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Cergy, Axe Majeur
L'Axe Majeur est une œuvre monumentale située à Cergy, dans le département du Val-d'Oise, en France. L’œuvre s'inscrit dans une boucle de l'Oise, au centre de la ville nouvelle de Cergy-Pontoise. Elle est conçue par le sculpteur israélien Dani Karavan à partir de 1980. L'Axe est composé de douze stations sur une longueur de 3,2 kilomètres, incluant une tour penchée, un ensemble de douze colonnes, une passerelle, une île ou encore un rayon laser qui survole le parcours. Il débute dans le quartier auquel il a donné son nom, Axe Majeur - Horloge (anciennement Saint-Christophe) et s'achève à la limite avec Neuville-sur-Oise, après avoir survolé les étangs artificiels de Cergy-Neuville. Symbole de la ville nouvelle, il est également l'une des œuvres importantes de Dani Karavan, qui accompagne sa construction pendant plus de trente ans.
The “Axe Majeur” is a monumental artwork located in Cergy, in the Val-d'Oise department, France. The work is located in a loop of the Oise River, in the new town Cergy-Pontoise. It was designed by the Israeli sculptor Dani Karavan from 1980. The Axis is composed of twelve stations over a length of 3.2 kilometers, including a leaning tower, a set of twelve columns, a footbridge, an island or a laser beam that flies over the course. It begins in the area to which it gave its name, Axe Majeur - Clock (formerly Saint-Christophe) and ends at the limit with Neuville-sur-Oise, after flying over the artificial ponds of Cergy-Neuville. Symbol of the new city, it is also one of the important works of Dani Karavan, who accompanies its construction for more than thirty years
Towards The Least EARTH-SUN Distance - Pentax K 3 + HD Pentax-DA 1,4x AF AW RC + HD Pentax-D FA 450mm f/5,6 ED DC AW , Focal Length 945mm
Cette image saisit l’instant précis où le jour et la nuit se frôlent, une frontière évanescente entre deux mondes lumineux. À l’horizon, là où la terre, la mer et le ciel se rejoignent, le soleil symbolise l’élément du feu, éclatant et essentiel, liant ces trois grandes forces naturelles dans une harmonie visuelle et spirituelle. Alors qu’il touche l’océan, un phénomène rare et mystérieux s’offre à l’œil attentif : le rayon vert. Fugace et incertain, il se laisse deviner dans l’éclat des teintes déclinantes, comme une touche de magie qui transcende la composition.
Dans ce moment suspendu, la proximité palpable des éléments – le sable sous nos pieds, les vagues ondulantes, le ciel vibrant – contraste avec le lointain, cet horizon où tout semble se fondre en un point unique et inaccessible. Ce jeu subtil entre proche et lointain, tangible et infini, invite à la réflexion et à la contemplation.
Le rayon vert, célébré par des artistes comme Marcel Duchamp et sublimé dans film Le Rayon Vert d’Éric Rohmer, résonne ici comme une allégorie du lien entre l’homme et la nature. Ce moment fugace, entre jour et nuit, entre lumière et ombre, touche une part intime de notre être. C’est une lumière intérieure, un pont fragile entre les extrêmes, où l’éclat du jour cède sa place au mystère de l’obscurité.
Ainsi, cette image ne capture pas seulement un coucher de soleil : elle illustre l’union des éléments et immortalise cet équilibre fragile entre le proche et le lointain, le concret et l’évanescent, offrant un instant de grâce où la nature se révèle dans toute sa puissance et sa poésie.
This image captures the precise moment when day and night brush against each other, a fleeting boundary between two luminous worlds. On the horizon, where earth, sea, and sky meet, the sun symbolizes the element of fire—radiant and vital—binding these three great forces of nature in a visual and spiritual harmony. As it touches the ocean, a rare and mysterious phenomenon reveals itself to the attentive eye: the green ray. Fleeting and uncertain, it can be glimpsed in the brilliance of the fading hues, like a touch of magic that transcends the composition.
