Miami Beach is a coastal resort city in Miami-Dade County, Florida, United States. It was incorporated on March 26, 1915. The municipality is located on natural and man-made barrier islands between the Atlantic Ocean and Biscayne Bay, the latter of which separates the Beach from the mainland city of Miami. The neighborhood of South Beach, comprising the southernmost 2.5 square miles (6.5 km2) of Miami Beach, along with downtown Miami and the Port of Miami, collectively form the commercial center of South Florida. Miami Beach's estimated population is 92,307 according to the most recent United States census estimates. Miami Beach is the 26th largest city in Florida based on official 2017 estimates from the US Census Bureau. It has been one of America's pre-eminent beach resorts since the early 20th century.
In 1979, Miami Beach's Art Deco Historic District was listed on the National Register of Historic Places. The Art Deco District is the largest collection of Art Deco architecture in the world and comprises hundreds of hotels, apartments and other structures erected between 1923 and 1943. Mediterranean, Streamline Moderne and Art Deco are all represented in the District. The Historic District is bounded by the Atlantic Ocean on the East, Lenox Court on the West, 6th Street on the South and Dade Boulevard along the Collins Canal to the North. The movement to preserve the Art Deco District's architectural heritage was led by former interior designer Barbara Baer Capitman, who now has a street in the District named in her honor.
Miami Beach is governed by a ceremonial mayor and six commissioners. Although the mayor runs commission meetings, the mayor and all commissioners have equal voting power and are elected by popular election. The mayor serves for terms of two years with a term limit of three terms and commissioners serve for terms of four years and are limited to two terms. Commissioners are voted for citywide and every two years three commission seats are voted upon.
A city manager is responsible for administering governmental operations. An appointed city manager is responsible for administration of the city. The City Clerk and the City Attorney are also appointed officials.
In 1870, a father and son, Henry and Charles Lum, purchased the land for 75 cents an acre. The first structure to be built on this uninhabited oceanfront was the Biscayne House of Refuge, constructed in 1876 by the United States Life-Saving Service at approximately 72nd Street. Its purpose was to provide food, water, and a return to civilization for people who were shipwrecked. The next step in the development of the future Miami Beach was the planting of a coconut plantation along the shore in the 1880s by New Jersey entrepreneurs Ezra Osborn and Elnathan Field, but this was a failed venture. One of the investors in the project was agriculturist John S. Collins, who achieved success by buying out other partners and planting different crops, notably avocados, on the land that would later become Miami Beach. Meanwhile, across Biscayne Bay, the City of Miami was established in 1896 with the arrival of the railroad, and developed further as a port when the shipping channel of Government Cut was created in 1905, cutting off Fisher Island from the south end of the Miami Beach peninsula.
Collins' family members saw the potential in developing the beach as a resort. This effort got underway in the early years of the 20th century by the Collins/Pancoast family, the Lummus brothers (bankers from Miami), and Indianapolis entrepreneur Carl G. Fisher. Until then, the beach here was only the destination for day-trips by ferry from Miami, across the bay. By 1912, Collins and Pancoast were working together to clear the land, plant crops, supervise the construction of canals to get their avocado crop to market, and set up the Miami Beach Improvement Company. There were bath houses and food stands, but no hotel until Brown's Hotel was built in 1915 (still standing, at 112 Ocean Drive). Much of the interior land mass at that time was a tangled jungle of mangroves. Clearing it, deepening the channels and water bodies, and eliminating native growth almost everywhere in favor of landfill for development, was expensive. Once a 1600-acre, jungle-matted sand bar three miles out in the Atlantic, it grew to 2,800 acres when dredging and filling operations were completed.
With loans from the Lummus brothers, Collins had begun work on a 2½-mile-long wooden bridge, the world's longest wooden bridge at the time, to connect the island to the mainland. When funds ran dry and construction work stalled, Indianapolis millionaire and recent Miami transplant Fisher intervened, providing the financing needed to complete the bridge the following year in return for a land swap deal. That transaction kicked off the island's first real estate boom. Fisher helped by organizing an annual speed boat regatta, and by promoting Miami Beach as an Atlantic City-style playground and winter retreat for the wealthy. By 1915, Lummus, Collins, Pancoast, and Fisher were all living in mansions on the island, three hotels and two bath houses had been erected, an aquarium built, and an 18-hole golf course landscaped.
