After its transformation, most likely as the result of the same earthquake ca. 500 AD, the three northernmost rooms of the portico (E1, E2 and E5) formed a separate unit, located at a higher level. In contrast to the other rooms of the portico, they are not oriented towards the agora itself, but towards its north-eastern monumental entrance on the one hand, and towards the street between the portico and the Roman Baths on the other hand, and they are placed on a higher level. With the (late 5th-) early 6th century renovation of the walkway, the lower level of E5 (that most probably was the most northern room of the original, first century AD portico) was transformed into a cistern. At the same time, rooms E1 and E2 were built against the north wall of E5 and the actual entrance of the square was narrowed down. Upon excavation it was thought that this unit was a guard station, due to its strategic position and some isolated, military related finds. In depth artefactual analysis however, showed that the function of the room was rather related to storage, or commercial activities, although this does not exclude a military presence on the agora.

The water channel laid out in the debris layer is most likely to be related with the Mid Byzantine occupation on the promontory where the temple of Hadrian and Antoninus Pius used to be, which formed during the 8th-9th century AD the fortified core of the ‘kastron’ of Sagalassos.

On the other outer end of the Eastern Portico, several waste deposit units were excavated. In room E9, three succeeding layers, all illustrating different types of refuse could be identified.

In-between these outer ends, 5 other rooms were excavated (E3, E4, E6, E7 and E8, fig. 75). Layer 8 was considered to be a foundation fill, corresponding to the foundations of the walls of the first (1st century AD) building phase. Because the inclusions in layer 7 were distinctly different from layer 8 and 7 was considered to be a floor substrate. The last walking level was identified as layer 6, although it needs to be stressed that the layer in itself also comprised the foundations of later walls. In this way it also served as foundation fill for the final reorganisation of the rooms. Layer 4 was situated immediately above this floor. As such it contained material left behind upon abandonment and debris of the collapse of the roof.

According to Toon Putzeys, this complex served a private as well as a commercial function, being a thermopolium (a restaurant serving meals and hot drinks, rooms E4 and E8-the latter even being a kind of take-away shop) and at the same time the house of the caretaker/owner (E7). E3 and E6 were the preparation areas for the meals and drinks.

Source: www.sagalassos.be/en/monuments_sites/monumental_centre_so...

West Calder Co-operative Society Withdrawal Book which contains 250 blank Member's Authorisation for Share Capital Withdrawal forms, numbered 10,001 to 10,250.

Book is bound in orange 'watered' card, with red spine tape. West Calder Co-operative Society was opened for business in 1875 by workers from the local shale mines and oil works. West Calder became part of West Lothian Co-operative Society in 1969 which in turn became part of Scottish Midland Co-operative Society Limited in 1982. The Society opened various branches in nearby villages, such as Tarbrax.

Co-operative societies began opening in West Lothian in the late 1850s. Customers of a co-operative store were encouraged to become members, or shareholders of a particular society. They could then benefit from the dividend. The more money they spent in the store, the more dividend they received.

West Lothian Museums. http://www.westlothian.gov.uk/tourism/museumsgalleries/ums/information

Zaha Hadid: Form in Motion at Philadelphia Museum of Art. Video at VernissageTV: vernissage.tv/blog/2011/09/30/zaha-hadid-form-in-motion-p...

Anomaly Con

September 16, 2012

As a newbie, it's always gratifying to find a new oil hole (and also a bit worrisome -- are there some still hiding?) The bronze plate in the upper photo activates the clutch on the form rollers. If you stand on the side opposite the operator a look down behind this plate, you see two oil holes. You need to move the spring-loaded plate aside a bit.

Copper earrings based on the unfolding fiddlehead fern, made using the fold form technique.

Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.

A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.

In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]

Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.

Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec

Galileo Galilei. Phases of the Moon. 1616.

Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.

There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).

A quick, unrefined drawing may be called a sketch.

In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.

History[edit]

Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.

Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]

The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.

Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.

Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.

Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.

The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

Technique[edit]

Raphael, study for what became the Alba Madonna, with other sketches

Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]

Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.

The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]

Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.

Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.

Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.

Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]

Tone[edit]

Line drawing in sanguine by Leonardo da Vinci

Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.

Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.

Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.

Form and proportion[edit]

Pencil portrait by Ingres

Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.

When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]

A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

Perspective[edit]

Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.

Two-point perspective drawing

When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.

Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.

Artistry[edit]

Chiaroscuro study drawing by William-Adolphe Bouguereau

The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.

The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.

When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.

Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)

A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.

Process[edit]

Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]

Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.

Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]

Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]

This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.

Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".

Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]

Terrible straightness.. but I just liked this.

Die Caineville Wash Road zweigt zwischen den Milemarkern 99 und 98 nach Norden von der Utah State Route 24 ab und führt ins Cathedral Valley, einem abgelegenen Teil im Norden des Capitol Reef National Parks.

Sie ist nur mit allradgetriebenen Fahrzeugen befahrbar.

On jeemain.nic.in IIT JEE 2016 Application Form is available, students can apply for JEE 2016 Main Exam before 31st Dec 2015,check IIT JEE Main important Dates.

IIT JEE 2016 Application Form, JEE 2016 Main Online Registration, IIT JEE 2016 Application form: Those candidates are going to apply online for JEE Main exam 2016 they can register online before 31st Dec 2015.

News for Applicants who are preparing for IIT JEE main 2016 for those candidates that IIT JEE 2016 Application form is available is available from 1 Dec 2015. Applicants can register and apply on or before 31 Dec 2015. Applicants you have one month time to apply online and register for IIT JEE. So fill online form before last date.

JEE is a Joint Entrance Examination, which is conducted by CBSE for admission in engineering & technological programs. This JEE main exam is conduct by CBSE every year to provide admission to Students in various government and private institutes (IITs & NITs). See more details below on this page.

JEE Main is most popular entrance exam of engineering which is conducted by the CBSE Board i.e. the Central Board of Secondary Education. JEE Main is a yearly exam and a huge of candidates take part in the exam of JEE Main 2016. Candidates who are to take admission in famous NITs, IITs and other top colleges of India, they need to fight for JEE Main exam 2016.

The Application Process of JEE Main Exam is Online. So, candidates need to apply via online which process will going to start on 1st Dec 2015. Details of JEE Main Application Form are mentioned below. Candidates need to check all details before apply for JEE Main 2016 Application Form.

IIT JEE 2016 Application Form, JEE 2016 Main Online Registration: -

Organization: IIT

IIT JEE 2016 Application Form Education Qualification: -

Those candidates who are in 12th Class and just passed 12th class in Physics, Chemistry and Math subject from any recognized board, they are eligible for JEE Main 2016 Application Form.

Eligibility Criteria

Applicants must have passed 12th class or its equivalent exam form recognized board with PCM with minimum of 50%. Applicants who has been passed/completed their 10+2 exam in year 2014 will not be eligible for apply for JEE Main Exam.

Age limit

General and OBC applicants must born or after 1st October 1991 and for SC/ST applicants there are 5 years age relaxation.

IT JEE 2016 Application Form: -

Application Process: - JEE Main Application Form 2016 is only accepted in online mode. So, candidates need to apply on or before the last date from the official website of JEE Main. Keep connected with us to get online notification of JEE Main 2016 and to apply online for JEE Main 2016 Application Form.

