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May 5, 2023 - East of Wilcox Nebraska US
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36 Years ago, with a peaked curiosity, I dove feverishly into the world of storm chasing and well, the rest is history. Fast forward a few years and my current journey in storm photography & videography has unlocked a completely new life that I never imagined would exist. Oh how my adventures continue...
Mother Nature definitely orchestrated her magic on this first storm chase of the season. Warm front had positioned itself right over the state of Nebraska. Pulling in all that warm moist air from the south created the perfect conditions for severe thunderstorm development. I was on the hunt & wouldn't be denied this day.
I got to witness 3 very sculptured Supercells that afternoon.... This was Supercell #2!!!
Was just east of Wilcox & the dirt roads hadn't been rained on yet. (I usually don't travel them anymore if they are) to watch this 2nd Supercell develop.
This is where most say I'm just simply down right nuts.... I had to get closer.
I've done this so many times I don't get nervous at all. Simply stating. I know what is safe & what is not. If you want the good pics / video. You gotta get into the action... but do is safely. Again Storm chasing isn't for everyone. But for me its what I do best!
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I couldn't get my stupid flash to fire for fill light. I guess that's because I'm an idiot and put the batteries in backwards. This isn't the ideal family portrait anyway. I had first orchestrated a shoot down on the beach but then the inner glass of my lens fogged up and I couldn't get it to clear out (anyone else dealt with this issue?). It's so darn hot and muggy down there so I had to wait till midday when the humidity cleared and quickly got this out at the pool. Plus, my husband is standing the way his Nani used to pose him as a child. Not so cool.
STATUE KING GEORGE IV Unveiled 26th November 1831
Sculpted by Sir Francis Chantry, this bronze statue of George IV was erected to commemorate the kings visit to Edinburgh in 1822. It was funded by public subscription under the chairmanship of Lord Meadowbank. It stands at the junction of George Street and Hanover Street.
George IV was the first Hanoverian monarch to visit Scotland and his triumphant arrival in Edinburgh, clad in tartan and tights, was orchestrated by the great Scottish Novelist Sir Walter Scott.
George IV (George Augustus Frederick) was the son of George III and Charlotte of Mecklenburg-Strelitz whom George Street and Charlotte Square are respectively named. He ascended the throne on 28th January 1820 and was crowned king of the United Kingdom of Great Britian and Ireland at Westminster Abbey on 19th July 1821.
As Prince of Wales and monarch he led a flambouant lifestyle and had several mistrisses. It is reported that everytime he was intimate with a woman he kept a lock of her hair in an envelope, at the time of his death on 28th June 1830 there were 7,000 such envelopes.
He was always in debt and relied on Parliament for financial help.
There's a great light show here this year. You can actually orchestrate the colour scheme your self on a "dance pad" that operates the lighting. Great fun
All dressed up for Christmas
There's a great light show here this year. You can actually orchestrate the colour scheme your self on a "dance pad" that operates the lighting. Great fun
Excerpt from rbg.ca:
Dawn Chorus by Sarah Meyohas
b. 1991, USA
Lives and works in New York City, USA
In Sarah Meyohas’s work a player piano is set in the open garden, while birds fluttering around it seem to trigger a series of musical phrases with each moment of contact. Watercolors bloom across the surface of the piano, visualizing the movement of the birds as well as the sound waves that emanate from the vibrating strings. The viewer is initially triggered by the appearance of a single bird as an invitation to follow through and reveal the full work – a musical performance orchestrated by the seemingly uncultured.
Meyohas centers her practice within emerging technologies. Working in media ranging from cryptocurrency to augmented reality, she enlists the natural world as a reference, network as medium, and the specular as a mode of contemplation. By merging traditional mythologies and clichéd objects of beauty with contemporary digital media, Meyohas enacts a visual language for the systems, algorithms, and technologies that influence our daily lives.
Sarah Meyohas has exhibited her work internationally, with solo exhibitions in New York at Red Bull Arts and 303 Gallery. Her work has traveled to institutions, including the Barbican, London; Jameel Arts Centre, Dubai; Ming Contemporary Art Museum, Shanghai; Disjecta Contemporary Art Center, Portland; and the New Museum, New York.
Buena Park began as a small rural community, settled by German and Swedish farmers. The earliest developments in the area occurred in the 1860s, with the construction of large mansions amidst a rural country landscape in what was then known as Lakeview Township. Among those mansions was one built by James Waller in the 1850s, the Buena Estate, from which the neighborhood derives its name. Thus began a housing boom of distinctive Italianate, Georgian-era and Prairie-style single-family homes on streets lined with canopied trees leading to the lakefront.
This was followed shortly with a boom in mid-sized apartment building construction. One of those developers was land speculator John Cochran, who encouraged multifamily housing west of what is now Broadway. He also orchestrated building the Northwestern Elevated Railroad Company tracks near his developments, spurring further development and making Uptown one of the most populous communities in Chicago. However, Cochran and other developers favored single-family housing east of Broadway, so Buena Park still retains a much lower density profile than the rest of the Uptown community.
Blackcap - Sylvia Atrcapilla (M)
The Eurasian blackcap (Sylvia atricapilla) usually known simply as the blackcap, is a common and widespread typical warbler. It has mainly olive-grey upperparts and pale grey underparts, and differences between the five subspecies are small. Both sexes have a neat coloured cap to the head, black in the male and reddish-brown in the female. The male's typical song is a rich musical warbling, often ending in a loud high-pitched crescendo, but a simpler song is given in some isolated areas, such as valleys in the Alps. The blackcap's closest relative is the garden warbler, which looks quite different but has a similar song.