The Town of Miami Beach was chartered on March 26, 1915; it grew to become a City in 1917. Even after the town was incorporated in 1915 under the name of Miami Beach, many visitors thought of the beach strip as Alton Beach, indicating just how well Fisher had advertised his interests there. The Lummus property was called Ocean Beach, with only the Collins interests previously referred to as Miami Beach.
Carl Fisher was the main promoter of Miami Beach's development in the 1920s as the site for wealthy industrialists from the north and Midwest to and build their winter homes here. Many other Northerners were targeted to vacation on the island. To accommodate the wealthy tourists, several grand hotels were built, among them: The Flamingo Hotel, The Fleetwood Hotel, The Floridian, The Nautilus, and the Roney Plaza Hotel. In the 1920s, Fisher and others created much of Miami Beach as landfill by dredging Biscayne Bay; this man-made territory includes Star, Palm, and Hibiscus Islands, the Sunset Islands, much of Normandy Isle, and all of the Venetian Islands except Belle Isle. The Miami Beach peninsula became an island in April 1925 when Haulover Cut was opened, connecting the ocean to the bay, north of present-day Bal Harbour. The great 1926 Miami hurricane put an end to this prosperous era of the Florida Boom, but in the 1930s Miami Beach still attracted tourists, and investors constructed the mostly small-scale, stucco hotels and rooming houses, for seasonal rental, that comprise much of the present "Art Deco" historic district.
Carl Fisher brought Steve Hannagan to Miami Beach in 1925 as his chief publicist. Hannagan set-up the Miami Beach News Bureau and notified news editors that they could "Print anything you want about Miami Beach; just make sure you get our name right." The News Bureau sent thousands of pictures of bathing beauties and press releases to columnists like Walter Winchell and Ed Sullivan. One of Hannagan's favorite venues was a billboard in Times Square, New York City, where he ran two taglines: "'It's always June in Miami Beach' and 'Miami Beach, Where Summer Spends the Winter.'"
Post–World War II economic expansion brought a wave of immigrants to South Florida from the Northern United States, which significantly increased the population in Miami Beach within a few decades. After Fidel Castro's rise to power in 1959, a wave of Cuban refugees entered South Florida and dramatically changed the demographic make-up of the area. In 2017, one study named zip code 33109 (Fisher Island, a 216-acre island located just south of Miami Beach), as having the 4th most expensive home sales and the highest average annual income ($2.5 million) in 2015.
South Beach (also known as SoBe, or simply the Beach), the area from Biscayne Street (also known as South Pointe Drive) one block south of 1st Street to about 23rd Street, is one of the more popular areas of Miami Beach. Although topless sunbathing by women has not been officially legalized, female toplessness is tolerated on South Beach and in a few hotel pools on Miami Beach. Before the TV show Miami Vice helped make the area popular, SoBe was under urban blight, with vacant buildings and a high crime rate. Today, it is considered one of the richest commercial areas on the beach, yet poverty and crime still remain in some places near the area.
Miami Beach, particularly Ocean Drive of what is now the Art Deco District, was also featured prominently in the 1983 feature film Scarface and the 1996 comedy The Birdcage.
The New World Symphony Orchestra is based in Miami Beach, under the direction of Michael Tilson Thomas.
Lincoln Road, running east-west parallel between 16th and 17th Streets, is a nationally known spot for outdoor dining and shopping and features galleries of well known designers, artists and photographers such as Romero Britto, Peter Lik, and Jonathan Adler. In 2015, the Miami Beach residents passed a law forbidding bicycling, rollerblading, skateboarding and other motorized vehicles on Lincoln Road during busy pedestrian hours between 9:00am and 2:00am.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Miami_Beach,_Florida
© All Rights Reserved - you may not use this image in any form without my prior permission.
While on "assignment" for the flickr group Get Pushed!! , I took this one in Auch.
(For ODC:"Bottle")
O dia nacional e mundial da água foi criado como forma de preservação da mesma
Desde os primórdios da humanidade, sabemos que o homem sempre se estabeleceu em locais próximos aos rios e mares, para garantir seu sustento através da agricultura.
