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Sidney Woodruff, graduate student, gets a photo of Emily Phillips (blue), a ecology graduate student, with the Western Pond Turtle in the Arboretum on June 8, 2022.
The project involves assisting Dr. Brian Todd and Ph.D. Student Sidney Woodruff in a research study evaluating how native species respond to the removal of non-native species and waterway restoration. The research objectives are to investigate the abundance and population demography of the native Western pond turtle (Actineymys marmorata) and population response in growth and demography from the removal of non-native red-eared sliders. Natural populations of the Western pond turtle are found in the UC Davis Arboretum where red-eared sliders occupy the same ecological niche in high densities. Natural populations of Western pond turtles are found in the nearby South Fork of Putah Creek where the presence of non-native turtles is extremely low or nonexistent. This work can highlight the importance of waterway restoration in building a more resilient ecosystem while supporting the recovery and conservation of native species.
Providing this opportunity will allow undergraduate students to be involved in wildlife conservation research under the supervision of a graduate student mentor and PI while also supporting the objectives of this study and the restoration of the UC Davis Arboretum.
Not sure if this is real or a clone. A real version of this car is practically nonexistent (at least from what I have read).
Fast food means already prepared food. Bread and tea are the staples of my diet here for tea time. We were eating plain bread (slices not rolls pictured) at my house for a few months before I thought about getting a toaster. When I went into town I couldn't find one looked like it wouldn't break after two uses. (that is the problem living in country where customers first is a nonexistent policy and quality isn't worth the price. Knowing this the problem is exacerbated with toasters as they are so simple and made of thin metal you cant tell if they are destined for the trash or not) Fortunately a family living in town wasn't using theirs and let me barrow it for the remainder of my stay. Thus my food revolution continued upgrading from plain bread to slightly burned bread (toast). Another development in the revolution is the fancy I now have for peppered popcorn.
Commuting home on my 80s 12-speed. Skinny 28s and a complete lack of brakes makes Denis an "exhilarating" ride off-road. This part of the track is almost nonexistent.
This bridge, carrying US 6 over Westcott Road (SR 607, formerly US 6A), is the center of a modified diamond interchange with frontage roads. Signage is nearly nonexistent.
This ship is my favorite out of my physical collection. Its just the rights size for play while still having enough detail for display and has an interior. Said interior is based of the cross section book for the force awakens. There is a single bed and nothing else. I wish that the bed could be moved over though, as it is taking up quite a bit a space.
Problems:
the rear door is invisible
the rear wings are not all the way at the end of the ship
there are no front wings
the cockpit is nonexistent
We found Andrew Linn drifting around in the almost nonexistent breeze in his Puddle Goose, using plans from Michael Storer as inspiration, but adding significant personal touches.
These dramatic cliffs are only about a half hour drive from the Borgo across twisting turning roads through gorgeous "Tuscan badlands" scenery. We had to be careful getting this shot though--the roads, though beautiful, are narrow, the shoulder is nonexistent and just beyond these beautiful plants the cliffs drop directly downward!
Cedars of Lebanon State Park is a state park in Wilson County, Tennessee, in the southeastern United States. It consists of 900 acres situated amidst the 9,420-acre Cedars of Lebanon State Forest. The park and forest are approximately 10 miles (16 km) south of Lebanon, Tennessee.
Cedars of Lebanon State Forest is known for its cedar glades, a unique type of ecosystem that has adapted to the thin (or nonexistent) soil layers that often occur in the eastern Central Basin. These glades are typically flanked by thick stands of red cedar, a type of juniper tree that can survive in soil layers too thin to support most large wooded plants. The presence of the red cedar in the basin reminded the region's early Euro-American settlers of the Lebanese cedar forests of Biblical fame.
Cedars of Lebanon State Forest is underlain by Ordovician period limestone, formed roughly 460 million years ago from calcareous ooze deposited by a primordial sea that once covered Middle Tennessee. Weathering of this rock has led to the creation of karst formations such as joints, underground streams, caves, and sinkholes, which are common throughout the park and forest. The forest is located in a flat section of the Central Basin characterized by thin soil layers where the limestone bedrock is often exposed.
Cedar glade communities have adapted to the basin's harsh barrens, where the soil is too thin to support most plant types, especially large wooded plants. The glades are typically open areas resembling rock or gravel-strewn meadows. Most glades include small areas of bare rock where nothing grows, gravelly areas where only grasses grow, and patches of very thin soil that support shrubs and small red cedars. Cedar glades are typically surrounded by stands of red cedar known as cedar thickets. Beyond the cedar thickets, the soil is thick enough to support a hardwood forest consisting primarily of oak and hickory.
The cedar glades of Cedars of Lebanon State Forest are home to 350 plant species, 29 of which are endemic to the cedar glades. Flowering plant species living in the glades include the formerly endangered Tennessee Coneflower (Echinacea tennesseensis), the Prickly Pear cactus (Opuntia humifusa), Limestone flame flower (Phemeranthus calcaricus), Gattinger's Prairie Clover (Dalea gattingeri), Glade Phlox (Phlox bifida), and Nashville Breadroot (Pediomelum subacaule). Nonflowering plants include reindeer moss and glade moss. Along with the red cedar, trees in the surrounding forest include white oak and shagbark hickory. Wildlife chiefly consists of rodents and birds.
This picture is a DOE site in Moab, Utah, which is in the midst of clean up efforts. We got a tour, but they wouldn't (obviously) let us get out near or on the pile, though we did step out a little bit by the river. It's pretty hard to convey the size of the thing since the pile is actually 3 stories high and much bigger than the area covered by those buildings, so if you get the whole site, it doesn't look tall, and if you get a close up with scale for the height, it doesn't look large in area. I wanna go back and I'm starting to think that maybe the best way is just to go on or lead another ASB trip to the area...
