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Blue Cheese Burger w/Chips
Duck Fat Fries w/Parmesan Ranch
Bacon Lollipops w/Parallel Chips
Cheesy Pulled Chicken Sandwich w/Chips
The side of the mountain in 747 Pass is scored with long vertical lines. I don't think they are sedementary layers; I think they were scored into the rock by retreating glaciers (although I suppose they could be cleavage lines in the rocks themselves).
Dublin Statues-Parallel
In remembrance of the great famine in Ireland in the 1840-50s. One of several groups of sculptures on this theme - the figures are proportionately taller than normal- it is not the camera!
There are many parallels between NASA’s research and terrestrial needs in industry, medicine and safety. NASA’s Technology Transfer program ensures that technologies developed for missions in exploration and discovery are broadly available to the public, maximizing the benefit to the nation. NASA has an extensive patent portfolio and software catalog with hundreds of technologies available for licensing by the private sector.
The NASA Commercialization Training Camps introduce NASA’s technology portfolio to attendees, explain the technology transfer process and provide points of contact for those interested in using a NASA technology to develop a commercial product. Attendees meet with NASA inventors as well as tour facilities and labs at Goddard.
To learn more about the NASA Technology Transfer Program, please visit: technology.nasa.gov/
Credit: NASA/Goddard/Taylor Mickal
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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The Pittock Mansion was home to Portland pioneers Henry and Georgiana Pittock from 1914 to 1919. During the late 1800s and the early 1900s, their lives and work paralleled the growth of Portland from a small Northwest town site to a thriving city with a quarter million population. With its eclectic architectural design and richly decorated interior, including family artifacts, the Pittock Mansion stands today as a living memorial of this family’s contributions to the blossoming of Portland and its people.
English-born Henry Lewis Pittock journeyed on a wagon train from Pennsylvania to Oregon in 1853 where, at the young age of 19, and in his own words, “barefoot and penniless,” he began working for Thomas Jefferson Dryer’s Weekly Oregonian newspaper. In 1860, at the age of 26, he married 15-year-old Georgiana Martin Burton of Missouri. Six years prior, Georgiana had crossed the plains from Keokuk, Iowa to Oregon Territory with her parents. Georgiana’s father E.M. Burton was a flour mill owner and one of early Portland’s well known building contractors.
Together, Henry and Georgiana began a long life of work, community service, and devotion to family, which would last 58 years and celebrate six children and eighteen grandchildren.
A consummate businessman, Henry Pittock took ownership of the Weekly Oregonian in 1860, changing its format to the daily paper we read today. He went on to build an empire incorporating real estate, banking, railroads, steamboats, sheep ranching, silver mining, and the pulp and paper industry.
Georgiana dedicated herself to improving the lives of the community’s women and children. She helped found the Ladies Relief Society in 1867, whose Children’s Home provided care, food, and shelter for needy children. Georgiana also worked with the Woman’s Union, and played a key role in building the Martha Washington Home for single, working women.
The couple was known for their quiet reserve, helpful demeanor, and love for the outdoors. Georgiana cherished gardening, and kept a terraced flower garden at the mansion covered with every kind of flower imaginable. She frequently adorned her house with cut flowers, and is recognized for originating the tradition of Portland’s annual Rose Festival.
A vigorous outdoorsman, Henry rode horses in the Rose Festival parades, and was a member of the first party to climb Mt. Hood, one of the spectacular peaks visible from the mansion. On one of his climbing expeditions, someone suggested that the group sit down and rest, at which point Henry responded, “The man who sits down never reaches the top.”
Henry and Georgiana were at the pinnacle of their successful lives when they commissioned architect Edward Foulkes to design and build their new home overlooking Portland, the city they loved.
They began planning and designing their new home in 1909. The mansion was completed in 1914, replete with stunningly progressive features including a central vacuum system, intercoms, and indirect lighting. The house also creatively incorporated Turkish, English, and French designs. In keeping with their loyalty to their home state, the Pittocks hired Oregon craftsmen and artisans, and used Northwest materials to build the house. The final estate included the mansion, a three-car garage, a greenhouse, and the Italianate gate lodge servants’ residence, all situated on 46 acres of land almost 1,000 feet above downtown Portland.
At 80 and 68 respectively, Henry and Georgiana moved to their new home. The hard-working couple who had lived in the heart of Portland as it developed from a forest clearing to a bustling business center, now resided high in the hills, with a breathtaking vista of their beloved Portland. It was a warm and gracious house for both the adults and children of the family.
Georgiana died in 1918 at the age of 72, and Henry in 1919 at 84. The Pittock family remained in residence at the mansion until 1958, when Peter Gantenbein, a Pittock grandson who had been born in the house, put the estate on the market.
