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I stared at it long enough so may as well take a picture. Liked the swirls making their way around the rock.
Just finished tonight. Very much enjoyed it. I would say an 8 for me because I liked the ending so much and the humor. I doubt I will play it a second time since I got what was a perfect ending and so not a lot of reason to replay as I did all the things I wanted to.
Thinking about the folks on the Outer Banks tonight, as Hurricane Dorian causes massive flooding on the low-lying islands. Here, Hatteras Lighthouse in better times.
I took this from the Gatwick Express train on our way back home. It was interesting to learn about the redevelopment of Battersea. See below for a description of the project.
From New York Magazine
Written by: Justin Davidson
nymag.com/intelligencer/2019/10/review-of-the-redeveloped...
“If you were going to anoint a single great temple to the deity of fossil fuel, you might choose the Battersea Power Station, just across the Thames from some of the costliest real estate in London. From the 1930s through the ’70s, it sucked up coal and pumped out electricity. Now it’s burning through £9 billion ($11.5 billion) in the hope of generating much, much more, and that process of transformation is an awesome, troubling thing to behold. Bristling with cranes, it hulks over the river like some rough beast, slouching toward Westminster. Londoners know it from a distance — the quartet of chimneys jabbing at clouds, its mountainous brick bulk — but few have been inside. That will soon change, along with everything else about it.
I recently toured the construction site with Sebastien Ricard, an architect at the firm Wilkinson Eyre who is in charge of disemboweling, shoring up, and rebuilding the structure for use as a zone of white-collar lifestyle and work. Even when I stand inside the shell, the great fluted columns of the turbine hall rising toward a distant ceiling, the scale of the place is hard to fathom. One of the two boiler houses is filled with an impenetrable thicket of scaffolding. In the other, fresh armatures of concrete and steel have grown up beneath a new roof. Not long ago, Battersea Power Station was a ruin, left exposed by a developer who went bankrupt before he made good on a plan for an open-air amusement park. For years, only the rain and the odd nocturnal creature penetrated the decaying interiors.
Now, money is flowing again, thanks to a consortium of the Malaysian development group Setia, Sime Darby Property, and Employees Provident Fund. Ricard points out a vast slab of raw concrete that one day will host cocktail parties, with expansive views onto the Thames. Beyond, an undergrowth of apartment blocks is already growing around the outer walls, supplemented by an esplanade, a riverboat stop, and a couple of still-quiet cafés. Leisure is on the move.
There’s something simultaneously exciting, a little sad, and bracingly preposterous about the rehabilitation: exciting because the project brings fresh life to a central city tract that has been forlorn for a couple of generations; sad because that life consists of a narrow and familiar set of ways to make and spend money. Preposterous because the task of converting a huge machine for the postindustrial era means treating it as a precious relic. To satisfy Historic England, the body that oversees “listed” buildings, the developers had to demolish and rebuild four of those graceful but useless smokestacks, match thousands of damaged tiles, and order a million hand-made bricks from the same workshops that furnished the originals. It’s a multibillion-dollar fixer-upper.
The largest brick building in Europe, it inspired awe in the kingdom of energy. The architect was Giles Gilbert Scott, who brought a classicizing finesse to tough utilitarian structures like the Bankside Power Station that later became Tate Modern, and the U.K.’s famous red telephone booth. (The booth has an exquisite architectural pedigree: It’s based on the 19th-century architect Sir John Soane’s mausoleum, which in turn got its characteristic shallow dome from the breakfast room in Soane’s own house.) As if to guard against inevitable obsolescence, Scott encrusted the Battersea colossus with Art Deco flourishes, including the opulent control room with coffered ceilings. (In the next incarnation, that will become an event space.)
The power station burned a million tons of coal a year, hewn from the ground under Northumberland and Wales, hauled by train or loaded on barges, and transferred from a jetty on the Thames. When the facility was first proposed, Londoners objected to the idea of spitting so much coal smoke into the air of their city center. Not to worry, the journal Nature chirped in 1932: Recent technological advances had “proved conclusively that the emission of sulphur fumes can be reduced to a negligible quantity.” That was partly true: An innovative process scrubbed the gases of their most noxious ingredients by “washing” them with water — which was then dumped into the Thames. Keeping the lights on amounted to a choice between visibly poisoning the air and invisibly poisoning the river. Eventually, though, coal did both. In 1952, a thick cloud laden with toxins settled over London, and by the time it dissipated five days later, it had killed 12,000 people. Battersea’s B section was still under construction.
It was the album cover of Pink Floyd’s 1977 album Animals that gave the almost-retired plant a global profile and a reputation for mayhem that continued through rock concerts, festivals, and raves. (Algie, the inflatable pink pig tethered to one of the chimneys for the photo shoot, broke free and soared into the Heathrow Airport flight path; police helicopters chased it for miles until it alighted in a field in Kent.) The powerhouse glowered over the banks of the Thames, but it loomed even more impressively in the lives of commuters, who passed its great brick cliffs on the train just before pulling into Victoria Station. “It looked like a gate, or a castle,” says the aptly named Peter Watts in his book Up in Smoke: the Failed Dreams of Battersea Power Station. “When it came into view, that was the moment you were entering the city, which was always so much more exciting than whatever town in Surrey you were coming from. It looked primal and permanent. I fantasize that at the end of days, everything else will be gone and the power station will remain.”