They drove us up this hill to this vantage point, where, behind us, there were train cars being loaded with tailings, which are being transported by rail (citizens find trucks objectionable and potential accidents would be a huge public relations disaster) to a remote site 50 miles from the nearest civilization, where it will be capped in the ground - basically lining the hole with impermeable material, throwing the tailings in and covering it up. This might sound flimsy, but it is at least preferrable to the current location of the pile, which is literally right next to the river.
Factually, the amount of uranium in the pile is supposed to be less of a cause for worry than exposure to radiation when flying, getting x-rays or even staying in a badly finished basement (radon gas), but we met with a couple of reps from the local city council and they very much prefer the pile be dealt with to prevent further leaching into the water supply, however minimal by DOE estimates. The DOE reps we met with claimed that the uranium levels were almost nonexistent any distance away from the the site, and were in fact the last thing in the water we should be concerned with given anti-depressants and other pollutants.
These issues in the Southwest seem somewhat pertinent to Southern California since after all, the entire LA metropolitan and suburban area is downstream. In fact, it was the Metropolitan Water District of LA that was the deciding factor in the clean up project in Moab getting the go-ahead. In the words of Don Metzler, they are the "800 pound gorilla" that gets things moving.
In other news, China film is ready for pickup! Commence scanning!
In this humorous photo, the dog and the bunny are exposing the internet trend of loss of privacy, specifically as it relates to Facebook. This website definitely falls under the genre of social media and it is very easy to release personal information to strangers, thus a loss of privacy.
www.lossofprivacy.com/index.php/2010/06/facebook-privacy-...
indulgent brunch at alias on clinton & rivington. the menu included: cinnamon beignets & dipping chocolate, mac & cheese, blt w/a fried egg (pictured), and cheesy grits.
heaven.
(and they let us hang out to wait for jac, who was 1.5 late due to a nonexistent M, a slow L, and an F that stopped service too early.)
I did say it had a claim to fame!
The poster featuring Arriva Guildford & West Surrey 3928 (GK51 SZF) is everywhere in Surrey, including not one but two copies here at the Dormansland School bus stop! This is the more faded example.
This part of extreme-east-most Surrey is miles and miles away from 3928 ever reaching it.
Interestingly, on StreetView, this is one of those useless bus shelters that is set back so far from the road, and with the view of approaching buses nonexistent, that if you used it, you'd be at risk of missing the bus! goo.gl/maps/JnSHW
It has since been moved forwards however, it was adjacent to the pavement when I saw it.
Dormans High Street, Dormansland, Surrey.
I roasted a chicken last night.
It was an unusual dinner, as I've been a strict vegetarian (and sometimes aspiring vegan) for about six years. But this chicken came from my mother's friend who raises them herself. I'm not ethically opposed to eating humanely-raised animals, so when my mom offered me one, I couldn't think of a good reason to say no.
Obviously, my poultry cooking skills are rusty (err, nonexistent), but I found a recipe that turned out good (despite its appearance).
But it's probably the last chicken I'll ever eat. I didn't feel guilty or viscerally disgusted as I'd expected, but the whole process seemed dirty, difficult, and unnecessary compared to cooking with plant-based foods. Hacking up a cucumber is easier than deskinning a bird.
So back to vegetables.
(And yes, it's clear from the photo that I have no idea how to carve a chicken. Stabbing at random seemed to work though.)
Photographs by Paul Russell
Learn more about Steve's work: visitsteve.com/
ABOUT THE PROJECT
(from the SPACES catalog)
Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”
The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.
At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.
As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.
But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.
This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.
Throughout my artistic career I’ve challenged myself to take on difficult subject matter in ways that are engaging and fun. I’ve found humor and popular culture can open doors to difficult but worthwhile subjects and enable us to envision and move toward new, utopian futures.
The sign starts here in Cleveland and will tour the US leading up to and beyond the 2012 presidential election. People who vote will be given the opportunity to have their portrait taken and give a short statement about why they voted the way they did. There will be a book, website, and videos that document people’s interactions and thoughts.
I’m excited that this piece takes on what for most Americans is a taboo, or even nonexistent subject: whether global, hegemonic capitalism actually works for most people. But whew, talking about that is boring! And telling people what to think is worse! This sign gets passers by to participate in deceptively simple vote (True/ False) which only pretends to offer resolution. Every aspect of the interaction draws them in to more complex questions and conversations, leading to new thoughts and ideas about a better world!
For 50 years it has been unacceptable, politically, in the United States to ask what is basically a straightforward question. We have a particular economic system, it’s called capitalism. We have every right as a society to ask of that system, is it working? Is it working for us? Do the benefits and the costs balance themselves out in a way that says, do we want to keep this system? Or that says, we want to change this system? Or that says, we ought to look at an alternative system. We’ve been afraid to ask that question. We’ve been afraid to have public debates—that’s the legacy of the cold war. We can’t afford anymore to not do that. We have to raise the question.
This was taken in Early Spring as the snow begins to melt, it leaves behind some pretty cool things to look at
Before cell phones, we relied on payphones to keep us connected when traveling. In places where cell coverage is spotty or nonexistent, payphones are still a thing.
Most of the phonebooths are gone, replaced (if replaced at all) with these small sci-fi pods that probably haven’t been touched since the 90s.
.
.
.
‘A Twist Towards Him’
Camera: Argus C2 (1939)
Film: Adox KB-21 (x-1959); 10iso
Process: HC-110; 1+100; 60min
Waverly, Kansas
We were walking through the new Aeon Hinode Mall today, and happened across the strangest candy I have ever seen. This chocolate is packaged as cow shit, with a name to reflect such horrible imagery. To make matters worse, the cow's ass in one wide open hole, which the chocolate falls out of when the cow is shaken. Fun times when our kids can pretend to eat cow shit, no?