The blackcap feeds mainly on insects during the breeding season, then switches to fruit in late summer, the change being triggered by an internal biological rhythm. When migrants arrive on their territories they initially take berries, pollen and nectar if there are insufficient insects available, then soon switch to their preferred diet. They mainly pick prey off foliage and twigs, but may occasionally hover, flycatch or feed on the ground. Blackcaps eat a wide range of invertebrate prey, although aphids are particularly important early in the season, and flies, beetles and caterpillars are also taken in large numbers. Small snails are swallowed whole, since the shell is a source of calcium for the bird's eggs. Chicks are mainly fed soft-bodied insects, fruit only being provided if invertebrates are scarce.
In July, the diet switches increasingly to fruit. The protein needed for egg-laying and for the chicks to grow is replaced by fruit sugar which helps the birds to fatten for migration. Aphids are still taken while they are available, since they often contain sugars from the plant sap on which they feed. Blackcaps eat a wide range of small fruit, and squeeze out any seeds on a branch before consuming the pulp. This technique makes them an important propagator of mistletoe. The mistle thrush, which also favours that plant, is less beneficial since it tends to crush the seeds. Although any suitable fruit may be eaten, some have seasonal or local importance; elder makes up a large proportion of the diet of northern birds preparing for migration, and energy-rich olives and lentisc are favoured by blackcaps wintering in the Mediterranean.
The German birds wintering in British gardens rely on provided food, and the major items are bread and fat, each making up around 20% of the diet; one bird survived the whole winter eating only Christmas cake. Fruit is also eaten, notably cotoneaster (41% of the fruit consumed), ivy and honeysuckle, and apple if available. Some birds have learned to take peanuts from feeders. Blackcaps defend good winter food sources in the wild, and at garden feeding stations they repel competitors as large as starlings and blackbirds. Birds occasionally become tame enough to feed from the hand.
Aristotle, in his History of Animals, considered that the garden warbler eventually metamorphosed into a blackcap. The blackcap's song has led to it being described as the "mock nightingale" or "country nightingale", and John Clare, in "The March Nightingale" describes the listener as believing that the rarer species has arrived prematurely. "He stops his own and thinks the nightingale/Hath of her monthly reckoning counted wrong". The song is also the topic of Italian poet Giovanni Pascoli's "La Capinera" [The Blackcap].
Giovanni Verga's 1871 novel Storia di una capinera, according to its author, was inspired by a story of a blackcap trapped and caged by children. The bird, silent and pining for its lost freedom, eventually dies. In the book, a nun evacuated from her convent by cholera falls in love with a family friend, only to have to return to her confinement when the disease wanes. The novel was adapted as films of the same name in 1917, 1943 and 1993. The last version was directed by Franco Zeffirelli, and its English-language version was retitled as Sparrow. In Saint François d'Assise, an opera by Messiaen, the orchestration is based on bird song. St Francis himself is represented by the blackcap.
Folk names for the blackcap often refer to its most obvious plumage feature (black-headed peggy, King Harry black cap and coal hoodie) or to its song, as in the "nightingale" names above. Other old names are based on its choice of nesting material (Jack Straw, hay bird, hay chat and hay Jack). There is a tradition of the Royal Navy's Fleet Air Arm bases being named for birds. A former base near Stretton in Cheshire was called HMS Blackcap.
Population:
UK breeding:
1,200,000 territories
UK wintering:
3,000 bird
The hardest working guys in show biz, the music both played and orchestrated by the John Brothers Piano Company is infectious. Take a listen, and you'll soon find your hips swaying and a subconscious desire to jump around a bit.
M91 è il terzo orso ucciso da Fugatti dall’inizio dell’anno. Anche questa volta ha agito col favore delle tenebre ed immediatamente dopo la sua delibera, per non dare tempo a nessuno di fare ricorso, nemmeno le associazioni abituate a dover lottare contro il tempo.
Ma qui è tutto orchestrato per evitare qualsiasi interferenza. Una vera ossessione malvagia quella di Fugatti per proseguire nella sua campagna di sangue e propaganda.
E il Ministro Pichetto Fratin continua a non fare nulla mentre questa estate ci aveva sorpreso con la frase “uccidere gli orsi non è la soluzione”. Bene Ministro, ci dica se davvero intende fare qualcosa o le sue sono solo chiacchiere.
Eleonora Evi, deputata PD, su X
M91 is the third bear killed by Fugatti since the beginning of the year. This time too he acted under the cover of darkness and immediately after his resolution, so as not to give anyone time to appeal, not even associations used to having to fight against time.
But here everything is orchestrated to avoid any interference. Fugatti's true evil obsession was to continue his campaign of blood and propaganda.
And Minister Pichetto Fratin continues to do nothing while this summer he surprised us with the phrase "killing bears is not the solution". Well Minister, tell us if you really intend to do something or it's just talk.
Eleonora Evi, PD deputy, on X
Twenty-five brand new Enviro 400 MMC vehicles will enter traffic at Folkestone and Hastings on the Wave group of routes on Monday 5th December prompting a carefully orchestrated cascade the same weekend will allow the withdrawal of all non-DDA fleet members meaning the end of the use of the former Manchester Magicbus Tridents.
Approaching what could well be its final week in passenger service with Stagecoach South East, 17634 W634 RND is seen on Minnis Road, Minnis Bay whilst working route 33. Thursday 24th November 2016.