JEE 2016 Application Form Application Mode Process: - The Mode of Application Fee of JEE Main Application Form 2016 is Online Mode and Offline Mode. In Online Mode Candidates submit their fee by Credit Card of Debit Card. Or in Offline Process candidates can pay by E-Challan which will generate on the official website.

Click Here for Online Application

How to register for IIT JEE 2016

First open official site for IIT JEE main jeemain.nic.in.

Now registration link and select : JEE main 2016 registration

Now click on apply online and fill all required details in given fields.

The login Id and password will be generated.

Enter log in Ida and password.

Then after filled all asked details in the given field.

After that deposit your examination fee through online/offline mode.

Now return to website and open your application form by their id and password.

Now upload your photo and signature.

Now click on submit button.

Print this application form for future use.

Exams Date of JEE Main 2016 Application Form: -

JEE Main Conduct in two phases, JEE Main Paper 1st and JEE Main Paper 2nd.

IIT JEE 2016 Application Form dates: -

Important Dates

JEE Main starts date to apply – 1st December 2015

JEE Main last date to apply – 31th December 2015

Application form Correction period – one week in second half of January 2016

JEE Main admit card 2016 will be available – first week of March month 2016 (onwards)

JEE Main offline exam – 3rd April, 2016

JEE Main online exam – 9th & 10th April 2016

Declaration of Answer Key and OMR Sheet – fourth week of April 2016

Declaration of JEE Main Result 2016– first week of July 2016

Availability of score/rank cards – After the Declaration of AIR, JEE Main rank www.jobonweb.in/jee-main-application-form.html

"Colour Form View Dress"

rapu caluson x mayako nakamura

MODESTE cafe・gallery / Hachioji, Tokyo

2013.08.20-25

www.modeste.info/mayako.rapu.tenji.html

www.modeste.info/

いろ かたち みる まとう　

rapu caluson x mayako nakamura

MODESTE cafe・gallery / 八王子

2013.08.20-25

www.modeste.info/mayako.rapu.tenji.html

www.modeste.info/

ワークショップを開催いたします

www.modeste.info/mayako.work.html

December 1969 version of vehicle defect report form, Walsall.

VehicleDefectReport-Dec1969-Walsall(WMPTE)

Le Puy Mary

Sommet emblématique des Monts du Cantal par sa forme pyramidale de type « horn* », le Puy Mary domine fièrement puys, dômes, éperons rocheux qui composent le plus grand volcan d’Europe. Le nom même du Puy Mary provient de Marius, nom du disciple de Saint Austremoine, premier évangéliste du Cantal.

Dôme* d’environ 6.5 Ma, constitué par accumulation de laves visqueuses au-dessus de la cheminée* d’alimentation, le Puy Mary rappelle un passé tulmutueux et fascinant.Sa forme pyramidale est le fruit de l’érosion glaciaire.

De ses 1787 mètres d’altitude, le Puy Mary offre un panorama époustouflant, sept vallées glaciaires rayonnent en étoile autour du sommet : la Santoire, la Petite Rhue, le Mars, la Maronne, l’Aspre, la Bertrande et la Jordanne. Une table d’orientation permet d’identifier les reliefs alentours et même d’apercevoir le Mont Blanc lors des belles journées d’automne. Les paysagistes ne s’y trompent pas : « Les caractères de pureté et de grandeur font de ce site un autre monde, d’un autre temps » Alain Mazas (paysagiste dplg).

Site exceptionnel, de notoriété nationale (près de 600 000 visiteurs de juin à septembre sur le site protégé), le massif du Puy Mary offre un panel d’activités : promenades et randonnées pédestres, VTT, activités de loisirs sportifs, de détente et de découverte.

Le massif du Cantal est le plus vaste strato-volcan d’Europe possédant une superficie de presque 2700 km² en un cercle de 70 Km de diamètre. Un strato-volcan est un édifice de grande taille formé d’un cône central stratifié (alternance de coulées de lave et de tephras*) et d’un piémont d’accumulation périphérique pouvant recouvrir plusieurs milliers de km². Le strato-volcan cantalien a pu atteindre 3500 à 4000 mètres d’altitude selon certaines hypothèses.

Morphologiquement, cet édifice majeur du patrimoine naturel européen se distingue en deux secteurs :

• Une zone dite centrale, montagneuse avec un relief accidenté. Les principaux sommets de cette zone sont : le Plomb du Cantal (1855 m), le Puy du Rocher (1813 m), le Peyre Arse (1806 m), le Puy Brunet (1806 m), le Puy Mary (1787 m) et le Puy Griou (1690 m).

• Une zone périphérique, constituée de plateaux de forme triangulaire à faible pente, recouverts d’une carapace basaltique. Ces plateaux, appelés «planèzes», sont limités par des vallées larges et profondes aux dimensions alpines.

~quote by John Lubbock

Happy monday to everyone. I'm keeping my fingers crossed the sun will come out and start this week off right. :)

Please view on black, its quite pretty that way.

Freestyle Finnish Championships 2014 / Moguls @ Ruka, 12.4.2014.

Men's Finals.

The main road deck growing as the Rubrica Engineering Form Travellers cast each six meter section of deck along with its Stay Cable anchor point, Seven Stay Cables installed so far, The southern pylon will have a total of 62 Stay Cables when completed.................Please. note ALL pictures on this Photostream are Copyright Protected . .

NRFB FR LOFT DRESS FORM (female)

RARE & VHTF

Compare - eBay @ $250!

www.ebay.com/itm/RARE-FASHION-ROYALTY-1-6-SCALE-DRESS-FOR...

Form TT1

The vikings needed new canopy as the original was thick & blurry - blocking out the cockpit details. Hence I need to make my own canopies.

The setup consist of:

1. Vacuum Pump from a brake bleeding kit. It didn't bleed my motorcycle brake well :(

2. A forming "table" made from tupperware.

3. Female mold of the original made with RTV silicone.

4. A frame to hold the hot plastic.

5. A toaster oven.

Flaque du : 11 Mars 2011, 15h20

Pieds : 1 Seul (le droit)

Formes Principales Possibles : Visage de côté avec un gros œil (larme possible) et un pinch // une Silhouette d’un Homme (à l’envers) // Un oiseau qui tombe avec des plumes (juste le haut de la flaque) et une branche ou un serpent

Résidus d’eau : Beaucoup

État Physique : Normal, un peu fatigué

État Mental à la prise de vue : Neutre, un peu préoccupé, mais calme, impression de solitude

État Mental à la fin de la journée : Assez heureux, après une soirée entre amis

Évocation D’un Futur Possible : N/A

Évocation D’un Passé Possible : N/A

Autre : Oiseau : J’ai entendus les premiers corbeaux du printemps le matin suivant

Analyse :

Le visage : il me représente quand même bien … la larme et la barbe

La silhouette : elle est obscure et semble émané du noir… il lui manque une jambe et sa tête est rabaissée

L’oiseau : ressemble étrangement au signe du groupe de musique Insomnium… l’oiseau semble en chute libre, le reste de la flaque tente de le rejoindre … ou est-ce un serpent qui vient pour manger sa victime?