I apologize for the grainy photo but this was taken with my piece-of-shit keitai. The lighting in the store was almost nonexistent and the camera on my keitai is definitely not good at all. Anyhow, I just *had* to capture the Super Dooper Crazy Pooper on camera!
colinhuggins.bandcamp.com/track/philip-glass-truman-sleeps
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Well, I haven't uploaded anything in a good long while.
This was the shot I ended up choosing as my print for the most recent assignment I had in photography class (check the title). I should probably mention that this isn't actually vellum (it's tracing paper), as we have a nonexistent budget and couldn't find any at Michael's. The point of the assignment was to manipulate the "vellum" in some way to make an interesting photograph. I crumpled mine into a landscape and lit it from below with a flashlight. I'm reasonably pleased with the result.
EasyShare C190.
It is so dry. From this image the corn crop appears green and healthy, but look closely and you can see its blades pointing towards heaven, "praying for rain" as the locals would say. In the distance the hillsides are brown--grazing for cattle is nearly nonexistent and hay cuttings are sparse. Tobacco and soybeans aren't growing, and backyard gardens grow only with vigilant watering. Everyones yard is brown, and we haven't had to mow in weeks. Last week I walked across the pond to take a photo of a cattail--it is nothing but a puddle now.
We need rain. The forecast says 30% chance on Tuesday and 40% chance on Wednesday, and beyond that nothing. It's not looking good.
Presenting the Mistral – A Gas Freighter of the Belt
In the weightless void of space, industrial freighters like the Mistral are built for efficiency, not aesthetics. With its reinforced truss structure, independent thruster arrays, and massive cargo tanks, it is a workhorse of the Belt, ferrying precious volatile gases across the solar system.
At the forefront of the vessel, what might appear to be a command module is actually a massive impact shield, designed to protect the ship from micro-meteoroids and debris traveling at deadly speeds. In the unforgiving reality of spaceflight, even a stray pebble can spell disaster, and the Mistral ensures its cargo reaches its destination intact.
Unlike bulk freighters that rely solely on inertia, the Mistral boasts a full set of maneuvering thrusters, three primary engines, and precise vector control, allowing it to make delicate adjustments during docking, refueling, or evasive maneuvers in high-risk zones. Positioned atop the central structure, a large access hatch provides direct entry to the ship’s systems and cargo bays, facilitating rapid maintenance and cargo transfer.
Recreating such an open and lightweight space structure in LEGO is a challenge in itself. The Mistral’s support framework has been carefully engineered to withstand the immense weight of its tanks, preventing structural collapse under gravity—an issue nonexistent in microgravity but crucial for terrestrial display.
A testament to function-first design, the Mistral captures the industrial beauty of spaceflight: a vessel built not for comfort, but for the harsh realities of deep-space logistics.
The ships is nearly 13 000 parts, 185 stud long (1.48 Meters) and weights nearly 11 Kg
Built in 1857, this Greek Revival was the residence of New Yorker merchant Thomas Whaley, who arrived in California with the Gold Rush. He run a successful shop at Montgomery Square in San Francisco until it was destroyed by arson, thereupon he went South to San Diego to run his business. In 1852 Whaley witnessed the hanging of James Robinson, known as Yankee Jim, for supposed grand larceny. Yankee Jim was a tall man, and when the wagons pulled away he kept his feet on it as long as possible, finally flipping off and strangling to death. A year later Whaley returned to New York to marry Anna Delaunay and bring her to California. He purchased this property on the location of Yankee Jim's hanging and opened a profitable granary, using bricks created in his own brickyard nearby, before deciding to convert it into his home.
The Whaley House cost $10000 to build and was said to be the finest house in San Diego when it finished construction. Thomas Whaley used it as a general store before moving to a better location near the plaza. Thomas Whaley's fortunes fluctuated drastically after that, mostly on the failure side of things, resulting in his house frequently being up for lease. For a few months between 1868 and 1869, the Tanner Troupe Theatre operated out of the front upstairs bedroom and the Whaley House briefly served as the second San Diego County Courthouse in 1869, renting three upstairs rooms for records storage. In 1871 as part of the increasingly angry dispute between Old Town and New Town San Diego, the sheriff stormed the Whaley House in the middle of the night, supposedly held Anna hostage, and left with the old records for its New Town location.
The Whaleys eventually had six children, one of whom died of scarlet fever here after just 18 months. In 1882 Violet Whaley married a scoundrel who apparently had attempted to profit off of the Whaley's (nonexistent) fortune. Abandonment, the reveal of the groom's con man past and divorce quickly followed, but Victoria was humiliated and ostracized as a result of the divorce. In 1885 she attempted to commit suicide by jumping into the cistern behind the house. She was rescued, but only a few weeks later succeeded in her suicide attempt by shooting herself in the chest. Her note read:
Mad from life's history,
Swift to death's mystery;
Glad to be hurled,
Anywhere, anywhere, out of this world.
After this the Whaley family moved to New Town. In 1909, Thomas' son Francis returned to his family's old residence and restored it. With interest in Old Town returning (following the restoration of the Romona Marriage House), Francis opened the home as a tourist attraction, emphasizing its history. Lillian Whaley lived at this house until her death in 1953. After being threatened with demolition, activists purchased the house. It is now a museum run by the Save Our Heritage Organization.
Old Town, San Diego, California
This series of photos shows our cruise ship's journey along the Fiordland coast between Milford Sound and Doubtful Sound, and then our looping route in one entrance to this enormous fiord and out another. The reaction of my fellow passengers to this magnificent New Zealand scenery was, in itself, wonderful to observe.