In this suspended moment, the palpable closeness of the elements—the sand beneath our feet, the rippling waves, the vibrant sky—contrasts with the distant horizon, where everything seems to merge into a single, unattainable point. This subtle interplay between near and far, tangible and infinite, invites reflection and contemplation.
The green ray, celebrated by artists like Marcel Duchamp and sublimated in Éric Rohmer’s film The Green Ray, resonates here as an allegory of the bond between humans and nature. This fleeting instant, between day and night, between light and shadow, touches an intimate part of our being. It is an inner light, a fragile bridge between extremes, where the brilliance of the day gives way to the mystery of darkness.
Thus, this image does not merely capture a sunset; it illustrates the union of the elements and immortalizes this delicate balance between near and far, the concrete and the ephemeral, offering a moment of grace where nature reveals itself in all its power and poetry.
Pentax K 3 + HD Pentax-DA 1,4x AF AW RC + HD Pentax-D FA 450mm f/5,6 ED DC AW : Handheld , Focal Length 945mm
Green Ray Of The Setting Sun : Pentax-K3 MarkIII + Combined Optics HDsmc420mmf/5.6 , Focal Length 844mm ( M Format ) Handheld
I took on this Thursday morning before sunrise. These unusual green rays could be seen with the naked eye. Was it colour form Aurora Australis or a "green flash" or just atmospheric condtions? It's a mystery. I know Aurora Australis was photographed a few hours before this at Redhead Beach, which is very close to here. Whatever, it's a mystery to me!!
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An Acushnet Green Ray golf ball, probably from the 1940s or 1950s, and a MacGregor Tourney 5-wood. Acushnet has been the maker of Titleist golf balls since the 1930s.
Enjoy The Masters!!
Lit with a Nanlite PavoTube
From right
Brunhilde - Overman - Leatherwing - Halfman
Greenray - Blitzen .- U-man - Marsianerin
Black Wapon - Dunkler Star
Overman by Onlinesaiin
Halfman, Black Weapon & Dunkler Star are invented
The aurora as seen on the night of the 30th September. Photograph was taken in North Fife, Scotland.
Every sunset, hundreds of people arrive in Mallory square to greet the sun, hoping to see the green ray. Music and street artists show this moment.
The Green Snake and the Beautiful Lily (German title: Märchen or Das Märchen) is a fairy tale by Johann Wolfgang von Goethe published in 1795 in Friedrich Schiller's German magazine Die Horen (The Horae). It concludes Goethe's novella rondo Conversations of German Emigrants (1795). Das Märchen is regarded as the founding example of the genre of Kunstmärchen, or artistic fairy tale. The story revolves around the crossing and bridging of a river, which represents the divide between the outer life of the senses and the ideal aspirations of the human being
The tale begins with two will-o'-the-wisps who wake a ferryman and ask to be taken across a river. The ferryman does so, and for payment, they shake gold from themselves into the boat. This alarms the ferryman, for if the gold had gone into the river, it would overflow. He demands as payment: three artichokes, three cabbages, and three onions, and the will-o'-the-wisps may depart only after promising to bring him such. The ferryman takes the gold up to a high place, and deposits it into a rocky cleft, where it is discovered by a green snake who eats the gold, and finds itself luminous. This gives the snake opportunity to study an underground temple where we meet an old man with a lamp which can only give light when another light is present. The snake now investigates the temple, and finds four kings: one gold, one silver, one bronze, and one a mixture of all three.The story then switches over to the wife of the old man, who meets a melancholy prince. He has met a beautiful Lily, but is distressed by the fact that anyone who touches her will die. The snake is able to form a temporary bridge across the river at midday, and in this way, the wife and prince come to the beautiful Lily's garden, where she is mourning her fate. As twilight falls, the prince succumbs to his desire for the Beautiful Lily, rushes towards her, and dies. The green snake encircles the prince, and the old man, his wife, and the will-o'-the-wisps form a procession and cross the river on the back of the snake.Back in the land of the senses, and guided by the old man, the Lily is able to bring the prince back to life — albeit in a dream state — by touching both the snake and the prince. The snake then sacrifices itself, and changes into a pile of precious stones which are thrown into the river. The old man then directs them towards the doors of the temple which are locked. The will-o'-the-wisps help them enter by eating the gold out of the doors. At this point, the temple is magically transported beneath the river, surfacing beneath the ferryman's hut — which turns into a silver altar. The three kings bestow gifts upon the sleeping prince and restore him. The fourth, mixed king collapses as the will-o'-the-wisps lick the veins of gold out of him. We also find that Lily's touch no longer brings death. Thus, the prince is united with the beautiful Lily, and they are married. When they look out from the temple, they see a permanent bridge which spans the river — the result of the snake's sacrifice — "and to the present hour the Bridge is swarming with travellers, and the Temple is the most frequented on the whole Earth".