Free form crochet.

www.eabdesigns.typepad.com

Hollah! Kassia here. Day three was all about getting our surf on. We towed this sick old school raft behind the boat to hold our stuff. It was full-on Huck Finn. Chels and I did cannonballs off the top for funs. (Meanwhile Sofia’s on her board all sophis, looking back at us like we’re crazy. We are, a little bit.)

Photo: Jeff Hornbaker

Pergamon or Pergamum (/ˈpɜːrɡəmən/ or /ˈpɜːrɡəmɒn/; Ancient Greek: Πέργαμον), also referred to by its modern Greek form Pergamos (Πέργαμος),[a][1] was a rich and powerful ancient Greek city in Aeolis. It is located 26 kilometres (16 mi) from the modern coastline of the Aegean Sea on a promontory on the north side of the river Caicus (modern-day Bakırçay) and northwest of the modern city of Bergama, Turkey.

During the Hellenistic period, it became the capital of the Kingdom of Pergamon in 281–133 BC under the Attalid dynasty, who transformed it into one of the major cultural centres of the Greek world. The remains of many of its monuments are still visible today, most notably the masterpiece of the Pergamon Altar.[2] Pergamon was the northernmost of the seven churches of Asia cited in the New Testament Book of Revelation.[3]

The city is centered on a 335-metre-high (1,100 ft) mesa of andesite, which formed its acropolis. This mesa falls away sharply on the north, west, and east sides, but three natural terraces on the south side provide a route up to the top. To the west of the acropolis, the Selinus River (modern Bergamaçay) flows through the city, while the Cetius river (modern Kestelçay) passes by to the east.

Pergamon was added to the UNESCO World Heritage List in 2014.

Pergamon lies on the north edge of the Caicus plain in the historic region of Mysia in the northwest of Turkey. The Caicus river breaks through the surrounding mountains and hills at this point and flows in a wide arc to the southwest. At the foot of the mountain range to the north, between the rivers Selinus and Cetius, there is the massif of Pergamon which rises 335 metres (1,099 ft) above sea level. The site is only 26 km from the sea, but the Caicus plain is not open to the sea, since the way is blocked by the Karadağ massif. As a result, the area has a strongly inland character. In Hellenistic times, the town of Elaia at the mouth of the Caicus served as the port of Pergamon. The climate is Mediterranean with a dry period from May to August, as is common along the west coast of Asia Minor.[4]

The Caicus valley is mostly composed of volcanic rock, particularly andesite, and the Pergamon massif is also an intrusive stock of andesite. The massif is about one kilometre wide and around 5.5 km long from north to south. It consists of a broad, elongated base and a relatively small peak - the upper city. The side facing the Cetius river is a sharp cliff, while the side facing the Selinus is a little rough. On the north side, the rock forms a 70 metres (230 ft) wide spur of rock. To the southeast of this spur, which is known as the 'Garden of the Queen', the massif reaches its greatest height and breaks off suddenly immediately to the east. The upper city extends for another 250 metres (820 ft) to the south, but it remains very narrow, with a width of only 150 metres (490 ft). At its south end the massif falls gradually to the east and south, widening to around 350 metres (1,150 ft) and then descends to the plain towards the southwest.

Wikipedia

A 3D printed jewellery piece created with a Formlabs Form 2 SLA 3D printer. Right is the printed Castable Wax Resin part, ready to be fired, the other is a finished gold cast piece.

Free for use under Creative Commons license. If you use this image, please link to "formlabs.com/3d-printers/" in your attribution.

interior design by www.fixonic.com

photography by www.dennislo.com

Fig. 1. Häufigste Form des Nordlichts in Deutschland und dem südlichen Skandinavien.

Fig. 2. Nordlicht, beobachtet von Hayes zu Port Foulke in Grönland, 6. Januar 1861.

Fig. 3. Nordlicht, beobachtet von Capron zu Guildford in England, 24. Oktober 1870.

Fig. 4. Nordlicht, beobachtet von Capron auf der Hebrideninsel Skye, 11. September 1874.