•Doubtful Sound is a very large and naturally imposing fiord in Fiordland, in the far south west of New Zealand. Doubtful Sound was named 'Doubtful Harbour' in 1770 by Captain Cook, who did not enter the inlet as he was uncertain whether it was navigable under sail. It was later renamed Doubtful Sound by whalers and sealers. There are three distinct arms to the sound, which is the site of several large waterfalls, notably Helena Falls at Deep Cove, and the Browne Falls which have a fall of over 600 metres. The steep hills are known for their hundreds of waterfalls during the rainy season. Access to the sound is either by sea, or by the Wilmot Pass road from the Manapouri Power Station. Most areas of the sound itself are only accessible by sea however, as the road network in this area of New Zealand is sparse or nonexistent, as is the human population. Doubtful Sound is unusual in that it contains two distinct layers of water that scarcely mix. The top few meters is fresh water, fed from the high inflows from the surrounding mountains, and stained brown with tannins from the forest. Below this is a layer of cold, heavy, saline water from the sea. The dark tannins in the fresh water layer makes it difficult for light to penetrate. Thus, many deep-sea species will grow in the comparatively shallow depths of the Sound.
Photographs by Paul Russell
Learn more about Steve's work: visitsteve.com/
ABOUT THE PROJECT
(from the SPACES catalog)
Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”
The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.
At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.
As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.
But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.
This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.
Throughout my artistic career I’ve challenged myself to take on difficult subject matter in ways that are engaging and fun. I’ve found humor and popular culture can open doors to difficult but worthwhile subjects and enable us to envision and move toward new, utopian futures.
The sign starts here in Cleveland and will tour the US leading up to and beyond the 2012 presidential election. People who vote will be given the opportunity to have their portrait taken and give a short statement about why they voted the way they did. There will be a book, website, and videos that document people’s interactions and thoughts.
I’m excited that this piece takes on what for most Americans is a taboo, or even nonexistent subject: whether global, hegemonic capitalism actually works for most people. But whew, talking about that is boring! And telling people what to think is worse! This sign gets passers by to participate in deceptively simple vote (True/ False) which only pretends to offer resolution. Every aspect of the interaction draws them in to more complex questions and conversations, leading to new thoughts and ideas about a better world!
For 50 years it has been unacceptable, politically, in the United States to ask what is basically a straightforward question. We have a particular economic system, it’s called capitalism. We have every right as a society to ask of that system, is it working? Is it working for us? Do the benefits and the costs balance themselves out in a way that says, do we want to keep this system? Or that says, we want to change this system? Or that says, we ought to look at an alternative system. We’ve been afraid to ask that question. We’ve been afraid to have public debates—that’s the legacy of the cold war. We can’t afford anymore to not do that. We have to raise the question.
I shall call thee, "Baby Bump and the Fall Foliage."
Don't be deceived. My "bump" is virtually nonexistent in the mornings, but after I eat lunch, it grows to about this size. So this bump is probably more of a "food bump."
GTWL: Autumn
Here's a nicely kept Mercedes 300 TD station wagon from the early eighties. To the best of my knowledge, it was the first wagon M-B ever sold in this country, and it had a trubodiesel engine.
Because I associated premium car bands with coupes and sedans only, the idea of a Benz wagon (or "variant," as they say in Germany and the rest of Europe) seemed like a contradiction in terms to me. Lincoln wagons were unheard of, Imperial wagons were nonexistent, and the only wagon Cadillac offered was a hearse! But a posh, well-appointed wagon with room for the rugrats and the rug remnants for their bedrooms obviously appealed to the urban professionals that bought them. Now even Cadillac has a station wagon, the SRX (it's called a SUV crossover, but it's really a wagon!) and other luxury marques have long since followed suit.
Communal refuse collection point, Atyrau, Kazakhstan.
In the same district as the previous photo, but closer to the Ural river, more single storey houses are built around a grid system.
Large bins such as this can often be found, serving as communal collection points for household waste, in lieu of limited or nonexistent municipal services.
They also double as incinerators - waste is burnt in situ, and seeing a smouldering alien is not uncommon.
Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.
Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.
Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov
First shots with Sony DSC-HX200V using panorama setting.
Very cool house but fugly outside, no garage or driveway. Unclear if it's properly heated or insulated, it was 45 degrees in there and we want to go for a second tour when the heat is on. This is the huge dining room, pillars to the left lead to similarly enormous living room w/ tiny weird carpeted "office" room (barely big enough to hold a toy chest and a chair.
I don't know, this place has other issues. Upstairs bedrooms have short ceilings (like 7 feet instead of 8, but you feel squished) and crappy/nonexistent closets. Carpet upstairs needs replacing. We wouldn't get approved for a loan until a banister is put in on the stairs. There is no driveway, no garage. No basement for storage, but we could easily use an extra upstairs bedroom for storage, like we do now. Exterior could be painted from its hideous mustard color to be a bit more palatable. Yard is wet, mossy and dark, not suited for gardening, can't do much about that.
Dedication… Art has always been a part of my life and a lot of interesting things have come from it. I moved to a different State for a few years to go to college. I wasn't feeling the vibe there but stuck it out till the end. The element of realness was nonexistent being around a bunch of rich, privileged, spoiled kids. COUNTERFEIT was the major stepping stone that made me realize art can actually take you somewhere, and on a side note my high school art teacher can suck my dick. I got the Tattoo across my back as a reminder of where I come from, who I am and the entity that made me believe in myself. RIP COUNTERFEIT… The foundation fell apart but I've stayed doing what I do, Stimulating the optics. KAFKA*Prjct is a fresh start and a new mission since 2007. Stay tuned.
Photographs by Paul Russell
Learn more about Steve's work: visitsteve.com/
ABOUT THE PROJECT
(from the SPACES catalog)
Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”
The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.