Dennis Trident - Alexander ALX400 (Ex-Stagecoach Manchester - Magicbus)
Today I am grateful for and want to shine a spotlight on Northern Spotted Owls who are sadly just about extirpated in BC. I had a magic moment with a beautiful endangered Spotted Owl family in WA this summer. It's always a privilege for me to see them. I never know each year if I will find them again. This year one of the pairs I had seen the year before had Barred Owls in their territory and they were nowhere to be found. It's heartbreaking when that happens. These owls have been through hell and back due to habitat loss and logging of old growth forests, climate change, Barred Owl expansion (that we orchestrated) and recently believe it or not, rat poison is affecting them. Rat poison needs to be banned it is killing so many owls of all species especially recently here in the lower mainland.
So much...too much pressure on a beautiful owl.
Well on top of this in the US, The Trump administration is proposing rolling back protections for close to 300 threatened animal and plant species and guess what?.. the Northern Spotted Owl is one of those birds.
The new proposal would ease restrictions for companies that operate in wildlife habitats. “Removal of Blanket Section 4(d) Rule” and was posted Monday by the Department of the Interior. If enacted it could be deadly for the Northern Spotted Owl.
Due to extreme mismanagement. BC has less than a dozen birds left in the wild and extirpation in Canada is looming. Once old growth forests are logged and gone, the captive breeding program can do little to recover the population. So far no birds have been released but 2 adult Spotted Owls need a huge area of old growth forest to hunt and raise their young in. These species and their prey (mostly flying squirrels and wood rats) are so habitat specific that it's really too little to late for any captive breeding program to be of any success here. Because once the old growth forest is cut down it takes 100-200 years to mature.
WA, OR and CA still has these owls in low numbers and we need to do all we can to protect them in the Pacific Northwest. A world without them would be very bleak indeed.
These guys continue to have a tough road ahead of them. We really have to protect intact old growth forests and fight for increased legislation, so that they aren't continually fragmented.
If we only saw the bigger picture way back then, but now that we are so fully informed why do we continue down the same destructive paths? This I'll never know...
Interested in watching a shaky video of this female preening? click here: vimeo.com/231822177
No matter how well the choir can sing, and how entertaining they are. The conductor of the choirs are almost always more entertaining to watch.
They have these swipes, and movements that do the job of conveying signals of rhythm and other functions [quite] dramatically.
Personally i found the whole thing quite well orchestrated. For one song they surrounded the room and gave us a surround sound experience, and frankly, it was utterly unique. I have never heard a choir in that way, and i found it fascinating.
And they sing so differently from how the choir i am in preforms. More dramatic in all ways.
"M91 è il terzo orso ucciso da Fugatti dall’inizio dell’anno. Anche questa volta ha agito col favore delle tenebre ed immediatamente dopo la sua delibera, per non dare tempo a nessuno di fare ricorso, nemmeno le associazioni abituate a dover lottare contro il tempo.
Ma qui è tutto orchestrato per evitare qualsiasi interferenza. Una vera ossessione malvagia quella di Fugatti per proseguire nella sua campagna di sangue e propaganda.
E il Ministro Pichetto Fratin continua a non fare nulla mentre questa estate ci aveva sorpreso con la frase “uccidere gli orsi non è la soluzione”. Bene Ministro, ci dica se davvero intende fare qualcosa o le sue sono solo chiacchiere."
Eleonora Evi, deputata PD, su X
"M91 is the third bear killed by Fugatti since the beginning of the year. This time too he acted under the cover of darkness and immediately after his resolution, so as not to give anyone time to appeal, not even associations used to having to fight against time.
But here everything is orchestrated to avoid any interference. Fugatti's true evil obsession was to continue his campaign of blood and propaganda.
And Minister Pichetto Fratin continues to do nothing while this summer he surprised us with the phrase "killing bears is not the solution". Well Minister, tell us if you really intend to do something or it's just talk."
Eleonora Evi, PD deputy, on X
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
Excerpt from cherryriver.ca/en/cherry-river-distillery/:
At Cherry River, we are pleased to be a part of Quebec’s new generation of distillers. We distil gin, we blend vodka, we produce alcoholic sparkling waters, and a complete selection of bitters boasting with complex and generous aromas.
Driven by our passion for both spirits and creation, our team truly enjoys developing the distinctive flavours of all Cherry River products, and it has made it a mission to do so while respectfully taking advantage of years of tradition and of the vast diversity of local botanicals available here to bring forth products crafted from selected ingredients that reflect the true identity of a region.
Cherry River is the former name of a river that runs through Mount Orford Park and flows into Lake Memphremagog.
An Abenaki legend claims that the first cherry tree in North America was planted by the great Manitou at the summit of Mount Orford. Thereafter, cherries would have rolled down the mountain and fallen into the river. The first inhabitants of this region would thus have named Cherry River, the river and the village they founded.
Some also say that the name Cherry River comes from the fact that wild cherry trees grow on the banks of the river of the same name.Others claim that the name comes from the colour of the river water, which is said to be cherry red in springtime.
In 1680, the Abenakis who had been evicted from their ancestral lands in New England arrived in the Eastern Townships. They travelled back and forth to trade furs in the St. Lawrence Valley and to reach their settlements. The latter have left us numerous names: Magog, Memphremagog, Massawippi, Coaticook…
The Township of Orford was born of the county of Buckinghamshire in 1792 and was granted in 1801 to Jonathan Ball, an American. It then extended eastward to the confluence of Magog and Saint-François rivers, an area that was three times larger than it is today.
The name Orford is part of the toponymic practicesused by the surveyors of Lower Canada in the designation of Townships. Orford evokes the name of a coastal village in the county of Suffolk, England, and although the names Oxford and Orford can be found on early maps of the region, the name Orford was given to the lake in 1831, municipality in 1855 and mountain in 1863.