Polarlicht (hierzu Tafel "Polarlicht"), eine Lichterscheinung des Himmels, welche sich in ihrer vollsten Pracht in den Polarländern zeigt, aber auch zuweilen in unsern Breiten gesehen wird, wie z. B. in den glanzvollen Erscheinungen des 7. Jan. 1831, 18. Okt. 1836, 24. u. 25. Okt. 1870, 4. Febr. 1872, 2. Okt. 1882 u. a. Je nachdem die Lichterscheinung in den Nordpolar- oder in den Südpolarländern auftritt, pflegt man sie mit dem Namen Nordlicht (Aurora borealis) oder Südlicht (Aurora australis, Australlicht) zu bezeichnen, wofür jetzt der gemeinschaftliche Name P. üblich geworden ist. Die Polarlichter treten, je nach Zeit und Ort, unter sehr verschiedenen Formen auf; am häufigsten (Fig. 1 u. 4 der Tafel) bilden sie einen leuchtenden Bogen am Horizont, dessen unterer Rand schärfer begrenzt zu sein pflegt als der mehr verschwommene obere. Unter dem Lichtbogen sieht der Himmel schwärzer aus als gewöhnlich, wie eine dunkle Wolke oder Nebelwand in der Gestalt eines kreisförmigen, vom Horizont begrenzten Segments. Der höchste Punkt des Lichtbogens liegt ziemlich nahe in der Richtung, nach welcher die Kompaßnadel hinweist, also im magnetischen Meridian. Der Polarlichtbogen ist häufig aus einzelnen Strahlen zusammengesetzt, welche von seinem untern Rand nach oben hin gerichtet und von verschiedener Länge sind und oft über den ganzen Bogen hinzuwandern scheinen. Der Polarlichtbogen steht nicht selten ziemlich hoch am Himmel, und seine Erhebung ist über dem Horizont von dem Standort des Beobachters abhängig. Manchmal zeigen sich gleichzeitig mehrere Polarlichtbogen übereinander, welche ihre Form und Stellung am Himmelsgewölbe ziemlich rasch ändern. Zuweilen ist das P. auch ohne Zusammenhang über einen größern Teil des Himmels zerstreut. Diese Art der Polarlichter und nicht minder das Licht der Polarlichtbogen zeigt häufig eine stark flackernde oder flammende Bewegung, indem verschieden gefärbte Strahlen bald hier, bald dort am Himmel aufleuchten. Zuweilen erscheinen diese Strahlen wie ein vom Wind bewegtes leuchtendes Band oder eine Lichtwelle (Fig. 2), zuweilen erfüllt sich der ganze Himmel oder wenigstens ein Teil desselben mit solchen flammenden Polarlichtstrahlen, welche in einem Punkte des Himmelsgewölbes zusammenzulaufen scheinen, der nach neuern Untersuchungen in der Richtung der magnetischen Inklinations-(Neigungs-) Nadel liegt, da, wo das obere Ende derselben hinweist. Dieser Punkt heißt die Krone des Polarlichts. Man kann daher der Hauptsache nach fünf verschiedene Formen beim P. unterscheiden, je nachdem dasselbe 1) als heller Bogen 2) in Form eines wogenden Bandes, 3) als Strahlen, 4) als Krone erscheint oder 5) als heller Schein über den Himmel verbreitet ist. Die Farbe des Polarlichts ist gewöhnlich weißlich oder gelblich; es gibt aber auch rote Polarlichter, die sehr glänzend werden können, wie z. B. das vom 24. u. 25. Okt. 1870 (Fig. 3). Weyprecht, der sich auf der österreichisch-ungarischen arktischen Expedition zwei Jahre lang (1872-74) unter dem Gürtel größter Häufigkeit der Nordlichter befand, teilt über die Farben des Polarlichts mit, daß ihre Reihenfolge die einzige gesetzmäßige Eigenschaft der Polarlichter war, von welcher niemals eine Ausnahme beobachtet wurde. Nach seiner Beschreibung ist die normale Farbe weiß mit leichter grünlicher Betonung, bei trübem Wetter schmutzig gelb. Bei größerer Intensität des Polarlichts tritt Grün und Rot auf, und zwar bildet bei der häufigsten Form, dem breiten Lichtband, das Rot den untern Saum, dem dann das viel breitere Weiß der Mitte und dann das Grün des obern Saums in ungefähr gleicher Breite wie das untere Rot folgt. Violett tritt häufig bei den nur geringe Lichtintensität besitzenden Erscheinungen auf, welche formlosen, schwach leuchtenden Nebeln gleichen. Das Spektrum des leuchtenden Bogens des Polarlichts besteht nach Angström aus einer einzigen, dem P. charakteristischen hellen Linie zwischen den Fraunhoferschen Linien D und E. Außerdem beobachtete Angström noch drei schwache Streifen nach der Fraunhoferschen Linie F zu. Bei dem prachtvollen P. vom 25. Okt. 1870 beobachtete Zöllner außer der charakteristischen Linie zwischen D und E eine rote Linie, doch erschien diese nur an solchen Stellen des Himmels, die auch dem unbewaffneten Auge stark gerötet erschienen. Im blauen Teil des Spektrums traten nur zuweilen bandartige Streifen auf. Die Linien im Spektrum des Polarlichts stimmen nicht mit dem Spektrum eines verdünnten Gases in den Geißlerschen Röhren überein, während sich nach Angström die charakteristische Polarlichtlinie im Spektrum des Zodiakallichts (s. d.) wiederfindet. Ist das P. überhaupt elektrischer Natur wie die Lichtentwickelung der verdünnten Gase in den Geißlerschen Röhren, so muß es einer so niedrigen Temperatur angehören, wie sie bei diesen nicht gut hergestellt werden kann. Über die Höhe der Polarlichter sind die Ansichten der Naturforscher sehr geteilt. Nach Plücker fängt das elektrische Licht im luftverdünnten Raum an zu verschwinden bei einem Druck von 0,3 mm und ist bei 0,1 mm Druck vollständig fort. Daraus würde folgen, daß das P. bis 9 Meilen hoch sein könnte. Nach Waltenhofen tritt das elektrische Licht noch bei 20,000maliger Verdünnung der Luft auf und könnte deshalb das P. weit über 10 Meilen oberhalb der Erde vorhanden sein. Eine direkte Messung der Höhe des Polarlichts ist in der Art ausgeführt, daß man an verschiedenen Punkten der Erdoberfläche, die womöglich auf demselben Meridian lagen, die Erhebung einzelner charakteristischer Stellen des Polarlichts, wie unteres oder oberes Ende eines bestimmten Lichtstrahls etc., über den Horizont beobachtete und aus der so gefundenen Parallaxe seine Höhe berechnete. Auf diese Weise wurde aus den Beobachtungen über das P. vom 25. Okt. 1870 von Heis in Münster und Flögel in Schleswig abgeleitet, daß die Basis der Strahlen 20-35 Meilen und die Spitzen derselben 70, wahrscheinlich bis über 100 Meilen hoch waren. Zu ähnlichen Resultaten kamen auch Galle und Reimann in Breslau. Nach andern Beobachtungen tritt das P. auch in den untern Luftschichten auf, und namentlich ist dieses in den Polargegenden der Fall, wo z. B. Lemström u. a. das P. unterhalb von Berggipfeln und Wolken sowie von Nebeln und leuchtenden Wolken ausgehend beobachtet haben und es deshalb weniger als 4000 Fuß hoch gewesen sein muß. Aber auch im hohen Norden tritt das P. in größerer Höhe auf, wie z. B. in Wester-Norrland am 19. Febr. 1876 ein prachtvolles P. mit der Corona borealis nach 11 Uhr abends oberhalb der Cirruswolken, also in sehr großer Höhe, gesehen wurde. Daß das P. einen Einfluß auf den Zustand der untern Luftschichten ausübt, geht daraus hervor, daß der Himmel beim Auftreten eines starken Polarlichts, zumal wenn die Krone sich zeigt, in ungewöhnlich schneller Wechselfolge sich bewölkt und wieder aufklärt. Das Verhalten des Polarlichts zu den großen Bewegungen der Atmosphäre, zu den Winden, den Temperatur- und Luftdruckerscheinungen ist noch nicht genauer untersucht und noch nicht genügend festgestellt.