At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.
As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.
But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.
This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.
Throughout my artistic career I’ve challenged myself to take on difficult subject matter in ways that are engaging and fun. I’ve found humor and popular culture can open doors to difficult but worthwhile subjects and enable us to envision and move toward new, utopian futures.
The sign starts here in Cleveland and will tour the US leading up to and beyond the 2012 presidential election. People who vote will be given the opportunity to have their portrait taken and give a short statement about why they voted the way they did. There will be a book, website, and videos that document people’s interactions and thoughts.
I’m excited that this piece takes on what for most Americans is a taboo, or even nonexistent subject: whether global, hegemonic capitalism actually works for most people. But whew, talking about that is boring! And telling people what to think is worse! This sign gets passers by to participate in deceptively simple vote (True/ False) which only pretends to offer resolution. Every aspect of the interaction draws them in to more complex questions and conversations, leading to new thoughts and ideas about a better world!
For 50 years it has been unacceptable, politically, in the United States to ask what is basically a straightforward question. We have a particular economic system, it’s called capitalism. We have every right as a society to ask of that system, is it working? Is it working for us? Do the benefits and the costs balance themselves out in a way that says, do we want to keep this system? Or that says, we want to change this system? Or that says, we ought to look at an alternative system. We’ve been afraid to ask that question. We’ve been afraid to have public debates—that’s the legacy of the cold war. We can’t afford anymore to not do that. We have to raise the question.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The North American Aviation P-51 Mustang was an American long-range, single-seat fighter and fighter-bomber used during World War II and the Korean War, among other conflicts. The Mustang was designed in 1940 by North American Aviation (NAA) in response to a requirement of the British Purchasing Commission. The Purchasing Commission approached North American Aviation to build Curtiss P-40 fighters under license for the Royal Air Force (RAF). Rather than build an old design from another company, North American Aviation proposed the design and production of a more modern fighter. The prototype NA-73X airframe was rolled out on 9 September 1940, 102 days after the contract was signed, and first flew on 26 October.
The Mustang was originally designed to use the Allison V-1710 engine, which, in its earlier variants, had limited high-altitude performance. It was first flown operationally by the RAF as a tactical-reconnaissance aircraft and fighter-bomber (Mustang Mk I). Production of the P-51B/C began at North American's Inglewood California plant in June 1943 and P-51s started to become available to the 8th and 9th Air Forces in the winter of 1943–1944. The addition of the Rolls-Royce Merlin to the P-51B/C model transformed the Mustang's performance at altitudes above 15,000 ft, allowing the aircraft to compete with the Luftwaffe's fighters. Among the almost 4.000 Mustangs of this variant built a quarter was supplied under Lend-Lease to the RAF as the Mustang Mk III. The definitive version, the P-51D, was powered by the Packard V-1650-7, a license-built version of the two-speed, two-stage-supercharged Merlin 66, and was armed with six .50 caliber (12.7 mm) AN/M2 Browning machine guns.
The P-51 offered an excellent performance, but North American kept trying to improve, and developed a number of lightweight versions. The lightweight Mustangs had a new wing design and airfoils designed to give less drag than the previous NAA/NACA 45-100. In addition, the planform was a simple trapezoid, with no leading-edge extension at the root.
In 1943, North American submitted a proposal to redesign the P-51D as model NA-104, from an enquiry by the USAAF as to why British aircraft were lighter than American ones. NAA engineers had examined the various components and equipment fitted to Spitfires, and through thorough inspection of airframes and construction plans NAA found that British load factors were less than American ones, and working to the lower load factors helped the design team reduce structural weight wherever possible. Exploiting the structural potential and lightening or reducing other equipment, the NA-104’s revised design was in total some 1,600 lb (730 kg) lighter than the P-51D. Modifications to save weight and improve performance included a thinner laminar flow wing, streamlining changes to the cowling, a simplified undercarriage with smaller wheels and disc brakes (necessitated by the thinner wings), a different canopy, and an armament of only four 0.5” Brownings, even though the ammunition supply was changed to 400 rounds per gun.
The lightweight NA-104 was powered by the new V-1650-9 engine, a redesigned "slimline" version of the Merlin 100-series. The engine’s design was modified to decrease frontal area to a minimum and was the first Merlin series to use down-draught induction systems. The coolant pump was moved from the bottom of the engine to the starboard side, and the engine featured a two-speed, two-stage supercharger and an S.U. injection carburetor. The V-1650-9 not only delivered an increased constant output of 1,380 hp (1,030 kW), it also featured a water-methanol injection that could temporarily boost the engine’s emergency power to 2,218 hp (1.655 kW). The exhaust arrangement was revised, too, exploiting the engine’s residual thrust to gain even more speed. An “uncuffed” three-blade Aeroproducts propeller unit with deeper blades was fitted, to better cope with the higher power output and the higher blade speeds
.
Unlike later lightweight Mustang versions/prototypes the NA-104‘s ventral radiator fairing remained the same shape and size, just as the main landing gear and its covers, both were, despite improved designs on the prototyoe workbench, retained to promote a quick production introduction. The former V-1650-7’s carburetor chin intake was relocated into the right wing’s root, and the cowling was modified and streamlined. The modified nose section was slightly longer than on previous Mustang versions, and to compensate for a resulting slight center of gravity shift forward the rear fuselage was slightly extended with a plug in the rear fuselage, just front of the tail surfaces, what increased the NA-104’s overall length by ~10 inch. As a side effect the longitudinal stability improved, so that the NA-104 did not require the stabilizing fin fillet that had been introduced on the P-51D and some late production P-51B/Cs, too.