A história do Egito faz uma excelente demonstração desse fato, quando os homens, às margens do rio Nilo, fizeram os primeiros aglomerados humanos e construíram as primeiras cidades do mundo. Ali já se registrava o quanto o homem era dependente da água.
Porém, com o passar dos anos, com a evolução da humanidade, a água passou a ser tratada com desrespeito, sendo poluída e desperdiçada.
Por esses motivos, a ONU – Organização das Nações Unidas criou o Dia Mundial da Água, em vinte e dois de março de 1992, para promover discussões acerca da consciência do homem em relação à mesma.
Em dez de dezembro de 2002, o senado brasileiro aprovou o dia nacional da água através do projeto de lei do deputado Sérgio Novais (PSB-CE). O texto destaca que esse deverá “oferecer à sociedade brasileira a oportunidade e o estímulo para o debate dos problemas e a busca de soluções relacionadas ao uso e à conservação dos recursos hídricos.”
A preocupação surgiu através dos grandes índices de poluição ambiental do planeta, envolvendo a qualidade da água que consumimos.
A ONU elaborou um documento com medidas cautelosas a favor desse bem natural, trazendo também informações para garantir a cultura de preservação ambiental, a consciência ecológica em relação à água.
Na Declaração Universal dos Direitos da Água, criada pela ONU, dentre as principais abordagens estão:
- Que devemos ser responsáveis com a economia de água, pois essa é condição essencial de vida;
- Que a mesma é um patrimônio mundial e que todos nós somos responsáveis pela sua conservação;
- Que a água potável deve ser utilizada com economia, pois os recursos de tratamento são ainda lentos e escassos;
- Que o equilíbrio do planeta depende da preservação dos rios, mares e oceanos, bem como dos ciclos naturais da água;
- Que devemos ser responsáveis com as gerações futuras;
- Que precisamos utilizá-la tendo consciência de que não devemos poluí-la ou envenená-la;
- Que o homem deve ser solidário, evitando o seu desperdício e lutando pelo seu equilíbrio na natureza.
Com esse documento, a Organização das Nações Unidas tornou obrigatório que todos os homens sejam responsáveis pela qualidade da água, bem como pela sua manutenção, tendo assim, formas de garantir a melhoria de vida no planeta.
Por Jussara de Barros
Graduada em Pedagogia
Equipe Brasil Escola
"When clouds form in the skies we know that rain will follow but we must not wait for it. Nothing will be achieved by attempting to interfere with the future before the time is ripe. Patience is needed."
-I Ching-
Château de Villandry : le jardin de légumes date du Moyen-Âge. Les moines aimaient disposer leurs légumes selon des formes géométriques. Les nombreuses croix du potager de Villandry rappellent cette origine monacale.
Des formes qu’on aperçoit souvent en survolant notre planète : on dirait une collection de vinyles géants… ou une invasion de Pacman 😨 Il s’agit de champs agricoles irrigués, au milieu de zones très arides. Ils utilisent de l'eau fossile pompée à des kilomètres sous la surface, qui est ensuite répandue sur les cultures à partir du centre, à l’aide d’un grand bras qui décrit un cercle. Dans les régions où l'eau douce est rare, c'est une façon faire pousser sa nourriture... Pas d’eau, pas de vie !!! L’emplacement de ces zones peut sembler aléatoire, mais ils suivent les nappes souterraines.
A sight we see often while flying over our planet: peas in the desert, a Pacman invasion, or Earth's record collection? The shapes are of course agriculture, using fossil water pumped up from km below the surface and spread to the crops from the centre in a circular formation. In areas where fresh water is scarce this is one way of growing food, that like all life relies on water to flourish. Their location might seem random, but they follow the underground reservoirs.
Credits: ESA/NASA–T. Pesquet
513C1428
Coode Island is a former island at the convergence of the Yarra and Maribyrnong Rivers, 4 km west of central Melbourne, Australia. The island was formed by the excavation of the Coode Canal in 1887, and became connected to the mainland in the 1930s. Today the low-lying land is part of the Port of Melbourne, and is used as the site of Swanson and Appleton Docks and their associated container storage and rail yards, as well as a number of chemical storage facilities.