Bei starken Polarlichtern wollen einzelne Beobachter bisweilen ein eigentümliches knisterndes Geräusch, wie das Rascheln eines Seidenstoffs, gehört haben, während von andern die Existenz eines Geräusches ausdrücklich geleugnet wird. In neuester Zeit ist darauf hingewiesen, daß die Entdeckungen von Bleuler und Lehmann in Zürich über "zwangsmäßige Lichtempfindungen durch Schall und verwandte Erscheinungen" (Leipz. 1881) zur Erklärung des von einzelnen Beobachtern gehörten Geräusches dienen können. In ähnlicher Weise, wie solche Photismen oder Farbenvorstellungen durch Schall entstehen, werden nämlich auch bei gewissen Personen zwangsmäßige Schallempfindungen, Phonismen, durch Licht hervorgerufen, und da gleichzeitig mit jedem Aufflackern des Polarlichts ein Ton gehört werden soll, so deutet diese Gleichzeitigkeit ebenso wie die Beschränkung der Empfindung auf gewisse Personen darauf hin, daß die Schallempfindungen als Phonismen aufzufassen sind. Manche Polarlichter werden nur auf verhältnismäßig kleinen Strecken beobachtet, während andre eine außerordentlich große Verbreitung haben. So war z. B. das schöne P. vom 7. Jun. 1831 im ganzen nördlichen und mittlern Europa sowie auch am Eriesee in Nordamerika sichtbar. In diesem Fall können nicht überall dieselben leuchtenden Strahlen gesehen sein, sondern am Eriesee wird man einen andern Teil des Phänomens wahrgenommen haben als in Europa. Wahrscheinlich hatte sich damals ein großer Strahlenkamm gebildet, welcher, ungefähr der Richtung eines magnetischen Parallelkreises folgend, vom Eriesee über den Atlantischen Ozean bis nach Norwegen und Schweden reichte. Eine bedeutsame Thatsache ist es, daß die Polarlichter am Nord- und Südpol sehr oft gleichzeitig erscheinen. Aus den vergleichenden Zusammenstellungen der Polarlichtserscheinungen durch Fritz und Loomis ergibt sich, daß das P. im allgemeinen zwar in den nördlichen Ländern der kalten und nördlichen gemäßigten Zone am häufigsten vorkommt, seltener in der südlichen oder wärmern gemäßigten Zone (von 45°-23½° nördl. Br.) und noch seltener in den tropischen Gegenden; aber keineswegs sind die Zonen gleich großer Häufigkeit der Nordlichter parallel dem Äquator, und noch viel weniger findet die größte Häufigkeit in der größern Nähe des geographischen Nordpols statt. Vielmehr liegen die Orte, wo man das P. am häufigsten und in seiner intensivsten Entfaltung sieht, in einer Zone von ovaler Form, welche sich von der Barrowspitze in Nordamerika über den Großen Bärensee nach der Hudsonbai hinzieht, diese unter 60° nördl. Br. schneidet und dann über Labrador, südlich vom Kap Farewell zwischen Island und den Färöern in die Nähe des Nordkaps nach dem Nördlichen Eismeer geht. Nach den weiter zu Gebote stehenden Beobachtungen soll die Linie um Nowaja Semlja und um das Kap Tscheljuskin gehen, sich im östlichen Sibirien der Küste nähern und von da zur Barrowspitze zurückkehren. Nördlich und südlich von dieser Zone nimmt die Häufigkeit und Intensität des Polarlichts ab, und zwar nach N. zu in stärkerm Grad als nach S. (s. Isochasmen). Südlich von dieser Zone sieht man das P. in der Regel im Norden (daher der Name Nordlicht); aber nördlich von ihr erscheint das P. gewöhnlich am südlichen Teil des Himmels. Innerhalb der jährlichen Periode ist das P. zur Zeit der Äquinoktien (s. d.) am häufigsten und zur Zeit der Solstitien (s. d.) am seltensten. Außerdem hat das P. eine Periode von ca. 11 Jahren, in welcher seine Häufigkeit gleichzeitig mit der Häufigkeit der Sonnenflecke zu- und abnimmt, so daß P.- und Sonnenflecken-Maxima und -Minima gleichzeitig eintreffen. Dabei drückt sich der periodische Wechsel in den Nordlichtern viel energischer aus als in den Sonnenflecken. Neben dieser einjährigen Periode zeigt sich noch eine Periode von 55½ Jahren und wahrscheinlich eine noch größere von 222 Jahren, die man in den Nordlichtsverzeichnungen verfolgen kann (vgl. H. Fritz, Verzeichnis beobachteter Polarlichter, Wien 1873, und Loomis in Sillimans "American Journal"). Die bisher vorliegenden Beobachtungen der Südlichter (1841-48 zu Hobarttown u. 1857-62 zu Melbourne) sprechen dafür, daß bei ihnen dieselbe Periodizität vorhanden ist wie bei den Nordlichtern.