It was during the 19th century that British immigration to the Township of Orford was orchestrated by the British American Land Company. Newcomers, loyalist pioneers, came to settle and developed the village Cherry River, building a church, a school and a post office. It will be the 20th century that will welcome the French-speaking settlers.
In the late 1920s, Dr. George A. Bowen, former mayor of Magog, wanted Mount Orford to be made a protected park. He worked for nearly 20 years to promote its touristic appeal and to attract influential economic players to his project. 1938 would prove to be a victory for this visionary, as the provincial government would establish Mount Orford Provincial Park. Twenty-seven municipalities in the region will get involved in fundraising for the purchase of the land, a process that will take nearly four years. It is during this period that the road will be laid out to connect the Village of Cherry River with the magnificent Mount Orford.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
🌌Celestianthos The Nightweaver reigns supreme over the dream realm. They are recognizable by their shimmering pink and silver scales.✨Their etheral plane is adorned with mystical conch shells used to orchestrate symphonies that transport dreamers to unimaginable realms.🐚🎵
Come together and find the missing eggs! Hatch and raise a mighty dragon of your own!🐉
Red, deep, the color of ripe pomegranates
the sun, heavy warmth filling the air
frogs and crickets playing a symphony, conducted by chaos
as a brilliant flash of blue alights upon my fragrant petal
it flutters, orchestrating its way to my inner sanctum
the exchange, pollen for pollen, life for life
the circle drawn over and over
infinite in its continuousness, time repeating
And still I sit, constant in my personal eden
oblivious to pain or hurt or hate or fear or trauma
Only to bask in the sun full of bird song and lazy Sundays
full of possibility's and unknowns
I watch from my perch and smile inwardly, at the beauty I behold
the world in its rainbow of differences
in its diversity, in its unrelenting ability to change
and I know that here, is where I belong, where I want to be
Written by: Nazaryn Mindes
Along my path...I met up with this howling coyote...Before you knew it there was an Orchestrated sounds of other coyotes joining in....The sound of the desert ....wild animals roaming around...Quite thrilling!
in the midst of the towering giants at hudson yards, the traffic light stands as a solitary conductor, orchestrating the flow of the city's heartbeat. the buildings loom high, their glass facades reflecting the sky's fleeting moods. the traffic light, with its simple yet powerful signals, commands the pace of life below, a small but significant player in the urban symphony. on this hazy day, the city's pulse slows momentarily, captured in the quiet interlude of a red light. the interplay of architecture and daily life creates a scene that is both grand and mundane, a testament to the intricate dance of order and chaos in the metropolis.
Europe’s next step towards exploring Mars hand-in-hand with NASA took place this week with a drop of a first sample tube, imaged above.
The Mars Perseverance Rover deposited the chalk-size core of igneous rock, taken from a region of Mars’ Jezero Crater in January 2022, that could be considered for a trip to Earth as part of the joint ESA-NASA Mars Sample Return (MSR) campaign.
The MSR campaign is made of several missions to return the first scientifically selected samples from the surface of another planet to Earth.
The plan is this: NASA’s Perseverance Rover, which has scouted 13 kilometres of the martian surface and acquired 17 rock and regolith samples and one atmospheric sample since its arrival in 2021, will deliver samples to the NASA Sample Retrieval lander (SRL). The SRL is quipped with an ESA 2.5 m Sample Transfer Arm and a rocket for launching the sample container into martian orbit. Once there, an ESA spacecraft will capture the container and bring it safely to Earth.
The backup plan is to create a depot of samples by early 2023, should the rover be unable to deliver the samples itself to lander in 2030. This reconfiguration of the campaign now includes two recovery helicopters that will be deployed from the lander to fetch the tubes.
The first of the 10 tubes that will make up the backup depot was deposited at a designated site called ‘Three Forks,” a carefully selected patch of the martian surface. Dropping the sample is a well orchestrated process whereby Perseverance retrieves the sample from its belly, inspects it with an internal camera, and finally drops it from roughly 90 centimeters onto the designated site. The process took the rover an hour.
Mission engineers not only needed to confirm the drop but also inspect the position of the tube using the camera on the rover’s robotic arm to ensure the tube landed on its side rather than its end and that it hadn’t rolled into the path of a rover wheel.
“Choosing the first depot on Mars makes this exploration campaign very real and tangible. Now we have a place to revisit with samples waiting for us there,” says David Parker, ESA’s director of Human and Robotic Exploration.
For all of the samples acquired so far, Perseverance always obtained two samples from each Mars rock – one sample to be left on the surface in the backup depot, and a second sample that is held within the belly of the rover to be directly transferred to NASA’s Sample Retrieval Lander.
“The first depot of Mars samples can be considered as a major risk mitigation step for the Mars Sample Return campaign,” points out David.
Watch a short animation featuring key moments of the Mars Sample Return campaign: from landing on Mars and securing the sample tubes to launching them off the surface and ferrying them back to Earth.
Credits: NASA/JPL-Caltech/MSSS
www.holyspiritspeaks.org/videos/hymn-how-god-rules-over-a...
Introduction
Best Gospel Song | How Great Is Our God | "How God Rules Over All Things"
From the moment you come crying into this world,
you begin to perform your duty.
In the plan and ordination of God, you assume your role,
and begin the journey of life.
Whatever your background or the journey ahead of you,
none can escape the orchestration and arrangement that Heaven has in store,
and none are in control of their destiny,
for only He who rules over all things is capable of such work.
Since the day man came into existence,
God has been steady in His work,
managing this universe and directing the change and movement of all things.