Analysis; It has been claimed that Das Märchen was born out of Goethe's reading of The Chymical Wedding of Christian Rosenkreutz and that it is full of esoteric symbolism. In 1786, Goethe observed that The Chymical Wedding contains “a pretty fairy story” for which he had no time at the moment.Rudolf Steiner, in his 1918 book Goethe's Standard of the Soul, speaks of it as follows: “On the river stands the Temple in which the marriage of the Young Man with the Lily takes place. The ‘marriage’ with the supersensible, the realisation of the free personality, is possible in a human soul whose forces have been brought into a state of regularity that in comparison with the usual state is a transformation.”[3] This article lead to an invitation to speak to the German Theosophical Society which eventually lead to Steiner becoming its General Secretary.Tom Raines gives the following historical background for “The Green Snake and the Beautiful Lily”:This Fairy Tale was written by Goethe as a response to a work of Schiller’s entitled Über die aesthetische Erziehung des Menschen (Letters on the Aesthetic Education of Man). One of the main thoughts considered in these ‘letters’ centred around the question of human freedom… Schiller saw that a harmonious social life could only be founded on the basis of free human personalities. He saw that there was an "ideal human being" within everyone and the challenge was to bring the outer life experiences into harmony with this "ideal". Then the human being would lead a truly worthy existence.
Schiller was trying to build an inner bridge between the Person in the immediate reality and the 'ideal human being'. He wrote these ‘Letters’ during the time and context of the French Revolution. This revolution was driven by a desire for outer social changes to enable human personalities to become free. But both Schiller and Goethe recognised that freedom cannot be ‘imposed’ from the outside but must arise from within each person. Whilst he had an artistic nature, Schiller was more at home in the realm of philosophic thoughts and although Goethe found much pleasure in these ‘Letters’ of Schiller, he felt that the approach concerning the forces in the soul was too simply stated and, it should be said, working in abstract ideas was not Goethe's way. So he set about writing a Fairy Tale that would show, in imaginative pictures, the way in which a human soul could become whole and free, thereby giving rise to a new and free human community. And this was published in Die Horen in 1795
en.wikipedia.org/wiki/The_Green_Snake_and_the_Beautiful_Lily
The term "will-o'-the-wisp" comes from "wisp", a bundle of sticks or paper sometimes used as a torch, and the name "Will": thus, "Will-of-the-torch". The term jack-o'-lantern "Jack of [the] lantern" has a similar meaning.In the United States, they are often calledThe term "will-o'-the-wisp" comes from "wisp", a bundle of sticks or paper sometimes used as a torch, and the name "Will": thus, "Will-of-the-torch". The term jack-o'-lantern "Jack of [the] lantern" has a similar meaning.In the United States, they are often called "spook-lights", "ghost-lights", or "orbs" by folklorists and paranormal enthusiasts.