The threat of demolition at the hands of land developers, and the extensive damage caused by a storm in 1962, brought concerned citizens together to raise funds to preserve the site. Seeing this popular support, and agreeing that the house had tremendous value as a unique historic resource, the City of Portland purchased the estate in 1964 for $225,000. Fifteen months were spent restoring it. The mansion opened to the public in 1965, and has been a community landmark ever since.
A house of historical significance and visual magnificence, the Pittock Mansion today offers us a uniquely personal opportunity to peek into the past, and study our world as it was - from the viewpoint of one Portland family
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Parallèles...(EXPLORE)
Exposition 1/1250 F4.5 iso 400
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December simplicity
“Purity and simplicity are the two wings with which man soars above the earth and all temporary nature.” — Thomas Kempis
The idea that there could be other universes out there is really one that stretches the mind in a great way.- Brian Greene
When they say that parallel lines never
meet, what do they mean?
When they say that only one straight line can pass
between two points, what is the meaning?
When do the lines in our lives connect to the picture?
But if we truly want – we will understand
that parallel lines can meet.
It's all a matter of our will and the ability
to see these lines
from a different place.
And yes –
it's also possible to draw more than one straight line
between two points.
Lignes Parallèles
Quand on dit que les lignes parallèles ne se rencontrent jamais, que veulent-ils dire ?
Quand on dit qu'il n'y a qu'une seule ligne droite qui peut passer
entre deux points, quelle est la signification ?
Quand est-ce que les lignes dans nos vies se connectent à l'image ?
Mais si nous le voulons vraiment – nous comprendrons que
les lignes parallèles peuvent se rencontrer.
C'est juste une question de volonté et de capacité à voir ces lignes
d'un endroit différent.
Et oui –
il est aussi possible de tracer plus d'une ligne
droite entre deux points.
#צילום_רחוב #צילום_בפוקוס_עצמי #פוטותרפיה #צילום_משנה_חיים #streetphotography #photovoice
In 1954, a young Princeton University doctoral candidate named Hugh Everett III came up with a radical idea: That there exist parallel universes, exactly like our -universe. These universes are all related to ours; indeed, they branch off from ours, and our universe is branched off of others. Within these parallel universes, our wars have had different outcomes than the ones we know. Species that are extinct in our universe have evolved and adapted in others. In other universes, we humans may have become extinct.
This thought boggles the mind and yet, it is still comprehensible. Notions of parallel universes or dimensions that resemble our own have appeared in works of science fiction and have been used as explanations for metaphysics. But why would a young up-and-coming physicist possibly risk his future career by posing a theory about parallel universes?
With his Many-Worlds theory, Everett was attempting to answer a rather sticky question related to quantum physics: Why does quantum matter behave erratically? The quantum level is the smallest one science has detected so far. The study of quantum physics began in 1900, when the physicist Max Planck first introduced the concept to the scientific world. Planck's study of radiation yielded some unusual findings that contradicted classical physical laws. These findings suggested that there are other laws at work in the universe, operating on a deeper level than the one we know.
Source How Stuff Works
Spanish postcard by Archivo Bermejo, no. C 293.
Yesterday, 4 January 2024, Husky voiced Welsh-born stage and film actress, dancer, pianist and singer Glynis Johns (1923-2024) passed away. She is best known for her film roles as a mermaid in the British comedy Miranda (1948) and as suffragette mother Winifred Banks in Walt Disney's Mary Poppins (1964). On Broadway, she created the role of Desiree Armfeldt in 'A Little Night Music', for which she won a Tony Award.
Glynis Margaret P. Johns was born in 1923 in Pretoria, South Africa. She was the daughter of pianist Alys Maude (née Steele-Payne), and the British stage and film actor Mervyn Johns. Her parents were performing on tour in Pretoria when Glynis was born. Glynis attended Clifton High School in Bristol for a short time. In 1935, she made her first stage appearance in Buckie's Bears as a child ballerina. She made her film debut in the Alexander Korda production South Riding (Victor Saville, 1938) with Edna Best. She had a supporting part in the British war drama 49th Parallel/The Invaders (1941), the third film made by the writer-director team of Michael Powell and Emeric Pressburger. In 1944, she appeared with her father in the drama Halfway House (Basil Dearden, 1944) about ten people who are drawn to stay in an old hotel in a remote Welsh village. In 1948 she starred as a beautiful and playful mermaid in the comedy Miranda (Ken Annakin, 1948) and later reprised the role in the sequel, Mad About Men (Ralph Thomas, 1954). In the aviation drama No Highway in the Sky/No Highway (Henry Koster, 1951) she co-starred with James Stewart and Marlene Dietrich. She then co-starred with David Niven in the comedy Appointment with Venus (Ralph Thomas, 1951), and with Alec Guinness in the film version of Arnold Bennett's novel The Card (Ronald Neame, 1952). She was voted by British exhibitors the tenth most popular local star at the box office in 1951 and 1952. Johns then made a successful transition to Hollywood, appearing in Personal Affair (Anthony Pelissier, 1953), starring Gene Tierney, and in The Court Jester (Melvin Frank, Norman Panama, 1956) as Danny Kaye's love interest. The following year, she starred in the Christmas film All Mine to Give (Allen Reisner, 1957). Johns received an Academy Award nomination for Best Supporting Actress for The Sundowners (Fred Zinnemann, 1960), starring Deborah Kerr and Robert Mitchum.