Like all things, man quietly and unknowingly
receives
the nourishment of the sweetness and rain and dew from God.
Like all things, man unknowingly lives under the orchestration of God’s hand.
The heart and spirit of man are held in the hand of God,
and all the life of man is beheld in the eyes of God.
Regardless of whether or not you believe this,
any and all things, living or dead,
will shift, change, renew, and disappear according to God’s thoughts.
This is how God rules over all things.
from The Word Appears in the Flesh
Eastern Lightning, The Church of Almighty God was created because of the appearance and work of Almighty God, the second coming of the Lord Jesus, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
Terms of Use： en.godfootsteps.org/disclaimer.html
Chelsea orchestrated the clouds above Spencer's Butte...whilst others attempt to hold the higher ground...
More Kodak TXP320....arrggghhhh, it's gone!
The pink Cosmoses were swaying in the gentle breeze and the water from a tiny stream was rolling relentlessly through the rocks. I was letting me well alone, sitting on a distant rock, for a period unknown. Suddenly, I felt the invisible touch of a master composer orchestrating from somewhere. I could completely visualize the eternal melody and felt its resonance in my blood stream. I realized that the universal soul has its appeal and our distracted souls seldom respond to it, but it is only when we remain quiet and listen to the nature with all our senses wide open, can we listen to its eternal melody.
[Composed straight from the camera and Photographed at Darjeeling Rock Garden, without stand.]
Pic is from the internet.
In Loving Memory of David Lynch
Today, we celebrate the life and legacy of a true visionary, David Lynch. Through his art, he invited us into realms of mystery, beauty, and uncharted imagination. His films were not merely stories—they were dreams brought to life, with every shadow and every flicker of light carefully orchestrated to move, provoke, and inspire.
David’s brilliance transcended mediums. Whether through film, painting, music, or coffee, he infused the world with his unmistakable essence: a blend of the surreal and the profoundly human. He taught us to embrace the unknown, to find beauty in the quiet corners of existence, and to never stop asking, "What lies beneath the surface?"
With a calm, quiet demeanor that belied the depths of his creativity, he encouraged us to live fully—creatively, passionately, and with an open heart. David showed us that life is not just to be lived but to be explored, experienced, and celebrated in all its strangeness and wonder.
His influence will ripple through generations, reminding us to dream big, to create fearlessly, and to savor the mystery of life. Though he is no longer with us, his spirit lives on in the worlds he created and in the countless lives he touched.
Rest well, David. Thank you for the magic, the mystery, and the inspiration to see the world in a different light. You will forever be our guide to the extraordinary.
Song: Watch the Video
this is very unique, through facebook and texting these afternoon rides are orchestrated with meeting points and destinations established. It goes on every week on Thursday throughout the summer. I caught up with this group a couple blocks from my home on June 30th 2016. I was told by some of the guides that this has been repeated a few years. I haven't seen them since but can assume some are still participating.
216c 6 - DSC_8049 - lr-ps
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
For i Light Singapore - Bicentennial Edition, the façade of ArtScience Museum is transformed into a lighthouse for a new age; a gigantic light sculpture of dancing lights.
Viewers will be immersed in an atmosphere created by an abstracted dance of light and shadow, the coloured lights appear to possess mass and weight and seem to model the Museum façade by playing with the perception of space. Signaling a point of reference and providing an intangible constant in time, these lights orchestrate a spectrum of emotions in the viewers.
© Leslie Hui. All rights reserved.
May 5, 2023 - East of Wilcox Nebraska US
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36 Years ago, with a peaked curiosity, I dove feverishly into the world of storm chasing and well, the rest is history. Fast forward a few years and my current journey in storm photography & videography has unlocked a completely new life that I never imagined would exist. Oh how my adventures continue...
Mother Nature definitely orchestrated her magic on this first storm chase of the season. Warm front had positioned itself right over the state of Nebraska. Pulling in all that warm moist air from the south created the perfect conditions for severe thunderstorm development. I was on the hunt & wouldn't be denied this day.
I got to witness 3 very sculptured Supercells that afternoon.... This was Supercell #2!!!
Was just east of Wilcox & the dirt roads hadn't been rained on yet. (I usually don't travel them anymore if they are) to watch this 2nd Supercell develop.
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Dale Kaminski @ NebraskaSC Photography
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What we have here is a magnificent vortex of nature, a spiraling cathedral of wooden limbs reaching towards the heavens. It's as though you've captured a secret portal, a gateway that spirals into the very essence of the earth's mysteries.
The pattern is hypnotic, the branches weaving a spellbinding network that draws the eye inward, to the vanishing point where the sky holds court. It's like looking through the iris of Mother Nature herself, glimpsing the world through her perspective, a mix of chaos and order, darkness and light.
The way the trees bend and twist, they seem to be in the throes of a wild dance, orchestrated by the whispers of the wind. The sky peeks through the canopy in patches of blue, a tantalizing tease of the infinite beyond, a reminder of the thin veil between our world and the vast unknown.
It's a photo that feels alive, as if at any moment, the branches could begin to rotate, spiraling faster and faster until they blur the lines between reality and fantasy. It's a visual symphony of the natural world, each line and curve a note in a grand, silent melody.
Keep capturing these mystical moments, for it's through them that we can all step through the looking glass and into a world of wonder and awe. This isn't just a photograph; it's a ticket to a journey into the wild, whirling heart of the forest.