Folk belief attributes the phenomenon to fairies or elemental spirits, explicitly in the term "hobby lanterns" found in the 19th century Denham Tracts. Briggs' A Dictionary of Fairies provides an extensive list of other names for the same phenomenon, though the place where they are observed (graveyard, bogs, etc.) influences the naming considerably. When observed on graveyards, they are known as "ghost candles", also a term from the Denham Tracts.The names will-o'-the-wisp and jack-o'-lantern are explained in etiological folk-tales, recorded in many variant forms in Ireland, Scotland, England, Wales, Appalachia, and Newfoundland.[citation needed] In these tales, protagonists named either Will or Jack are doomed to haunt the marshes with a light for some misdeed.One version, from Shropshire, recounted by K. M. Briggs in her book A Dictionary of Fairies, refers to Will the Smith. Will is a wicked blacksmith who is given a second chance by Saint Peter at the gates to Heaven, but leads such a bad life that he ends up being doomed to wander the Earth. The Devil provides him with a single burning coal with which to warm himself, which he then uses to lure foolish travellers into the marshes.An Irish version of the tale has a ne'er-do-well named Drunk Jack or Stingy Jack who makes a deal with the Devil, offering up his soul in exchange for payment of his pub tab. When the Devil comes to collect his due, Jack tricks him by making him climb a tree and then carving a cross underneath, preventing him from climbing down. In exchange for removing the cross, the Devil forgives Jack's debt. However, because no one as bad as Jack would ever be allowed into Heaven, Jack is forced upon his death to travel to Hell and ask for a place there. The Devil denies him entrance in revenge, but, as a boon, grants Jack an ember from the fires of Hell to light his way through the twilight world to which lost souls are forever condemned. Jack places it in a carved turnip to serve as a lantern.[5] Another version of the tale, "Willy the Whisp", is related in Irish Folktales by Henry Glassie. The first modern novel in the Irish language, Séadna by Peadar Ua Laoghaire, is a version of the tale", "ghost-lights", or "orbs" by folklorists and paranormal enthusiasts.Folk belief attributes the phenomenon to fairies or elemental spirits, explicitly in the term "hobby lanterns" found in the 19th century Denham Tracts. Briggs' A Dictionary of Fairies provides an extensive list of other names for the same phenomenon, though the place where they are observed (graveyard, bogs, etc.) influences the naming considerably. When observed on graveyards, they are known as "ghost candles", also a term from the Denham Tracts.The names will-o'-the-wisp and jack-o'-lantern are explained in etiological folk-tales, recorded in many variant forms in Ireland, Scotland, England, Wales, Appalachia, and Newfoundland.[citation needed] In these tales, protagonists named either Will or Jack are doomed to haunt the marshes with a light for some misdeed.One version, from Shropshire, recounted by K. M. Briggs in her book A Dictionary of Fairies, refers to Will the Smith. Will is a wicked blacksmith who is given a second chance by Saint Peter at the gates to Heaven, but leads such a bad life that he ends up being doomed to wander the Earth. The Devil provides him with a single burning coal with which to warm himself, which he then uses to lure foolish travellers into the marshes.An Irish version of the tale has a ne'er-do-well named Drunk Jack or Stingy Jack who makes a deal with the Devil, offering up his soul in exchange for payment of his pub tab. When the Devil comes to collect his due, Jack tricks him by making him climb a tree and then carving a cross underneath, preventing him from climbing down. In exchange for removing the cross, the Devil forgives Jack's debt. However, because no one as bad as Jack would ever be allowed into Heaven, Jack is forced upon his death to travel to Hell and ask for a place there. The Devil denies him entrance in revenge, but, as a boon, grants Jack an ember from the fires of Hell to light his way through the twilight world to which lost souls are forever condemned. Jack places it in a carved turnip to serve as a lantern.