In test flights, the NA-104, with optimized fuel load and a highly polished finish, achieved 491 mph (790 km/h) at 21,000 ft (6,400 m). In September 1944 the NA-104 was accepted by the USAAF as a high-performance interceptor under the designation P-51E. 500 aircraft were ordered, primarily for operations in Europe, specifically for the 8th and 9th Air Force, to protect the Allied airfields in Great Britain and as long-range escort fighters for Allied bomber raids against Germany. An option for 1.000 more was signed, too, to be delivered from August 1945.
The first P-51Es arrived in Great Britain in January 1945. However, large-scale combat between 8th Fighter Command and the Luftwaffe interceptor force had become virtually nonexistent after 28 May 1944 but, in August, contact had been made for the first time with both rocket-propelled and jet-propelled interceptors. While themselves a harbinger of a tactical change by the Luftwaffe, the contacts also indicated that the Germans were husbanding their fighter aircraft for sporadic reaction against Allied bomber attacks.
Operational tasks for the USAAFs P-51Es included the support of bomber attacks against German ground transportation during the Allied counter-offensive in the Ardennes in early 1945, strafing ground targets daily. However, on 14 January, strategic bombing resumed with attacks on oil installations near Berlin, and Mustangs were frequently tasked with protecting B-17s, employing a variation of the escort tactic called the "Zemke Fan", designed to lure in interceptors.
The Luftwaffe’s Jagdverbände, severely depleted, turned to jet interceptions beginning 9 February 1945 in an attempt to stop the onslaught of Allied heavy bombers. The Allies countered by flying combat air patrol missions over German airfields, intercepting Me 262s and Ar 234s as they took off and landed, the moment when these fast aircraft were most vulnerable. The tactic resulted in increasing numbers of jets shot down and controlled the dangerous situation, particularly as the amount of German-controlled territory shrank daily.
Another threat was the V-1 flying bomb attacks that had begun in mid-June 1944. The only aircraft with the low-altitude speed to be effective against it was the Hawker Tempest, but by that time fewer than 30 Tempests were available, assigned to No. 150 Wing RAF. Early attempts to intercept and destroy V-1s often failed, but improved techniques soon emerged. These included using the airflow over an interceptor's wing to raise one wing of the V-1, by sliding the wingtip to within 6 in (15 cm) of the lower surface of the V-1's wing. If properly executed, this maneuver would tip the V-1's wing up, over-riding the gyro and sending the V-1 into an out-of-control dive. At least sixteen V-1s were destroyed this way, the first by a P-51 piloted by Major R. E. Turner of 356th Fighter Squadron on 18 June 1944. Once available, the USAAF’s P-51Es were frequently assigned to V-1 interception duties over the Channel and the southern coast of England, alleviating RAF units.
However, with the end of hostilities in Europe in May 1945 the P-51E contract was cancelled, as well as the option for more aircraft. Altogether only 363 lightweight P-51Es were completed and reached frontline units, exclusively operating with the 8th and 9th Fighter Command.
General characteristics:
Crew: 1
Length: 33 ft 3 in (10,15 m)
Wingspan: 37 ft 0 in (11,28 m)
Height: 13 ft 4½ in (4,08 m)
Wing area: 234 sq ft (21,81 m²)
Airfoil: NACA 66(2)-215
Empty weight: 5,792 lb (2.630 kg)
Loaded weight: 7,268 lb (3.300 kg)
Max. take-off weight: 9,559 lb (4.340 kg)
Maximum fuel capacity: 419 US gal (349 imp gal; 1,590 l)
Powerplant:
1× Packard V-1650-9 liquid-cooled V-12 with 2-stage intercooled supercharger,
delivering 1,380 hp (1,030 kW), 2,218 hp (1,655 kW) WEP with Water methanol injection,
driving a Hamilton Standard constant-speed, variable-pitch three blade propeller with
a 11 ft 2 in (3.40 m) diameter
Performance:
Maximum speed: 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m)
Cruise speed: 362 mph (315 kn, 580 km/h)
Stall speed: 100 mph (87 kn, 160 km/h)
Range: 1,650 mi (1,434 nmi, 2,755 km) with external tanks
Service ceiling: 41,900 ft (12,800 m)
Rate of climb: 3,200 ft/min (16.3 m/s)
Wing loading: 39 lb/sqft (192 kg/m²)
Power/mass: 0.18 hp/lb (300 W/kg)
Lift-to-drag ratio: 14.6
Recommended Mach limit 0.8
Armament:
4× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with 400 RPG
A pair of underwing hardpoints for a pair of drop tanks
or bombs of 100 lb (45 kg), 250 lb (113 kg) or 500 lb (226 kg) caliber
The kit and its assembly:
A project that was more complex than obvious at first glance. The plan was to create a “missing link” between the WWII P-51D and its lightweight sibling P-51H, which came too late in WWII to take seriously part in any combat. There actually were some “interim” designs, which paved the way (the F, G and J models), with lightweight hulls or different engines. My plan was to adopt some details of these aircraft to create the fictional P-51E.
For a look that subtly differs from the well-known P-51D I decided light-headedly to bash two Academy models together: a P-51D hull, mixed with the wings and tail from a P-51B/C kit, plus some inter-kit and external donors. What sounds simple turned out to be a major surgery task, though, because both kits are totally different, produced with individual moulds and few interchangeable parts! Even details which you’d expect to me identical (e. g. wing tip and tail shape) differ markedly.