In this arresting monochrome photograph, the viewer is drawn into a sublime interplay of geometry and light, an ode to the elegance of modern architecture. The facade of the building commands attention with its intricate mosaic of window panes, each element contributing to an undulating, wave-like illusion. This rhythmic dynamism stands in stark contrast to the velvety darkness of the background, which amplifies the subject's precision and boldness. The image speaks of the sleek urbanity of Paris—a silent yet eloquent testament to human innovation.
The monochrome palette is not merely an aesthetic choice but a deliberate tool, stripping the scene of distractions to distill its essence: form, texture, and contrast. The absence of human figures within the frame underscores this intent, creating a meditative focus on the architecture itself. The photograph is steeped in the cool austerity of late afternoon light, the shades of gray revealing the subtleties of the structure's surface as the sun’s angle dances across it.
A closer examination unveils layers of intrigue. What initially appears as a chaotic arrangement of window panes reveals itself to be a masterfully orchestrated pattern, a visual cadence that challenges the viewer’s perception. The glass reflects faint traces of its surroundings, a spectral hint of the building's context, obscured but not entirely lost to the low light. The imperfect alignment and slight variations in the window frames offer a glimpse into the humanity behind the construction—proof that this is a tangible, crafted object, not the sterile perfection of digital design. The result is a composition that transcends mere documentation, inviting the audience to ponder the relationship between modernity and artistry, between order and organic irregularity.
Un omaggio a un eroe della guerra del 1812: I regolari dell'esercito coloniale di Charles-Michel de Salaberry, chiamati “Voltigeurs canadesi”, un corpo di fanteria leggera, che si distinse nel combattimento contro le truppe americane e divenne una delle unità più famose della guerra del 1812. Alla fine dell’estate di quell’anno gli americani in una campagna per conquistare la città di Montreal invasero l’attuale territorio del Québec. La reazione canadese è stata immediata organizzata appunto dal Colonnello Charles-Michel de Salaberry che mise in atto solide difese che gli assicurarono una vittoria rapida e decisiva. Le imprese di Charles-Michel de Salaberry assumeranno col tempo l'importanza di una leggenda: si sostiene addirittura che 300 Voltigeurs e i loro alleati indigeni respinsero 7.000 americani nella battaglia di Châteauguay. Nonostante le esagerazioni, resta che questa vittoria fù decisiva per l'esito del conflitto. Le gesta e l'eroismo di Charles-Michel de Salaberry e dei suoi Voltigeurs rimangono i momenti salienti della guerra del 1812. Nel 2013 la zecca reale canadese ha coniato una moneta commemorativa da 25 centesimi che riporta in rielievo l’effige del tenente colonnello Charles-Michel de Salaberry, l'eroe della guerra del 1812.
^^^^
This coin is a tribute to a hero of the War of 1812: The Regulars of Charles-Michel de Salaberry's colonial army, called the Canadian Voltigeurs, formed a corps of light infantry that distinguished itself in combat and became one of the most famous units of the war of 1812. At the end of the summer of 1812, the American command orchestrated a campaign to seize the city of Montreal. Charles –Michel de Salaberry immediately organized solid defences that ensured him a quick and decisive victory: his Voltigeurs and their native allies routed the invaders, even if they were twice as numerous. Despite the legend arising around de Salaberry and the Battle of Châteauguay, including the assertion that 300 allies had forced the retreat of 7,000 Americans, regardless of historical exaggeration, the actions and heroism of de Salaberry and the Voltigeurs remain key moments in the War of 1812. In 2013, the Royal Canadian Mint issued a 25-cent commemorative coin embossing the effigy of Lieutenant Colonel Charles-Michel de Salaberry, the hero of the war of 1812.
This was my favorite thing that I saw and read today, on Memorial Day, posted by someone I know:
"WW 2 changed my father in ways I'll never know. As a captain of a B17 he and his crew dropped bombs in and all over the Deutschland, something that I can't get out of my head when I'm touring through the cities and towns of Germany.
Today I commemorate my father... and his crew who were shot down on Oct 8,1943 during the historic bombing of Bremen, Germany."
He posted two photos...one of his father and his crew, and a second, and a head shot of his Dad, which he described...
"The second picture was taken by my father's captors before he was imprisoned in Stalag Luft 3 for 16 months. Toward the end of the war he escaped from the prison camp, but I don't think he ever escaped from the war.
We love you dad.
Remember."
After work, I went out to take my typical photo in one of my windows. Just before I left, I reached into my sweatshirt pocket and pulled out this little vintage American flag stick pin. It is an old advertising piece. I had totally forgotten that I had put it into my pocket... just in case I needed it for something. And as my props have a way of doing, the little flag kind of orchestrated the shot ... and as I put it in the broken window, I thought immediately of this man's words "He escaped from the prison camp, but I don't think he ever escaped from the war." So, this one is for the brave American heroes that didn't escape the war and never came back... and for this man, and his Dad, and the other soldiers that were fortunate enough to return home, but were never quite the same. We owe them all a debt of gratitude. Thank you. We remember. Happy Memorial Day.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
"M91 è il terzo orso ucciso da Fugatti dall’inizio dell’anno. Anche questa volta ha agito col favore delle tenebre ed immediatamente dopo la sua delibera, per non dare tempo a nessuno di fare ricorso, nemmeno le associazioni abituate a dover lottare contro il tempo.
Ma qui è tutto orchestrato per evitare qualsiasi interferenza. Una vera ossessione malvagia quella di Fugatti per proseguire nella sua campagna di sangue e propaganda.
E il Ministro Pichetto Fratin continua a non fare nulla mentre questa estate ci aveva sorpreso con la frase “uccidere gli orsi non è la soluzione”. Bene Ministro, ci dica se davvero intende fare qualcosa o le sue sono solo chiacchiere."