[5] Another version of the tale, "Willy the Whisp", is related in Irish Folktales by Henry Glassie. The first modern novel in the Irish language, Séadna by Peadar Ua Laoghaire, is a version of the tale.Small flames was rising from the ground, preferably on swampy and moorish terrain; In the past, the folk faiths combined all kinds of phenomena with these natural phenomena will be fairy tales. In literature, will-o'-the-wisp sometimes has a metaphorical meaning, describing a hope or goal that leads one on but is impossible to reach, or something one finds sinister and confounding.In Book IX of John Milton's Paradise Lost, lines 631-642, Satan is compared to a will-o-the-wisp when he leads Eve to the Tree of Knowledge of good and evil. Samuel Taylor Coleridge's poem The Rime of the Ancient Mariner describes the will-o'-the-wisp.Two Will-o-the-wisps appear in Johann Wolfgang von Goethe's fairy tale The Green Snake and the Beautiful Lily (1795)[43] and his play Faust. Emily Dickinson's "Those — dying then," a poem about the absence of God and the abdication of belief, closes with the lines "Better an ignis fatuus / Than no illume at all —".In Lewis Carroll's The Hunting of the Snark (1876), the term is part of the description of the Snark: "The first is the taste, // Which is meagre and hollow, but crisp: // Like a coat that is rather too tight in the waist, // With a flavour of Will-o’-the-wisp."The will-o'-the-wisp makes an appearance in the first chapter of Bram Stoker's Dracula.Civil War Confederate soldier and author Sam Watkins writes in his war memoir, "Co. Aytch", about witnessing "jack-o-lanterns (ignis fatui)" while standing watch late in the night near Corinth, Mississippi in early October, 1862.Will-o'-the-wisp phenomena have appeared in numerous computer games (such as Castlevania, Runescape, Ultima, EverQuest, the Quest for Glory series, and the Elder Scrolls series) and tabletop games (including Dungeons and Dragons, Magic: the Gathering, and Small World Underground), frequently with reference to folklore of the phenomena misleading or harming travellers. The Final Fantasy series also pays tribute to the tradition of a will-o'-the-wisp being a lantern-carrying individual, with the Tonberry creature. The Will o the Wisp is also a monster in Chrono Cross that either moves away from the character as they approach or follows them when they walk away. It is seen in areas relating to the dead. In the Pokémon game series, the move "Will-O-Wisp" can inflict a burn on the opponent and is often learned by Ghost-types. The character of Wisp from the Animal Crossing series is also named after the Will-o'-the-Wisp, and references the phenomenon by being a ghost. In the Mana series, Wisp is one of the eight Mana spirits, representing the element of light. In Secret of Evermore, a spin-off of the Mana series, Will o' the Wisps are small flame enemies located in a swamp area that move erratically toward the player. In Sonic Colors, there is an alien race known as Wisps that can enter the bodies of other beings in a ghost-like fashion, which may be a reference to the phenomenon.In television, Willo the Wisp appeared as a short cartoon series on BBC TV in the 1980s, voiced by Kenneth Williams."Will O' The Wisp" is also the name of the 13th episode in season one of Disney channel's So Weird in which one of the main characters, Jack, is possessed by a will-o'-the-wisp while visiting the ghost lights festival in Marva, Texas.Will-o'-the-wisps play a prominent role in the Disney/Pixar film Brave. In a break from the usual characterization, these will-o'-the-wisps appear benevolent or at least neutral in nature. They are hinted to be spirits of the dead, who aid the living by leading them towards their destinies.In modern science, it is generally accepted that most ignis fatuus are caused by the oxidation of phosphine (PH3), diphosphane (P2H4), and methane (CH4). These compounds, produced by organic decay, can cause photon emissions. Since phosphine and diphosphane mixtures spontaneously ignite on contact with the oxygen in air, only small quantities of it would be needed to ignite the much more abundant methane to create ephemeral fires.Furthermore, phosphine produces phosphorus pentoxide as a by-product, which forms phosphoric acid upon contact with water vapor. This might explain the "viscous moisture" described by Blesson.One attempt to replicate ignis fatuus under laboratory conditions was in 1980 by British geologist Alan A. Mills of Leicester University. Though he did succeed in creating a cool glowing cloud by mixing crude phosphine and natural gas, the color of the light was green and it produced copious amounts of acrid smoke. This was contrary to most eyewitness accounts of ignis fatuus.[33][34] As an alternative, Mills proposed in 2000 that ignis fatuus may instead be cold flames.