Die Beziehungen, welche zwischen dem P. und dem Erdmagnetismus bestehen, zeigen sich zunächst darin, daß während eines Polarlichts die Deklinationsnadel sehr starke und unregelmäßig Schwankungen zeigt, weshalb A. v. Humboldt die Nordlichter sehr bezeichnend magnetische Gewitter genannt hat. Diese magnetischen Störungen treten an den verschiedenen Orten gleichzeitig auf, wie die Polarlichter selbst, und sind um so stärker, je intensiver und je weiter verbreitet am Himmel das P. ist; sie zeigen sich auch an Orten, wo das P. selbst nicht sichtbar ist, so daß man aus einer solchen unruhigen Bewegung der Magnetnadel mit Sicherheit auf ein in entfernten Gegenden sichtbares P. schließen kann. Am unzweifelhaftesten aber ergibt sich die Beziehung des Polarlichts zum Erdmagnetismus aus der Bildung der Polarlichtkrone an dem Punkte des Himmels, nach welchem die magnetische Inklinations- (Neigungs-) Nadel hinweist. Der gewöhnliche Polarlichtbogen rührt nach der Ansicht Nordenskjölds von einem leuchtenden Ring her, der um den magnetischen Pol in beträchtlicher Höhe über der Erde schwebt, und welcher von einem zweiten größern konzentrisch umgeben ist, von dem die großen und prächtigen Polarlichter ausgehen. Je nach der Stellung des Beobachters zu diesen leuchtenden Ringen wird das P. eine verschiedene Form annehmen. An einem Punkte der Erdoberfläche, der weit südlich liegt, wird nur der äußere Ring sichtbar sein, von dem das prachtvolle Draperienlicht mit lebhaften Strahlen ausgeht. Befindet sich der Beobachter weiter nördlich, so wird der Polarlichtbogen die gewöhnliche Erscheinung sein, bei welcher man unter dem hellen Bogen den dunkeln Himmel oder das sogen. dunkle Segment erblickt. Unter den leuchtenden Ringen werden die meisten für den Beobachter sichtbaren Strahlen die Richtung der magnetischen Kraft am Beobachtungsort haben, d. h. einander parallel sein, und werden deshalb nach den Gesetzen der Perspektive in einem Punkte des Himmelsgewölbes zusammenzulaufen scheinen und die Polarlichtkrone an dem Punkte des Himmels bilden, nach welchem die magnetische Inklinationsnadel gerichtet ist. Ein Beobachter im Norden des Polarlichtrings sieht das P. selten, und da nach innen fast gar keine Strahlen ausgesendet werden, wird es hier meist nur als lichter Nebel am Horizont beobachtet werden. Nachdem schon früher die Ansicht ausgesprochen war, daß das P. elektrischer Natur sei, ging de la Rive davon aus, daß das Meerwasser beständig mit positiver Elektrizität geladen sei, daß diese positive Elektrizität durch die aufsteigenden Dämpfe in die höhern Schichten der Atmosphäre getragen und durch den obern Passat (s. d.) den Polen zugeführt werde, so daß sie eine positiv elektrische Hülle für die Erde bildet, welche selbst mit negativer Elektrizität geladen bleibt. Da sowohl die Erde als auch die verdünnte Luft in den höhern Regionen der Atmosphäre gute Leiter sind, so werden sich die verschiedenen Elektrizitäten besonders da verdichten, wo die positive Luftschicht und die negative Erde einander am nächsten sind, d. h. in der Nähe der Pole. Ein Ausgleich der entgegengesetzten Elektrizitäten wird wegen der schlechten Leistungsfähigkeit der untern Luftschichten, durch welche sie erfolgen muß, nur allmählich in successiven, mehr oder weniger kontinuierlichen Entladungen von veränderlicher Intensität stattfinden, und während einer solchen Entladung wird die negative Elektrizität auf der Erde vom Äquator nach den Polen und die positive umgekehrt von den Polen nach dem Äquator strömen. Durch diese Ströme wird die Deklinationsnadel nach W. abgelenkt und ein Strom in den Telegraphendrähten hervorgerufen, der sich in der That auch als eine Störung kenntlich macht. 1878 hat Edlund in Stockholm die Erklärung der Polarlichter sowie die Erklärung aller elektrischen Erscheinungen im Luftkreis auf die von Faraday entdeckte sogen. unipolare Induktion und zwar in folgender (auf die Erde angewandter) Weise reduziert. Läßt man einen Magnet (Erde) mit einer gut leitenden Umhüllung (Erdkruste) rotieren, und verbindet man dabei einen dem Pol benachbarten Punkt dieser Umhüllung (also in der Polarzone) durch einen Leiter (Atmosphäre) mit einem andern Punkte der Umhüllung in der Nähe der Mitte zwischen beiden Polen (in der Äquatorialzone), so entsteht während der Rotation ein elektrischer Strom zwischen den beiden Zonen, dessen Richtung und Intensität von Richtung und Geschwindigkeit der Rotation abhängen. Da nun die Atmosphäre in ihren untern Schichten im allgemeinen ein schlechter, in ihren obern aber ein guter Leiter ist, welcher den elektrischen Kreislauf zwischen der Äquatorialzone und den beiden Polarzonen schließt, so ist nun der elektrische Stromverlauf auf der Erde folgender. In allen Zonen zwischen dem Äquator und den beiden Polarzonen findet ein Aufsteigen der positiven Elektrizität statt, welches am Äquator am stärksten ist, aber immer schwächer wird, je mehr man sich den Polen nähert, und in deren Nähe ganz aufhört. Die in die Höhe getriebenen Mengen von positiver Elektrizität sind noch einer Tangentialkraft unterworfen, welche am Äquator und an den Polen gleich Null ist und zwischen beiden ihren größten Wert erreicht. Auf der nördlichen Halbkugel ist die Tangentialkraft nach Norden, auf der südlichen Halbkugel nach Süden gerichtet, und deshalb wird die in die Höhe gestiegene positive Elektrizität in den obern Luftschichten nach den Polen zu abfließen. Die geringe Leitungsfähigkeit der Luft setzt der Ausgleichung dieser positiven Elektrizität mit der durch Influenz auf der Erdoberfläche hervorgerufenen negativen Elektrizität einen Widerstand entgegen, so daß die Ausgleichung nur dann erfolgen kann, wenn eine gewisse elektrische Spannung erreicht ist, und zwar entweder durch Entladungsschläge, d. h. Gewitter, oder durch kontinuierliche Ströme, d. h. Polarlichter. Das Erglühen der Luft durch die elektrischen Rückströmungen aus den höhern Luftschichten nach der Erdoberfläche erfolgt nach dieser Theorie (analog wie in den Geißlerschen Röhren) in der Regel nur in den höhern dünnern Luftschichten, während der Durchgang durch die untern Schichten im allgemeinen lichtlos stattzufinden scheint. 1885 hat Unterweger das P. durch die Bewegung des Sonnensystems im Weltraum zu erklären versucht, indem durch Kompressen des Weltäthers an der Stirnseite der Weltkörper und durch Verdünnung desselben an der Rückenseite Differenzen der elektrischen Spannung in den Atmosphären entstehen, welche die uns wahrnehmbaren elektrischen Erscheinungen, zu denen auch das P. gehört, hervorrufen. 1882 ist es Lemström aus Helsingfors gelungen, durch geeignete elektrische Armierung von Berggipfeln Lichtsäulen bis zu ansehnlicher Höhe über diesen Gipfeln hervorzurufen, welche sowohl ihrem äußern Anschein nach als auch in Bezug auf die charakteristischen Eigenschaften mit den Polarlichtern übereinstimmten. Diese Versuche wurden im nördlichen Finnland auf zwei Bergen von 800 und 1100 m Höhe ausgeführt und bestanden darin, daß die betreffenden Hochflächen mit einem Netz von Kupferdrähten, die mit nach oben gerichteten Spitzen versehen und gegen den Erdboden isoliert waren, überzogen wurden. Das Drahtnetz wurde durch einen gegen die Erde isolierten Draht am Fuß des Bergs mittels einer Zinkplatte mit einer tiefern, Wasser führenden Erdschicht verbunden. Sobald die Verbindung hergestellt war, wurden unaufhörlich elektrische Ströme von schwankender Intensität in der Drahtleitung beobachtet, der positive Strom war von der Atmosphäre nach der Erde zu gerichtet. Gleichzeitig erhob sich über den Spitzen des Drahtnetzes ein gelblichweißes Leuchten, welches die charakteristische Polarlichtlinie im Spektroskop zeigte, und über einer der beiden Bergspitzen wurde sogar ein Polarlichtstrahl von 120 m Länge beobachtet. Vgl. Capron, Aurorae, their characters and spectra (Lond. 1879); Fritz, Das P. (Leipz. 1881).

La Plaza Bolívar Chávez, forma parte de un proyecto de reconstrucción del eje costero que incluye una serie de obras de infraestructura que se extienden desde La Guaira hasta Macuto. Cuenta con 36.000 metros cuadrados y sectores comunicados por caminerías, bulevares y ciclovías, cuenta con un espacio de 1.220 metros cuadrados con juegos de caídas y espejos de agua.

La Guaira es considerada la puerta de entrada de Venezuela y está separada de Caracas por tan sólo 30 km. Fueron los indios Arauacos quienes primero marcaron con su huella el litoral central venezolano. La ciudad antiguamente conocida como Huaira, por ser un asentamiento indígena, fue fundada oficialmente en el año 1589 por Diego de Osorio con el nombre de San Pedro de La Guaira. Su importancia marítima no viene de hace poco, desde el comienzo la ciudad fue el más importante centro naval del país, pues fue allí donde se estableció la Compañía Guipuzcoana, cuya casa hasta hoy se mantiene en su casco histórico, habiendo sobrevivido a terremotos (como el de 1810), así como las inundaciones de 1999.

En está ciudad han nacido importantes proceres de la independencia venezolana, como José María España y Manuel Gual; dos presidentes de la república como Carlos Soublette y José María Vargas, además el héroe venezolano-curazoleño, Manuel Piar, quien pasó buena parte de su vida en La Guaira.

As turminhas da Educação Infantil se juntaram para preparar deliciosos copinhos de brigadeiro de morango. Ai, ai, estavam uma delícia!! Assim fica difícil de manter a forma, não é?!

Sicyos pachycarpus (Anunu)

Female flowers forming fruit male flowers on left at NE Lake, Laysan, Hawaii.

September 14, 2013

#130914-1520 - Image Use Policy

Part of Azzedine Alaïa: The Couturier

(May to October 2018)

Azzedine Alaïa’s innovations in stretch fabrics were at least as important as his elevation of leather. In his hands, these transformed the silhouette of the wearer.

Rather than creating clothes anchored at strategic points – conventionally, the waist and the shoulders – Alaïa’s bandage dresses cling to the wearer’s form, conscious of the entire body. The stretch fabric allows these minimal silhouettes to move freely.

Debuted in 1986, these variations on the ‘Bandelette’ (bandage) dress are clearly inspired by ancient Egyptian mummification, but also perhaps by the swaddling of infants. The garments join Western and Eastern traditions – highly fitted and precision-cut, with a body simply and sensually wrapped in cloth.