And yet the apparently eternal hulk was supremely fragile. In 2004, it cropped up on the World Monuments Fund’s endangered list. Dozens of schemes, each more grandly harebrained than the last, were rolled out, threatening various combinations of rescue and destruction. The New York–based architect Rafael Viñoly contributed several idas: A decade ago, a group of Irish developers hired him to design a new ostensibly “clean” power plant tucked below ground and topped with a new 1,000-foot chimney, next to an office park that would have been covered by a plastic “eco-dome.” That dream went the way of so many others in the 2008 financial crisis. Later, the Chelsea Football Club recruited Viñoly to design a soccer stadium there, though what he really wanted was a concert hall. The architect Terry Farrell suggested stripping the carcass down to four chimneys and two walls and enshrining it in parkland as an immense, evocative ruin. That proposal addressed the central conundrum of its redevelopment. Preserving the structure’s mysterious isolation, its sheer brooding strangeness, meant leaving the land around it vacant or, at most, scattering it with low-rise buildings the way a medieval village huddles around its cathedral. But builders don’t make money by not building, and the quantities of cash needed to preserve the thing, never mind reinvigorate the area, were inconceivably enormous. By 2014, the station was back on the WMF’s watch list again.
When Setia and its partners landed the site, Viñoly returned, this time with a plan that wrapped the brick monolith in glass apartment complexes (one designed by Frank Gehry, another by Norman Foster), close-cropped lawns, and fountains with the usual dancing jets of water. A year and a half from now, a new Northern Line Underground stop will stitch a long-inaccessible area back into Central London.
The power station itself will contain an immense indoor shopping center and rentable party spaces, topped by crow’s-nest penthouses. Apple has scooped up most of the offices that will crown the structure. Wilkinson Eyre’s design reclaims the site’s history and smooths it over at the same time, inserting an elegantly generic lattice of black steel, glass walls, and airy voids. Where once generators roared, now milk will be foamed, code written, and brand identities polished.
One detail captures the ethos of spectacular silliness that pervades almost every huge development project these days: a sightseeing elevator that glides up through one of the pristine chimneys and pops out the top, giving passengers a quick 360-degree vista, before dropping back inside. Let’s hope that a metamorphosis on this imperial scale yields something more solid and meaningful than a soap bubble with a view. Still, if this all seems more like a default option than a thrilling destiny, consider the imaginative alternatives that failed because of the site’s sheer scale and the possible squandered fortunes. The current future isn’t ideal, but it’s probably the least bad solution — far better than just letting the whole thing collapse into a disconsolate pile of rubble.”
Source: New York Magazine
"There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur, or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to... The Outer Limits." ---opening narration---
Interested in wheel charts and volvelles? Please join the Vintage Wheel Charts group and add any examples you'd like to share!
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For another version of this wheel chart, see Outer Space Guide.
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Outer Space Guide
Instructions: Find desired planet on this wheel. Set it opposite arrow on bottom piece. In windows provided find answers.
Diameter in miles. Period of revolution around sun. Mass (Earth = 1.00).
Sun, Mercury, Venus, Earth, Moon, Mars, Jupiter, Saturn, Uranus, Neptune, Pluto.
A militarized faction among the outer planets, the OPA and its majority population of Belters and citizens of the Jovians tend to repurpose existing ships and tech for their needs, resulting in more unique and spartan designs compared to their counterparts in the Inner system...
The Fast Attack Ship "Ceres Wasp" is a custom design manufactured on the dwarf planet Ceres for the spaceborne arm of the fledgling Outer Planets Alliance. Propelled by one primary direct-conversion Fusion drive and twin reactor-powered MPDs for its auxiliary thrusters, the Wasp utilizes the immense excess power from the large reactor in its rear to power a full electronic warfare and SIGINT suite integrated into the cockpit housing, in addition to a 25mm autocannon in a ball mount (doubling as an ad hoc point-defense cannon) on the opposite side of the ship from the primary weapon it carries, a CHEMRAIL-brand chemical-electric railgun firing tungsten-titanium alloy tipped 15mm flechettes designed to reliably pierce warship hull plating.
Life support, extra fuel, and ammunition is stored between the cockpit (white and red hull section) and reactor housing (armored black rear section) between 2 reinforced support girders, with a pair of bolted-on external whipple shields for added protection from micrometeoroids and small debris. Recessed cold gas thrusters in the center assembly and internal reaction wheels provide maneuvering capability.
This was a fun build (and a fast one at that, as I made this in about a day at most due to a time crunch after arriving home from college), and I really was excited to make a starfighter inspired by The Expanse for the Real World +200 years contest.
I wish I'd been able to devote a bit more time to tweak it a bit more and perhaps make another entry, but for now it's 5/14 and I don't want to wait any longer to submit, especially with my current lack of a proper lightbox or photography setup to take good images with.