Eleonora Evi, deputata PD, su X
"M91 is the third bear killed by Fugatti since the beginning of the year. This time too he acted under the cover of darkness and immediately after his resolution, so as not to give anyone time to appeal, not even associations used to having to fight against time.
But here everything is orchestrated to avoid any interference. Fugatti's true evil obsession was to continue his campaign of blood and propaganda.
And Minister Pichetto Fratin continues to do nothing while this summer he surprised us with the phrase "killing bears is not the solution". Well Minister, tell us if you really intend to do something or it's just talk."
Eleonora Evi, PD deputy, on X
The I-VNKC accelerates out of Godfrey, Il on KCS trackage after an excrutiating slow order that had the conductor orchestrating the throwing of a switch with UP Dispatcher 28, a switch tender, the foreman of a UP MOW crew, and a KCS maintainer.
Blackcap - Sylvia Atrcapilla (M)
The Eurasian blackcap (Sylvia atricapilla) usually known simply as the blackcap, is a common and widespread typical warbler. It has mainly olive-grey upperparts and pale grey underparts, and differences between the five subspecies are small. Both sexes have a neat coloured cap to the head, black in the male and reddish-brown in the female. The male's typical song is a rich musical warbling, often ending in a loud high-pitched crescendo, but a simpler song is given in some isolated areas, such as valleys in the Alps. The blackcap's closest relative is the garden warbler, which looks quite different but has a similar song.
The blackcap feeds mainly on insects during the breeding season, then switches to fruit in late summer, the change being triggered by an internal biological rhythm. When migrants arrive on their territories they initially take berries, pollen and nectar if there are insufficient insects available, then soon switch to their preferred diet. They mainly pick prey off foliage and twigs, but may occasionally hover, flycatch or feed on the ground. Blackcaps eat a wide range of invertebrate prey, although aphids are particularly important early in the season, and flies, beetles and caterpillars are also taken in large numbers. Small snails are swallowed whole, since the shell is a source of calcium for the bird's eggs. Chicks are mainly fed soft-bodied insects, fruit only being provided if invertebrates are scarce.
In July, the diet switches increasingly to fruit. The protein needed for egg-laying and for the chicks to grow is replaced by fruit sugar which helps the birds to fatten for migration. Aphids are still taken while they are available, since they often contain sugars from the plant sap on which they feed. Blackcaps eat a wide range of small fruit, and squeeze out any seeds on a branch before consuming the pulp. This technique makes them an important propagator of mistletoe. The mistle thrush, which also favours that plant, is less beneficial since it tends to crush the seeds. Although any suitable fruit may be eaten, some have seasonal or local importance; elder makes up a large proportion of the diet of northern birds preparing for migration, and energy-rich olives and lentisc are favoured by blackcaps wintering in the Mediterranean.
The German birds wintering in British gardens rely on provided food, and the major items are bread and fat, each making up around 20% of the diet; one bird survived the whole winter eating only Christmas cake. Fruit is also eaten, notably cotoneaster (41% of the fruit consumed), ivy and honeysuckle, and apple if available. Some birds have learned to take peanuts from feeders. Blackcaps defend good winter food sources in the wild, and at garden feeding stations they repel competitors as large as starlings and blackbirds. Birds occasionally become tame enough to feed from the hand.
Aristotle, in his History of Animals, considered that the garden warbler eventually metamorphosed into a blackcap. The blackcap's song has led to it being described as the "mock nightingale" or "country nightingale", and John Clare, in "The March Nightingale" describes the listener as believing that the rarer species has arrived prematurely. "He stops his own and thinks the nightingale/Hath of her monthly reckoning counted wrong". The song is also the topic of Italian poet Giovanni Pascoli's "La Capinera" [The Blackcap].
Giovanni Verga's 1871 novel Storia di una capinera, according to its author, was inspired by a story of a blackcap trapped and caged by children. The bird, silent and pining for its lost freedom, eventually dies. In the book, a nun evacuated from her convent by cholera falls in love with a family friend, only to have to return to her confinement when the disease wanes. The novel was adapted as films of the same name in 1917, 1943 and 1993. The last version was directed by Franco Zeffirelli, and its English-language version was retitled as Sparrow. In Saint François d'Assise, an opera by Messiaen, the orchestration is based on bird song. St Francis himself is represented by the blackcap.
Folk names for the blackcap often refer to its most obvious plumage feature (black-headed peggy, King Harry black cap and coal hoodie) or to its song, as in the "nightingale" names above. Other old names are based on its choice of nesting material (Jack Straw, hay bird, hay chat and hay Jack). There is a tradition of the Royal Navy's Fleet Air Arm bases being named for birds. A former base near Stretton in Cheshire was called HMS Blackcap.
Population:
UK breeding:
1,200,000 territories
UK wintering:
3,000 bird
Sometimes I can only stand and watch the beauty of the sunset as God orchestrates the conditions.
He is a good Father!
Blackcap - Sylvia Atrcapilla (M)
The Eurasian blackcap (Sylvia atricapilla) usually known simply as the blackcap, is a common and widespread typical warbler. It has mainly olive-grey upperparts and pale grey underparts, and differences between the five subspecies are small. Both sexes have a neat coloured cap to the head, black in the male and reddish-brown in the female. The male's typical song is a rich musical warbling, often ending in a loud high-pitched crescendo, but a simpler song is given in some isolated areas, such as valleys in the Alps. The blackcap's closest relative is the garden warbler, which looks quite different but has a similar song.