For the P-51E kitbash the fuselage with cockpit, engine and radiator bath was taken from the P-51D, while the tail and the wings were taken from the P-51B/C, because they were slightly bigger, “edgier”, lacked the fin fillet and featured only four machine guns in the wings. Mating these parts called for many adaptations and massive PSR, though. To change the look further I removed the small wing leading edge extensions, for a completely straight edge, and the cowling was changed to look like a mix of the P-51F and J prototypes. The carburetor intake disappeared and a part of the P-51D spinner was used to extend the fuselage a little. A completely new three-blade propeller was scratched, using a Yokosuka D4Y spinner, a piece from an ESCI Ka-34 Hokum main rotor, and clipped blades from a Hasegawa F5U. A styrene tube was added to hold the propeller’s new metal axis. To compensate for the longer nose the rear fuselage a 2mm section of the P-51D hull was retained in front of the transplanted P-51B/C tail (which is a separate hull section, the -D has an integral tail).
The original exhausts were replaced with resin aftermarket pieces for P-400 Airacobra from Quickboost - for which the nose extension paid out, because the V-1710 exhaust arrangement is longer than the Merlin's.
Painting and markings:
I wanted a typical, potentially colorful USAAF livery from early 1945 for this what-if aircraft model. This meant that the aircraft would have a NMF livery, and Invasion Stripes or other ID markings were already removed or not applied to new aircraft anymore. Camouflage had been omitted from 1945, too. As squadron markings I went for the 357th FG red-and-yellow nose markings; these came with Academy’s P-51B/C kit, but I replaced them with decals from a Mistercraft/Intech kit from The Stash™ because their shape was simpler and would (probably) better match the modified lower nose. Searching for later P-51Ds of this group revealed that the aircraft hardly carried any other colorful marking, though – just the tactical code, and maybe some personal markings.
To keep in style I adapted this basis, using a tone called “White Aluminum (RAL 9006)” from a Duplicolor rattle can as an overall basis, but added a thin red edge to the olive drab (Revell 46) anti-glare panel, created with generic decal stripes. The rudder as well as the wing tips were painted in red, an official 363rd FS ID marking, as a counterbalance to the prominent nose, too.
The propeller spinner was painted free-handedly, in an attempt to match the checker decal's colors. Some hull panels were painted in a darker shade of aluminum to make the model look mo0re lively, and some post-shading with Humbrol Matt Aluminum Metallizer was done to improve that effect, too. Cockpit and landing gear wells were painted in a bright green zinc chromate primer tone.
Decals and markings were puzzled together from various sources. Finding a suitable 'B6' code fpr the 363rd FS was tough, but I was eventually able to scratch it from 'P9' codes from two Academy P-47D kits/sheets! BTW, the horizontal bar above the aircraft's individual letter was a real world marking for a second aircraft that bore this tactical code within the unit. The nose art/tag was also donated from an Academy P-47, the yellow font matches the rest of the unit colors well.
The anti glare panel and the propeller blades received a matt varnish coat, while the rest of the hull was covered with a mix of matt and a little semi-gloss varnish - contemporary Mustang photos from 1945 suggest that, despite being bare metal, the aircraft were not polished or shiny at all, yet the aluminum would have some reflections. I think that the final overall finish looks quite good. As a final step I added some light soot stains behind the exhausts and the machine gun orifices, and dry-brushed some silver on edges/areas where paint could have flaked in real life. Not much, but it adds to the overall impression of a used aircraft.
A more demanding project than meets the eye. Bashing the two Mustang kits for a fictional new one might have been a smart idea, but it turned out to be a nightmare because the two 1:72 Mustand Academy kits are totally incompatible. Additionally, the mods I made are VERY subtle, it takes a keen eye to recognize the lengthened hull, the modfied cowling and the cleaner tail. The three-blade prop is the most obvious thing, and with it, from certain angles, the P-51E reminds somewhat of a Yak-9? Probably due to the intake-less cowling and the (for a Mustang) unusual prop? The livery looks plausible and colorful, though. :D
da Il cavaliere inesistente di Italo Calvino
from The Nonexistent Knight by Italo Calvino
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This fighter doesn't exist. It has an ejectable seat, flick fire missiles and other missiles. I know, lots of missiles, here's a video of it: www.youtube.com/watch?v=hd5H6bZNybU
Somalia is often described as the world's original failed state – a lawless country that has been engulfed in conflict for more than 20 years. According to women in Somalia saying that one of the greatest risk to women's lives is not war, but birth. One of the most dangerous things a woman in Somalia can do is to become pregnant. When she does, her chances of survival drop considerably due to the nonexistent antenatal care, nonexistent medical supplies, the extraordinarily poor healthcare available and the lack of infrastructure. A woman's lifetime risk of dying from maternal causes here is 1 in 14. This is one of the highest rates in the world, second only to Afghanistan. When a woman is due to give birth, she just waits for delivery, praying she doesn't die in the process.
Add to this the constant risk of getting shot or raped, as well as the ubiquitous practice of female genital mutilation (FGM) – something 95% of girls aged 4 to 11 face – make women's lives in Somalia almost unlivable.
More about womens world www.flickr.com/photos/noomad/sets/72157629934029865/
This series of photos shows our cruise ship's journey along the Fiordland coast between Milford Sound and Doubtful Sound, and then our looping route in one entrance to this enormous fiord and out another. The reaction of my fellow passengers to this magnificent New Zealand scenery was, in itself, wonderful to observe.
•Doubtful Sound is a very large and naturally imposing fiord in Fiordland, in the far south west of New Zealand. Doubtful Sound was named 'Doubtful Harbour' in 1770 by Captain Cook, who did not enter the inlet as he was uncertain whether it was navigable under sail. It was later renamed Doubtful Sound by whalers and sealers. There are three distinct arms to the sound, which is the site of several large waterfalls, notably Helena Falls at Deep Cove, and the Browne Falls which have a fall of over 600 metres. The steep hills are known for their hundreds of waterfalls during the rainy season. Access to the sound is either by sea, or by the Wilmot Pass road from the Manapouri Power Station. Most areas of the sound itself are only accessible by sea however, as the road network in this area of New Zealand is sparse or nonexistent, as is the human population. Doubtful Sound is unusual in that it contains two distinct layers of water that scarcely mix. The top few meters is fresh water, fed from the high inflows from the surrounding mountains, and stained brown with tannins from the forest. Below this is a layer of cold, heavy, saline water from the sea. The dark tannins in the fresh water layer makes it difficult for light to penetrate. Thus, many deep-sea species will grow in the comparatively shallow depths of the Sound.