The dresses seem simple, but each band of fabric is precisely engineered and cut to specific dimensions, according to its place on the figure. These creations ushered in the notion of physique-delineating ‘bodycon’ dressing, the defining aesthetic of the early 1990s.

Conceived and co-curated with Monsieur Alaïa before his death in November 2017, the exhibition charts his incredible journey from sculptor to couturier, his nonconformist nature and his infectious energy for fashion, friendship and the female body.

Unlike many of his contemporaries, Alaïa personally constructed each garment by hand and refused to bow to the pressures of fashion week deadlines, instead working to his own schedule. His collaborative approach earned him an esteemed client list, including Greta Garbo, Grace Jones, Michelle Obama and Rihanna.

Rather than a retrospective, the show interlaces stories of his life and career alongside personally selected garments, ranging from the rare to the iconic and spanning the early 1980s to his most recent collection in 2017.

[Design Museum]

Diversas formas de expresión se aplicaron en las pancartas. Foto: Alberto Sánchez Gatica

W4B19-1b Capital - Reconciliation of Jacob and Esau

This capital forms the turning point of the narrative account of the old testament patriarch Jacob. It commemorates the reconciliation between both progenitors, Jacob and Esau, in the presence of Jacob’s wife, Rachel, and her sister, Leah, whose attendant and sons with their flocks are also represented.

The encircling inscription labels not only the single figures and their families, but also the animals, which Jacob presents to his brother as a gift:

LIA / RACHEL / FILII / JACOB / ESAU / ANCILLE (north side) / FAMILIA ESAU / FAMILIA JACOB (west side) / TURMA CAMELORUM (south side) / GREX PECORUM (east side).

Aosta (Piemonte) chiostro Sant'Orso, cloister

W3EB18-9b Kapitell Jakob bei Laban - Rahel & Lea mit Tierherde 25a

Detailed information on the capitals of this cloister Sant'Orso in a common project by Kunsthistorisches Institut Florenz and other Institutions on cenobium.isti.cnr.it/aosta

UH-1H 0-16450, 0-60809 and A2-485 form echelon left on A2-488 on 23rd August 1982.

Møns Klint, English: the Cliffs of Møn.

The chalk forming the cliffs consists of the remains of shells from millions of microscopic creatures (coccolithophores) which lived on the seabed over 70 million years ago. As a result of huge pressure from glaciers moving west, the terrain was compacted and pushed upwards, forming a number of hills and folds. When the ice melted at the end of the last ice age about 11,000 years ago, the cliffs emerged. They form part of the same deposits as the cliffs of Rügen, Germany, on the other side of the Baltic. Today, it is possible to find fossils of various types of shellfish as the sea continues to erode the chalk. Erosion also caused one of the highest points on the cliffs, the Sommerspir, to fall into the sea in 1998, and in January 2007, there was an even larger landslide around the Store Taler, in the northern part of the cliffs, creating a 300-m long peninsula of chalk and fallen trees stretching out into the sea below.

source: en.wikipedia.org/wiki/M%C3%B8ns_Klint

All Rights Reserved

© René Eriksen.

Please do not use my pictures outside the Flickr, without my permission.

Rome - Forma / La città moderna e il suo passato (2004).

www.electaweb.it/catalogo/scheda/978883703189/it?language...

Abstract

Proposal by Fuksas and Mandrelli to transform Via dei Fori Imperiali,

the street that bisects the archaeological park that encompasses the

Republican and Imperial forums, into a viaduct hovering above the

ruins.

Subject/Artist

Fuksas, Massimiliano, 1944-; Mandrelli, Doriana O; Mussolini, Benito,

1883-1945; Streets -- Alterations and additions -- Italy -- Rome --

Via dei Fori Imperiali; Fascism and architecture -- Italy -- Rome

______________

Al Colosseo e' aperta una mostra, "Forma. La città moderna e il suo passato", al cui termine e' esposto il progetto dell'architetto Fuksas per la sistemazione dell'area archeologica centrale e di via dei Fori Imperiali.

www.architettiroma.it/dettagli.asp?id=5940

www.architettiroma.it/dettagli-p.asp?id=5931

www.kwart.kataweb.it/kwart/ita/recensionidett.jsp?idConte...

** Comments regarding the Fuksas Project in Rome (Aug. 2004), by an Italian archaeologist in Rome affiliated with the Imperial Fora excavations and studies (1989-present). **

In sintesi (forse eccessiva) via dei Fori Imperiali, ormai storicizzata,

resta, pedonalizzata per sei mesi l'anno (l'estate si prevede solo il

passaggio dei mezzi pubblici), ma su una serie di arcate che scavalcano

le aree archeologiche Queste formano dunque un unico spazio, senza

soluzione di continuità, tra Fori Imperiali e il Foro Romano (e oltre,

fino al Colosseo e al Circo Massimo, Delle passerelle, sempre

sopraelevate, tagliano qua e la' l'area dei Fori Imperiali, seguendo

(più o meno) il tracciato delle vie del quartiere alessandrino, quello

buttato giù da Mussolini negli anni '30. Dalle passerelle delle rampe

in corrispondenza delle attuali aree alberate con pini, che vengono

mantenute, scendono nell'area archeologica. Ci sono poi anche delle

piattaforme che si dipartono dalle passerelle, coperte in materiale

trasparente e che possono essere utilizzate come belvedere, come centri

informativi e/o espositivi, ma anche per caffe', librerie, ecc., in

mododa rendere questo percorso aereo anche un posto dove stare, da

raggiungere, e non solo vie di passaggio. Piattaforme e (suppongo)

passerelle poggiano su sostegni sottili. A quanto si dice le opere previste sono comunque reversibili e di costo abbastanza limitato (ovvio, tutto e' relativo).

Si tratta come sottolinea lo stesso architetto non di un progetto

definitivo, per ora, ma di un'idea, di un concetto, sebbene già

tradotto in immagini. E' bene sottolinearlo perche' ci sono, almeno per l'occhio

di chi conosca bene le aree, alcune incongruenze e non sembra calibrata

in funzione quanto meno *anche* dei resti antichi, la posizione di

questi elementi moderni. Ma sono ovviamente tutte cose che si possono

meglio calibrare in un progetto vero e proprio.

La mia impressione sul progetto? non l'ho ancora ben chiara.

Le piattaforme sembrano piccoli grappoli di oblunghe bolle trasparenti,

delle astronavi sospese in aria Le forme sono bellissime, ma

onestamente mi lasciano un po' "stranita" delle astronavi aliene che si

librano sopra l'area archeologica dei Fori, davanti alle colonne del tempio di

Marte Ultore o della Basilica Ulpia. Non so, puo' essere che mi debba

abituare all'idea e che sia un'operazione simile a quella della

piramide nel cortile del Louvre (che a me personalmente piace molto). O forse

effettivamente finiscono per lasciare un segno moderno dove forse

avrebbe senso essere il più possibile sommessi. Insomma se devo fare

una balaustra di protezione, o un elemento a servizio della visita, che

ovviamente sono in parte inevitabili, e' giustissimo dare a questi

oggetti una qualità estetica, anche a contrasto (e forse meglio a

contrasto, per rendere immediatamente evidente che di aggiunte si

tratta). Ma diventa giusto se questa vista distrae il visitatore dalla

percezione delle architetture antiche? (la piramide del Louvre non lo

fa, mi sembra, e lo stesso palazzo del Louvre, nonostante il prestigio

del suo museo, non e' i Fori Imperiali...).