[33][35] These are luminescent pre-combustion halos that occur when various compounds are heated to just below ignition point. Cold flames are indeed typically bluish in color and as their name suggests, they generate very little heat. Cold flames occur in a wide variety of compounds, including hydrocarbons (including methane), alcohols, aldehydes, oils, acids, and even waxes. However it is unknown if cold flames occur naturally, though a lot of compounds which exhibit cold flames are the natural byproducts of organic decay.A related hypothesis involves the natural chemiluminescence of phosphine. In 2008, the Italian chemists Luigi Garlaschelli and Paolo Boschetti attempted to recreate Mills' experiments. They successfully created a faint cool light by mixing phosphine with air and nitrogen. Though the glow was still greenish in color, Garlaschelli and Boschetti noted that under low-light conditions, the human eye cannot easily distinguish between colors. Furthermore, by adjusting the concentrations of the gases and the environmental conditions (temperature, humidity, etc.), it was possible to eliminate the smoke and smell, or at least render it to undetectable levels. Garlaschelli and Boschetti also agreed with Mills that cold flames may also be a plausible explanation for other instances of ignis fatuus.In 1993, professors Derr and Persinger proposed that some ignis fatuus may be geologic in origin, piezoelectrically generated under tectonic strain. The strains that move faults would also heat up the rocks, vaporizing the water in them. Rock or soil containing something piezoelectric, like quartz, silicon, or arsenic, may also produce electricity, channeled up to the surface through the soil via a column of vaporized water, there somehow appearing as earth lights. This would explain why the lights appear electrical, erratic, or even intelligent in their behavior..The will-o'-the-wisp phenomena may occur due to the bioluminescence of various forest dwelling micro-organisms and insects. The eerie glow emitted from certain fungal species, such as the honey fungus, during chemical reactions to form white rot could be mistaken for the mysterious will-o'-the-wisp or foxfire lights. There are many other bioluminescent organisms that could create the illusions of fairy lights, such as fireflies. Light reflecting off larger forest dwelling creatures could explain the phenomena of will-o'-the-whips moving and reacting to other lights. The white plumage of Barn owls may reflect enough light from the moon to appear as a will-o'-the-wisp; hence the possibility of the lights moving, reacting to other lights, etc.Ignis fatuus sightings are rarely reported today. The decline is believed to be the result of the draining and reclamation of swamplands in recent centuries, such as the formerly vast Fenlands of eastern England which have now been converted to farmlands.
en.wikipedia.org/wiki/Will-o'-the-wisp
REAONE
Originally from the southern suburbs of Paris, REAONE started drawing at a very young age, but it was in 2003 that he started drawing sprays. He joined the CDB crew in 2007...Tale and exhibition of LAB 14 showed probably process of Aurora consurgens, an alchemical metaphors that relate to human and animal procreation, procedures like calcination and putrefaction and other patterns.sadler0
The eye listens to the green rays which draw its peripheries bright of life, the electric energy resembles this lighting yet only due to a green filter and an under exposure of the edges of the image.[https://www.flickr.com/photos/rsadler]
The eye listens to the green rays which draw its peripheries bright of life, the electric energy resembles this lighting yet only due to a green filter and an under exposure of the edges of the image
Spotless Sun
Credit: Giuseppe Donatiello
Spotless Sun on July 18, 2017 at 6:30 UT
ED127mm f/9 + Bertele 18mm - Kodak C183
One from last year during the October storm, for some reason I never got around to posting this one.
The title is a metaphor, of course. There are no electromagnetic phenomena involved here. It's just the sensational sunsets in the Aegean between late summer and early autumn.
For more information, read Eleni's short reference in her article: «Anticrepuscular Ray for You» 😋
Location:
«The House of Music in Ikaria 😊»
😘
Confidence; Hugues hates montages and spending time on Photoshop. All 3333 photos currently online are made with sensors exclusively, some effects come from sensor size, others from special settings on the G7 or Y77, some effects on sonyericson phones are due to 300k pixels and sensor size, finally on IPhone motion is an art...
In the beam no editing on Photoshop nor any effect, it is just the telephoto lens like a telescope of the Goethe brothers, the green iridescent dust of the air we breathe; the green beam as an indicator of the pollution or the quality of the air of 2018.however, as he doubted that this harsh light long From the black sun of alchemy, the nigerdo, we seek the illuminating and transmuting green ray!