Photo by Oscar Leiva/Silverlight
Comasagua is located in southwestern El Salvador in the Balsamo coastal range between San Salvador and La Libertad departments. The Balsamo Range is a coffee producing area with 3,452 coffee farmers with 33,502 ha of coffee. These coffee-dominated watersheds on the south slopes of the Balsamo mountain range are the water sources and recharge areas for water sources for the towns and villages in the upper watershed plus numerous fast-growing tourist cities and towns in the coastal zone directly south of Comasagua, including the city of La Libertad. The high elevation coffee farms in Comasagua produce high quality coffee. Nevertheless, most farms have yields far below potential and investment continues to be limited. Coffee rust hit many of these farmers severely in 2012.
There has never been a significant water resource management program in this area; the water issues are serious and highly conflictive within these watersheds. Collaboration between municipalities, communities and coffee producers is considered weak to nonexistent.
This will by my confession
Often feeling depression
Because I am not with that one
Instead I am with none
I am a lonely heart
Slowly falling apart
Becoming rather distant
Almost nonexistent
Evaporated into the air
Forever in despair
Contemplating my obsessions
These were my confessions
- Confession, by Ryan Martinez
Taken for June 09 MSH - Persona Non Grata.
According to Wikipedia - Persona non grata literally means 'an unwelcome person', it is a term used in diplomacy with a specialized and legally defined meaning. In non-diplomatic usage, calling someone 'persona non grata' is to say that he or she is ostracized, so as to be figuratively nonexistent.
After struggling for ideas for this category I thought what better way to illustrate it than with a featureless nonexistent person.
Cedars of Lebanon State Park is a state park in Wilson County, Tennessee, in the southeastern United States. It consists of 900 acres situated amidst the 9,420-acre Cedars of Lebanon State Forest. The park and forest are approximately 10 miles (16 km) south of Lebanon, Tennessee.
Cedars of Lebanon State Forest is known for its cedar glades, a unique type of ecosystem that has adapted to the thin (or nonexistent) soil layers that often occur in the eastern Central Basin. These glades are typically flanked by thick stands of red cedar, a type of juniper tree that can survive in soil layers too thin to support most large wooded plants. The presence of the red cedar in the basin reminded the region's early Euro-American settlers of the Lebanese cedar forests of Biblical fame.
Cedars of Lebanon State Forest is underlain by Ordovician period limestone, formed roughly 460 million years ago from calcareous ooze deposited by a primordial sea that once covered Middle Tennessee. Weathering of this rock has led to the creation of karst formations such as joints, underground streams, caves, and sinkholes, which are common throughout the park and forest. The forest is located in a flat section of the Central Basin characterized by thin soil layers where the limestone bedrock is often exposed.
Cedar glade communities have adapted to the basin's harsh barrens, where the soil is too thin to support most plant types, especially large wooded plants. The glades are typically open areas resembling rock or gravel-strewn meadows. Most glades include small areas of bare rock where nothing grows, gravelly areas where only grasses grow, and patches of very thin soil that support shrubs and small red cedars. Cedar glades are typically surrounded by stands of red cedar known as cedar thickets. Beyond the cedar thickets, the soil is thick enough to support a hardwood forest consisting primarily of oak and hickory.
The cedar glades of Cedars of Lebanon State Forest are home to 350 plant species, 29 of which are endemic to the cedar glades. Flowering plant species living in the glades include the formerly endangered Tennessee Coneflower (Echinacea tennesseensis), the Prickly Pear cactus (Opuntia humifusa), Limestone flame flower (Phemeranthus calcaricus), Gattinger's Prairie Clover (Dalea gattingeri), Glade Phlox (Phlox bifida), and Nashville Breadroot (Pediomelum subacaule). Nonflowering plants include reindeer moss and glade moss. Along with the red cedar, trees in the surrounding forest include white oak and shagbark hickory. Wildlife chiefly consists of rodents and birds.
On the Greenbush Line.
So why is this station called a "junction" when there's only 1 line here? And why is it called Nantasket (old name for the town of Hull) when it's located in Hingham? "Nantasket Junction" is the historic name for this station when it was on the Old Colony RR (and later the NY, NH & H RR Old Colony division.) It was a junction of the Boston-Scituate line (same one as the current Greenbush line) and the now-nonexistent Nantasket Line that went from here to Pemberton Point at the northern tip of Hull.
ERDC collaborates with the U.S. Army, Air Force, Navy, Marine Corps and others to solve significant projection and protection challenges facing Soldiers in A2AD environments. ERDC’s force projection research is focused on developing and demonstrating technologies for planning and conducting forcible entry operations with nonexistent, damaged or destroyed infrastructure to ensure that the joint force can operate in any environment, at any time, regardless of terrain. Recent successes include demonstration of rapid airport and seaport repair solutions; terrain surfacing kits for unmanned aircraft landing strips, helicopter landing zones, and logistics over shore operations; and remote monitoring technologies and decision support tools for assessing critical infrastructure and littoral zones. To protect facilities that allow the U.S. to project force into denied areas, ERDC is exploring advanced materials and unique structural components that are incorporated into structural hardening solutions, as well as decision support tools that aid vulnerability assessments of critical facilities and mission impact.
We found Andrew Linn drifting around in the almost nonexistent breeze in his Puddle Goose, using plans from Michael Storer as inspiration, but adding significant personal touches.