L'idea di cui si propone questa realizzazione non e' sbagliata: sia il

fatto di lasciare la via dei Fori Imperiali su arcate, ma di lasciarla

(e io non la chiuderei al traffico, mi sembra sufficiente e sensato

farlo per la domenica e i di' di festa. Oppure, all'interno di

un'operazione urbanistica (oddio, forse impossibile) che comprenda

viabilità alternative la renderei pedonale tutto l'anno....). Non e'

peraltro un'idea nuovissima, e veniva abbastanza spontanea come

soluzione, essendoci i soldi per farlo e trovando le soluzioni tecniche.

Anche l'idea delle passerelle sopraelevate (reversibili, leggere) non

mi sembra sbagliata. Ottima anche l'idea di tracciare con questo percorso

aereo il tracciato delle strade del quartiere distrutto e riproporre

dunque la stratificazione storica ora scomparsa.

Pero' il percorso e la quantità di queste passerelle forse andrebbe

meglio valutato. Nelle ricostruzioni (proposte rapidamente in

diapositive che scorrevano, e dunque difficilmente percepibili nei

particolari) ne ho colto una che passava tra le colonne del tempio di

Venere Genitrice e le colonne dei portici della piazza del Foro di

Cesare che io onestamente non avrei messo, anche se fosse sulla

linea di una di queste perdute strade (e posto che lo sia: dovrei

controllare, ma non mi pare che i percorsi storici siano rispecchiati con

precisione). E mi chiedo che senso abbia demolire l'esistente via

Alessandrina, per rimpiazzarla con una passerella, varrebbe forse piu'

la pena aprire, come e' stato fatto per alcuni passaggi, tutte le

arcate del muro di recinzione moderno e lasciarla anch'essa su arcate

(ovviamente non ho le competenze per capirne la difficoltà tecnica,

magari non si puo'), con il vantaggio di avere per la funzione che

serve l'elemento originale, la strada, ancora conservatasi pur senza le sue

case intorno, invece che un elemento nuovo che la ricalchi. O forse

sbaglio e forse la strada cosi' mutiliata in effetti non ha senso e

sarebbe meglio un segno moderno, ma più lineare e più leggero che si

limitasse a ricordarne la memoria.

Un'altra idea che condivido e' quella di rendere viva la zona, un punto

di arrivo e non solo di passaggio, aprendovi, caffe', librerie, centri

informativi, gallerie, e via dicendo. Ma magari farlo proprio in mezzo

alle aree archeologiche, ancorche' in posizione sopraelevata, non so,

e' davvero necessario? se uno usasse, che so, zone dei marciapiedi di via

dei Fori dove sono più larghi? chioschi nelle aree alberate che

giustamente si vogliono conservare? E dei belvedere, magari giusto ci

siano (sebbene i Fori, visti dall'alto si possano capire, ma non

percepire e sentire, starci dentro), ma al limite degli allargamenti

delle passerelle, che belvedere lo sarebbero poi le passerelle stesse.

Delle cose dette dall'architetto progettista e dal Soprintendente La

Regina, condivido assolutamente la necessità di porre il problema: gli

scavi delle aree sono stati fatti, ma occorre per renderli davvero

"fruibili" a tutti pensare, con attenzione, ad una loro

sistemazione. La faccenda e' delicata: quali delle testimonianze dei secoli

successivi trovate in gran copia nell'area della piazza del Foro Traiano, ad

esempio, abbiamo diritto di demolire? Possiamo probabilmente farlo con

le cantine delle case cinquecentesche, ma i resti del convento

duecentesco di S.Urbano? il laboratorio del ceramista rinascimentale? e

penso che a nessuno venga in mente di demolire l'unico esempio di una

casa signorile di età carolingia, trovato nell'area del Foro di Nerva.

Siccome tutte queste cose, piu' e meno importanti, una volta demolite

saranno perse per sempre (nonostante tutta la documentazione, ovvio),

credo sia necessario valutare con molta attenzione, lasciarsi anche il

tempo di farlo bene. Ci sono anche legate tutta una serie di faccende

pratiche (tipo il luogo di deposito dei materiali archeologici, o

l'installazione dei servizi tecnologici, dei bagni e di altri servizi

indispensabili in un'area archeologica cosi' vasta (solo sulle

piattaforme sopraelevate? e cosa, bagni chimici? o altrimenti dove

dovrebbero scaricare? E poi, se vogliamo permettere il libero accesso

su tutta l'area, quanti custodi ci serviranno? e come si salvaguardano, in

modo che non vadano perdute per il calpestio, le tracce della

pavimentazione marmorea della piazza del Foro Traiano?

A proposito poi dell'accesso gratuito. Ottima cosa, naturalmente.

Permette ai cittadini di riappropriarsi delle aree, e probabilmente,

anche solo attraverso una percezione non ragionata, di trasmettere il

valore della cultura e della conoscenza del passato.

Pero'.... e qui forse sbaglio, non so: intanto la mancanza di supporti

didattici (che secondo il Soprintendente non servono perche' tanto c'e'

*altrove* una messe enorme di informazioni e chi si vuole informare ha

dunque ampie possibilità di farlo), ma anche l'inevitabile tracciare

percorsi obbligati, chiudendo le aree più delicate (cosi' e' avvenuto

nel Foro Romano: non si entra più nella Basilica Emilia, non si entra

più nella Casa delle Vestali, praticamente si puo' solo seguire la

strada) appiattisce tutti i visitatori su un'unica possibile

frequentazione "di base", generica e impedisce ogni

approfondimento. Ho dei dubbi (e' vero, non sono sicura) che sia davvero meglio per la diffusione della cultura, tendere ad appiattire tutto "verso il basso", verso un utilizzo più diffuso e più in fondo, superficiale, invece di

cercare di portare tutti verso "l'alto".

Ecco, queste sono le mie (prolisse) impressioni.

Voi, che ne pensate?

Guardate che io, personalmente, avrei proprio bisogno di confrontarmi

con qualcuno che magari sia un po' meno legato di me alle aree in

questione, per capire se il fatto di lavorarci non alteri le mie

impressioni......

Second day-trip to Panthertown Valley, NC. This is a near-wilderness area that has been set aside for hiking, fishing, and outdoor enjoyment. The first day up there was anything but enjoyable for us. Long story short: we missed the first (and most important) trail turnoff, and got lost. Many hours later, we happened upon a Boy Scout group that seemed to know their way around, and gave us directions back to where we began the day...

The second day was much more productive, since we met up with our photography buddy, KT, who had been in the area a time or two previously.

On this day, our final destination was to be a white pine "plantation" that provided cover for a large group of Cypripedium acaule (Pink Lady's-slipper Orchids). We had no trouble finding several rather large populations of this beautiful orchid as well a a rare white form. During this part of the spring season, there are other wildflowers in the area, as well: Rhododendron, Flame Azalea, and Mountain Laurel to mention a few...

Positive Runway Global Catwalk African Fashion Show African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.