Coode Island isn't really an island, but it was once the site of a major industrial fire in August 1991 that caused chaos around Melbourne for several days.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
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Des physiciens britanniques ont récemment accouché d’une nouvelle théorie sur les interactions entre la matière et la lumière au niveau quantique, et ces travaux ont aussi fait émerger une très intéressante : pour la première fois, ces chercheurs ont réussi à définir la forme précise d’un photon isolé.
Les photons, ce sont les particules qui servent de vecteur à la force électromagnétique, et par extension, à la lumière visible grâce à laquelle nous sommes capables de visualiser notre environnement. Mais même s’ils sont incroyablement abondants, ce sont des objets qui, paradoxalement, sont encore loin d’être parfaitement compris par les physiciens.
La façon dont ils interagissent avec la matière, en particulier, est extrêmement complexe. Pour en appréhender toutes les nuances, il faut d’abord réussir à conceptualiser puis à associer une myriade de phénomènes souvent très difficiles à manipuler, notamment parce qu’une grande partie d’entre eux se déroulent dans le domaine quantique.
« La nature de ces interactions ouvre des possibilités infinies par rapport à l’existence et à la propagation de la lumière à travers son environnement. Ces possibilités illimitées rendent les interactions exceptionnellement difficiles à modéliser, et c’est un défi que les physiciens quantiques cherchent à relever depuis plusieurs décennies », expliquent les auteurs de l’étude dans un communiqué de l’Université de Birmingham.
Un nouveau cadre théorique sur le comportement des photons
Pour simplifier l’équation, ces chercheurs ont donc décidé de regrouper toutes ces possibilités dans quelques ensembles bien définis. Grâce à cette approche, ils ont réussi à établir un modèle certes simplifié par rapport à la réalité, mais tout de même cohérent et très complet : il décrit non seulement la relation entre le photon et l’objet qui l’émet, mais aussi le comportement de l’énergie qui résulte de ces interactions.
Il s’agit donc de travaux importants, car ils permettent de définir précisément comment ces particules exceptionnellement importantes interagissent avec les différents éléments de leur environnement.
« Ces travaux nous aident à approfondir notre compréhension de l’échange d’énergie entre la lumière et la matière », explique Benjamin Yuen, co-auteur de l’étude. « Il y a de nombreux signaux que l’on considérait auparavant comme du simple “bruit”, mais qui contiennent en fait énormément d’informations auxquelles nous pouvons désormais donner du sens », se réjouit-il.
Par extension, cette étude défriche donc de nouvelles pistes que les physiciens pourront emprunter pour faire progresser des disciplines comme la physique quantique ou la science des matériaux. Les auteurs citent notamment des « nouvelles technologies nanophotoniques » qui pourraient « changer notre manière de communiquer, de détecter des pathogènes, ou encore de contrôler des réactions chimiques à l’échelle moléculaire ».
Le premier portrait-robot d’un photon
En parallèle, ces travaux ont aussi fait émerger une autre nouveauté relativement anecdotique dans le contexte de ces travaux, mais néanmoins fascinante : pour la première fois, les auteurs ont réussi à modéliser la “forme” d’un photon. Dans leur papier de recherche, ils présentent en effet une forme vaguement circulaire qui fait un peu penser à une cellule vue au microscope, entourée d’un étrange halo en forme d’étoile.
Ce concept de “forme” d’un photon est assez perturbant au premier abord. À l’inverse des neutrons et des protons qui constituent les atomes, les photons ne sont typiquement pas décrits comme des objets physiques. Contrairement à ces derniers, il faut passer par plusieurs couches d’abstraction pas toujours très intuitives pour les étudier.
En effet, on considère généralement que les photons n’existent qu’à travers leurs interactions ; ils sont régulièrement décrits comme des ondes plutôt que comme des particules tangibles (voir la notion de dualité onde-corpuscule). Par extension, la plupart des modèles physiques leur attribuent une masse nulle, et considèrent qu’ils n’ont pas de taille ou de forme bien définie.