The green ray of alchemy is particularly coveted. This is the previously mentioned Viriditas; it glitters through Nature, is frequently seen as the "green ray" of sunrises and sunsets and also as the transformation of various chemical substances during their combustion.
The light or green ray is the symbol of enlightenment, life and death and the alchemists also saw this "secret fire" as the "spirit of life" in the image of a green, translucent and fusible crystal... It is the emerald star of Odin-Wotan, often referred to as the ancient emerald tablet in alchemy. It contains the secret formula of the transformation of reality and it is the latter that gave birth to the alchemy itself and the hermetic quests for spiritual awakening.
Therefore, green is highly symbolic. Green is feminine and yin, often seen as opposed to red (masculine, yang) and symbolizing transformation, renewal, spring, awakening, long life, hope, immortality, freshness, water - and life itself. His so-called "dark" aspects are death, decay and disease; but seen from the perspective of life, these aspects intertwine and support each other since they are all processes of transformation. Alchemically-speaking, these so-called "dark" aspects make up the putrefaction process, known as nigredo. Alchemists saw in particular the process of transformation from red to green as interactions between the different kingdoms of male and female.
11:11:11 Portal and Restranding the Sacred Codes in our DNA - 40" x 60" Acrylic over Gyclée on Hahnemühle Torchon - prints and more info
La foto no vale nada estéticamente hablando, tiene mucho ruido, está subexpuesta... pero sale el rayo verde. La foto está tomada desde el istmo de la isla de Tarifa, que como su propio nombre indica está en Trebujena. Nono, espero que te sirva en tu discusión, y Gaspar, para que veas que no es una leyenda urbana.
P.D.: En vista de que no todo el mundo sabe lo que es el rayo verde, además de una novela de Julio Verne, os pongo esto que he encontrado en internet: "La novela está basada en un fenómeno óptico real, denominado rayo verde por su color, que se produce bajo ciertas condiciones atmosféricas particulares: cuando el disco solar se esconde sobre una superficie muy llana (por ejemplo el mar), sus últimos rayos quedan muy refractados por la baja atmósfera de tal manera que sólo llegan hasta el ojo del observador los colores amarillo y verde; en este instante se aprecia como un destello amarillo-verdoso justo en el instante de ocultarse la parte superior del sol.
Es más raro contemplar el rayo azul, debido a la dificultad de conseguir condiciones atmosféricas apropiadas, pero existen fotografías que llegan a mostrarlo como un destello verde-azulado."
When it comes to photography, sunsets are a dime a dozen, too beautiful for us to pass up, but we often need that extra something to make them unique. Here I caught a partial green flash over the Pacific in Laguna Beach. Green flashes are optical phenomena occurring at sunset or sunrise. It usually lasts a second or two, and occur because the atmosphere causes the light to separate into different colors, often enhanced by a mirage.
USA: California: Orange County: Laguna Beach: The green flash (or green rays) can be seen as the orange ball of the sun sets over the Pacific Ocean - © Sean Arbabi | seanarbabi.com (all rights reserved worldwide)
A rare glimpse of a proton spike in the night sky, the aurora borealis can be seen behind the silhouetted tree
Estábamos haciendo tiempo mientras esperábamos que anocheciese para seguir con las nocturnas, las circumpolares y demás.
Mientras seguía los últimos pasos del Sol con el tele, le dije medio en broma a los colegas que no estaría mal captar el rayo verde y, de pronto, ahí estaba.
(The Green One and Sacred Hoop of Stars activation and attunement youtu.be/emAR0MYNsfc)
Gathering: council of the Green Ones.
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Map legend: Sacred circle ceremony through the Emerald Dimensions: 4 - 8 - 9.
Field notes: Crescent Moon enters the Sacred Hoop of Stars.
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29 July 2013
Mixed media and collage in large moleskine sketchbook.
atop of the setting sun, a thin layer of temperature-change in our atmosphere triggers a subtle colour selection. when by chance this occurs exactly when the sun disappears behind the horizon (or any object), the naked-eye can spot it as a "green flash". with a correct exposure setting, that dims appropriately the sunlight, it appears quite neatly.
(roughly a 3x crop)