The blackcap feeds mainly on insects during the breeding season, then switches to fruit in late summer, the change being triggered by an internal biological rhythm. When migrants arrive on their territories they initially take berries, pollen and nectar if there are insufficient insects available, then soon switch to their preferred diet. They mainly pick prey off foliage and twigs, but may occasionally hover, flycatch or feed on the ground. Blackcaps eat a wide range of invertebrate prey, although aphids are particularly important early in the season, and flies, beetles and caterpillars are also taken in large numbers. Small snails are swallowed whole, since the shell is a source of calcium for the bird's eggs. Chicks are mainly fed soft-bodied insects, fruit only being provided if invertebrates are scarce.
In July, the diet switches increasingly to fruit. The protein needed for egg-laying and for the chicks to grow is replaced by fruit sugar which helps the birds to fatten for migration. Aphids are still taken while they are available, since they often contain sugars from the plant sap on which they feed. Blackcaps eat a wide range of small fruit, and squeeze out any seeds on a branch before consuming the pulp. This technique makes them an important propagator of mistletoe. The mistle thrush, which also favours that plant, is less beneficial since it tends to crush the seeds. Although any suitable fruit may be eaten, some have seasonal or local importance; elder makes up a large proportion of the diet of northern birds preparing for migration, and energy-rich olives and lentisc are favoured by blackcaps wintering in the Mediterranean.
The German birds wintering in British gardens rely on provided food, and the major items are bread and fat, each making up around 20% of the diet; one bird survived the whole winter eating only Christmas cake. Fruit is also eaten, notably cotoneaster (41% of the fruit consumed), ivy and honeysuckle, and apple if available. Some birds have learned to take peanuts from feeders. Blackcaps defend good winter food sources in the wild, and at garden feeding stations they repel competitors as large as starlings and blackbirds. Birds occasionally become tame enough to feed from the hand.
Aristotle, in his History of Animals, considered that the garden warbler eventually metamorphosed into a blackcap. The blackcap's song has led to it being described as the "mock nightingale" or "country nightingale", and John Clare, in "The March Nightingale" describes the listener as believing that the rarer species has arrived prematurely. "He stops his own and thinks the nightingale/Hath of her monthly reckoning counted wrong". The song is also the topic of Italian poet Giovanni Pascoli's "La Capinera" [The Blackcap].
Giovanni Verga's 1871 novel Storia di una capinera, according to its author, was inspired by a story of a blackcap trapped and caged by children. The bird, silent and pining for its lost freedom, eventually dies. In the book, a nun evacuated from her convent by cholera falls in love with a family friend, only to have to return to her confinement when the disease wanes. The novel was adapted as films of the same name in 1917, 1943 and 1993. The last version was directed by Franco Zeffirelli, and its English-language version was retitled as Sparrow. In Saint François d'Assise, an opera by Messiaen, the orchestration is based on bird song. St Francis himself is represented by the blackcap.
Folk names for the blackcap often refer to its most obvious plumage feature (black-headed peggy, King Harry black cap and coal hoodie) or to its song, as in the "nightingale" names above. Other old names are based on its choice of nesting material (Jack Straw, hay bird, hay chat and hay Jack). There is a tradition of the Royal Navy's Fleet Air Arm bases being named for birds. A former base near Stretton in Cheshire was called HMS Blackcap.
Population:
UK breeding:
1,200,000 territories
UK wintering:
3,000 bird
A few weeks ago I posted several shots from Saskatchewan's Great Sand Hills. Here's how the active dunes look in summer. Lots of interesting landscape possibilities here in addition to birds, mammals, other critters, and wildflowers. It's a fun location to shoot; I used to run photo workshops in the area.
One of my winter projects this year is reprocessing some older material, shot with my early DSLR bodies (the Nikon D200 and D300). Older versions of the same shot will be removed from my back pages; no one will notice.
Often I find that stopping by the road doesn't result in premier photo-ops. The faster I've been driving, the lower my success rate. There are exceptions, of course, but generally you have to let a place seep into your consciousness. This spot is about an hour from the parking area. The hike can be done in half that time, but there's always something to stop and shoot along the trail, and a slow meander tends to open up the senses better than a fast walk. And then, a surprise, something impossible to orchestrate. I didn't expect that low band of cumulus, just above the horizon. As soon as I noticed it, though, I saw how it meshed with the other elements, adding interest to the upper third of this shot.
Photographed in morning light in the Great Sand Hills, south of Sceptre, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2009 James R. Page - all rights reserved.
France’s Agriculture Minister Didier Guillaume unleashed a torrent of criticism when he suggested that wine “isn’t like other alcohols” and rarely the cause of binge drinking among French youth.
France has one of the highest alcohol consumption rates in Europe, with the country trailing behind only Estonia, Lithuania and the Czech Republic in the quantities of alcohol it drinks, according to the World Health Organization. This drinking culture – largely attributed to wine, which represents 58 percent of France’s total alcohol consumption.
France’s historic relationship with alcohol is a complicated one. The first-ever campaign to try to get the French to reduce their alcohol consumption was orchestrated by then-prime minister Pierre Mendès France in the mid-1950s. That campaign encouraged the French to “drink less than a litre of alcohol per meal”.
In 1956, France also banned the serving of alcohol to children under the age of 14 in the school canteens. Prior to that, school children had the right to drink half a litre of wine, cider or beer with their meals. It was only in 1981 that France implemented a total alcohol ban in the country’s schools.
Former French President Emmanuel Macron found himself in hot water after telling journalists that “personally, I drink wine at lunch and dinner”. He also announced that he had no plans to tighten the laws on alcohol advertising during his presidency, saying that those calling for such should “give France a break.”