During the 1960s, Glynis Johns often appeared on American television. She portrayed Kitty O'Moyne, an Irish immigrant in the TV crime drama The Roaring 20s (1961). In the 1962–1963 television season, Johns guest starred in the anthology series The Lloyd Bridges Show. She and Keith Andes then starred as a married couple in her eponymous television series Glynis (1963), in which she played a mystery writer and Andes a criminal defence attorney. The program was cancelled after thirteen episodes. Her feature films include The Cabinet of Caligari (Roger Kay, 1962) and The Chapman Report (George Cukor, 1962). One of Glynis Johns’ best-known roles is Winifred Banks in Walt Disney’s fantasy Mary Poppins (Robert Stevenson, 1964), starring Julie Andrews. Winifred Banks is the easily distracted mother of the Banks family and is depicted as a member of the suffragette movement. On TV she was the villainess Lady Penelope Peasoup in the TV Series Batman (1967). She played with Richard Burton in the British film Under Milk Wood (Andrew Sinclair, 1972) based on the radio play of the same name by the Welsh writer Dylan Thomas. Johns also appeared on stage, most memorably in the original Broadway production of Stephen Sondheim's musical A Little Night Music (1973). Stephen Sondheim wrote the song Send in the Clowns with shorter phrasing to accommodate her husky voice. Johns won a Tony award for her role in the musical. At the West End in London, she appeared in the play Cause Célèbre (1978), by Terence Rattigan. During the first season of the hit TV sitcom Cheers (1983), Johns guest starred as the mother of Diane (Shelley Long), Helen Chambers. Due to a stipulation in Diane's late father's will, Helen, a rich eccentric, will lose all her money unless Diane is married by the next day. From 1988-1989, Johns played Trudie Pepper, a senior citizen living in an Arizona retirement community, in the television sitcom Coming of Age. She also played opposite Rex Harrison in his final acting role in a Broadway revival of W. Somerset Maugham's play The Circle (1989-1990). Harrison's death from cancer ended the show's run. In 1998, Johns starred as Myrtle Bledsoe in the premiere of Horton Foote's A Coffin in Egypt at the Bay Street Theatre. Her last film appearance to date was as Molly Shannon's grandmother in the comedy Superstar (Bruce McCulloch, 1999). Glynis Johns has been married four times. Her first husband was Anthony Forwood (1942–1948), with whom she had her only child, Gareth Forwood (1945–2007), an actor, who predeceased his mother. Later, Anthony Forwood was Sir Dirk Bogarde's longtime partner and manager until Forwood died in 1988. Johns’ other husbands were David Ramsey Foster (1952-1956), a chairman of Colgate Palmolive International, Cecil Peter L. Henderson (1960-1962) and the writer Elliot Arnold (1964-1973). Glynis Johns died in Los Angeles at an assisted living home, on 4 January 2024, 91 days after she had turned 100.
Sources: Steve Crook (IMDb), Film Reference, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
3526 approaches Metford Station with a Hunter Valley Steamfest Shuttle paralleled by a Hunter Car set for photographers. A coal train bound for Newcastle disappears in the distance.
composite image from 3 different images manipulated in PS CC. Moon and staircase are from the Aga Khan Museum in Toronto. The moon displays the south side of the moon.
The track in the background is the headshunt from Kingmoor Yard towards Stainton. The nearer, lower, track is a run round loop which appears to be less frequently used and is on the original Waverley Route level and alignment. It is not normally possible to access the land alongside the railway at this location, situated in the wedge between the Waverley Route and the West Coast Main Line at the south end of Kingmoor Yard. Fortuitously, on the day of my visit the gates were open for a car boot sale which was being held in this area. Worth the admission money to the car boot sale to get a view from this location. The lower (foreground) track is on the level and the alignment of the original Waverley route.
Black Mother 1 is a series of photographic images taken by contemporary Indian photographer Abul Kalam Azad using medium format film camera, in the year 1999-2000. These images were taken during the Meena Bharani Festival, during which the men and women oracles in trance depict the role of Kannagi - the heroine of Silappathikaram with sword in hand and anger ablaze. Jain poet Ilango in his epic describes the life, lifestyle, culture, art, music, landscape, ruling dynasties ad common people of Sangam through his pictorial poetic rendition of Silappathikaram. Through this body of work Abul recreates a parallel text that describes the contemporary life, landscape and lifestyle of South India. The Bromoil print is of size 30"x30", part of Abul Kalam Azad collection with EtP (Ekalokam Trust for Photography).