Physique : l’étau se resserre autour de la masse de la lumière
Comment les auteurs ont-ils donc réussi à visualiser une forme qui, selon ces interprétations, n’existe tout simplement pas ? Pour le comprendre, il faut reconsidérer la définition même de la forme. Car ici, nous ne parlons pas des frontières d’un objet matériel comme une sphère ou un cube ; il s’agit plutôt d’une question de répartition d’énergie.
Pour visualiser cette notion, on peut l’aborder en faisant un détour par le monde de la musique. Chaque note (Do, Ré, Mii…) est construite autour d’une fréquence fondamentale qui détermine sa hauteur. Mais elle est rarement seule : la fréquence fondamentale est presque toujours accompagnée d’autres fréquences plus discrètes que l’on appelle les partiels, et ce sont eux qui déterminent les autres paramètres d’un son — comme son timbre. C’est précisément à cause de ces partiels qu’un do joué par un piano est beaucoup plus riche que celui qui sort d’un diapason, par exemple ; la répartition de ces fréquences change la manière dont l’onde sonore interagit avec nos tympans.
De la même façon, l’énergie des photons est distribuée sur plusieurs modes de fréquences différents. Comme avec une note de musique, cette répartition joue un rôle crucial dans la manière dont le photon interagit avec son environnement, et notamment avec les champs électriques.
En d’autres termes, cette image ne représente pas une forme physique que l’on pourrait toucher ou observer au microscope. La « forme » en question est en fait une carte de la distribution de l’énergie véhiculée par le photon sur différentes fréquences du spectre électromagnétique ; c’est une manière de représenter visuellement le résultat des interactions entre le photon et la matière qui sont décrites dans le modèle des chercheurs (voir plus haut).
Quoi qu’il en soit, il s’agit tout de même du premier portrait d’un photon. Et même s’il ne s’agit que d’une représentation abstraite, il sera très intéressant de garder un œil sur les travaux ultérieurs qui se serviront de ce nouveau cadre théorique pour faire avancer des disciplines fascinantes telles que la physique quantique.
This doe was a member of a small feeding group. The typical matriarchal Mule Deer herd comprises related mature females and their young. This small herd numbered four deer, and it appeared to me that they were all young, and all female. Perhaps the oldest was three years. Usually an all-female herd like this is lead by a grand old lady. An age of only three years does not qualify a doe to be termed a "matriarch." The typical matriarchal Mule Deer herd comprises related mature females and their young. Males may be included until they approach breeding status. Deer herds form these groups to benefit from "safety in numbers."
IMG_0614; Mule Deer
Renfe Viajeros S.A. (grupo Renfe Operadora): debido a que en la estación provisional de vía ancha de Murcia del Carmen no es posible realizar las maniobras de inversión de la locomotora, por falta de desvíos, los dos trenes Talgo que llegan a la misma de las relaciones Murcia-Barcelona y viceversa y Cartagena-Barcelona y viceversa, están circulando con una locomotora en cabeza y otra en cola.
A su paso por la alicantina playa de Agua Amarga, el tren Intercity 460 de Murcia del Carmen a Barcelona Sants formado por la locomotora diésel 334 017, la rama de Talgo Pendular serie VI número 6B9 y la locomotora diésel 334 015. Al fondo, la ciudad de Alicante.
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Renfe Viajeros S.A. (Renfe Operadora group): Due to the fact that in the provisional broad gauge station of Murcia del Carmen it is not possible to carry out the locomotive inversion maneuvers, due to lack of switches, the two Talgo trains that arrive at the station from Murcia-Barcelona and vice versa and Cartagena-Barcelona and vice versa, they are running with a locomotive in the lead and another in the tail.
As it passes through the Alicante beach of Agua Amarga, the Intercity 460 train from Murcia del Carmen to Barcelona Sants formed by the diesel locomotive 334 017, the branch of Talgo Pendular series VI number 6B9 and the diesel locomotive 334 015. In the background, the city of Alicante.
Es curioso ver como todos los días cuando vas a fotografiar te encuentras con las mismas personas, los que pescan, pasean, corren, los ciclistas y este señor que todas las mañanas hacía lo mismo buscaba conchas....
Funny how every day when you're going to photograph the same people, those who fish, walk, run, cyclists and the man who every morning looking for shells did the same thing ....
Happy Easter
Then you see ...