(This shot was achieved by hanging the ship between 2 stepladders in my garage with fishing line.)
The Zagreus...
After winning the grand prix rally at the outer orbit, Vield's homeworld Bensin was attacked by the Deepness. He must fly back to save his little brother, unfortunately the only ship that he can take is the one that he can't control, because of its A.I. system's upgraded prejudice program.
CLP16 at Outer Harbor - taken just on sunset, Wednesday 10 February 2016.
The former Commonwealth Railways took delivery of 17 EMD-powered CL class locomotives from Clyde Engineering between 1970-1972.
Ownership was transferred to Australian National in 1978 and fifteen years later the class was re-manufactured by Morrison Knudsen Australia into two sub-classes - CLP/CLF.
In the privatisation era ownership of the class was ultimately split between Genesee & Wyoming Australia and Aurizon. The Aurizon units are all stored, unlikely to run again, while six remain in service with GWA.
My travels around the UK by car for three weeks with my son. June/July 2019 Scotland.
Day fifteen ..Ullappool on our journey to Helmsdale where we are staying the night.
Ullapool is a village of around 1,500 inhabitants in Ross and Cromarty, Scottish Highlands, located around 45 miles north-west of Inverness. Despite its small size it is the largest settlement for many miles around, and an important port and tourist destination.
On the east shore of Loch Broom, Ullapool was founded in 1788 as a herring port by the British Fisheries Society. It was designed by Thomas Telford. Before then the town was only an insignificant hamlet of just over 20 households. The harbour is still the edge of the town, used as a fishing port, yachting haven, and ferry port. Ferries sail to Stornoway in the Outer Hebrides.
The village was historically in Cromartyshire, a county made up of many separate enclaves scattered across northern Ross-shire. Cromartyshire was abolished and combined with surrounding Ross-shire in 1890.
Many of the pivotal discoveries of the Victorian era that contributed to the development of the concept of plate tectonics were made in this area, and there are still regular international geological conferences. It is described as the top geological hotspot in Scotland.
Parliament granted permission in the 1890s for a railway from Ullapool to the main Highland network at Garve, but the scheme was abandoned due to insufficient funds.
The name is possibly derived from the Norse for "Wool farm" or "Ulli's farm".
The region surrounding Ullapool is dominated by rugged mountains, and especially by Bheinn Ghobblach to the west, An Teallach to the south-west (both across the loch), Beinn Dearg to the south-east close to the head of Loch Broom, and Ben Mhòr na Còigich to the north. An Teallach is a massive mountain which dominates the area and consists of Torridonian sandstone, which is layered nearly horizontally. It is an easy climb but is several miles from the nearest road, so a long trek is needed before the ascent begins. The walker will be rewarded by magnificent views of the surroundings, especially to the sea and the islands to the west, but also to the south, and the desolate Whitbread wilderness.
For More Info: en.wikipedia.org/wiki/Ullapool
Another ex Galson Leopard, this one remains in reasonable condition (although engine-less) as a Bothy on the Barvas Estate, Isle of Lewis.
June 7, 2020
On this day at 8:00 pm, the beach would close due to the impending presence of endangered piping plover chicks. Our beach pass arrived in the mail that same morning. Of course we had to use it.
It was cold and very windy, but it was beautiful out there.
Nauset Outer Beach
Orleans, Massachusetts
Cape Cod - USA
Photo by brucetopher
© Bruce Christopher 2020
All Rights Reserved
...always learning - critiques welcome.
Tools: Canon 7D & iPhone 11.
No use without permission.
Please email for usage info.
Atlantic Ocean
Beach Road Mile 46 Access
Outer Banks - Hatteras Island
Dare County, North Carolina
This was taken on a sunny but breezy spring day, just below Salvo, along Route 12. In converting to B&W, my intent was to make the image look as if it had been taken on a stormy day, but the high-contrast clouds give away my attempted deception.
Press "L" for larger image, on black
This is part of the outer courtyard at the Stockholm Palace. There is another half-round wing encompassing the yard behind us, like two arms stretching out, grabbing hold of you. Just like at Saint Peter's Square in Rome, as drawn by the brilliant Bernini. Of course those arms are meant to symbolize the nurturing of catholicism's Mother Church, whereas these arms could only symbolize the power of the monarch.
Outer
Cultuurcentrum Hasselt
24 Oktober 2020
Tom Soetaert - Piano, electronics and vocals
Nicolas Delépine - Guitar and vocals
Arne De Tremerie - Sub and vocals
Laurens Van Bouwelen - Drums
Wanthanee Wadngam - Violin, Synths and vocals
© Photography Patrick Van Vlerken 2020
The Outer Banks is a 200-mile-long string of narrow peninsulas and barrier islands off the coast of North Carolina and a small portion of Virginia, beginning in the southeastern corner of Virginia Beach on the east coast of the United States. They cover most of the North Carolina coastline, separating the Currituck Sound, Albemarle Sound, and Pamlico Sound from the Atlantic Ocean.