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The summer solstice represents a precise moment, the one in which the Sun in its apparent motion reaches the highest point with respect to the horizon. In practice, it occurs when the Sun is at its maximum height above the horizon at noon, thus giving us the maximum number of hours of light possible in the space of a day. This year the solstice falls at 12.07 in the morning on June 21st.
In Italy we will have a day of 15 hours and 14 minutes.
The period of the Summer Solstice is a particularly interesting time to visit the Cathedral (Opera di Santa Maria del Fiore) and the Basilica of San Miniato al Monte.
The Cathedral offers a singular spectacle in which the sun's rays align, thanks to an ancient and ingenious gnomon, with a solstice sundial identified several centuries ago with astonishing precision. One of the windows of the Dome contains a small "perforated shelf", through which the sun's rays pass during the summer solstice. The circular beam of light is thus projected onto the floor of one of the side chapels of the cathedral, and precisely the so-called "chapel of the cross", at a time between 12 and 13.
During this period of time, the light beam projected through the gnomon coincides with a circular marble slab, which denotes the moment in which the sun reaches its zenith during its celestial journey and has been in this location since 1510.
Been a year or two since me and the camera have been this way. Over six, if you'd like it precise.
And not without reason, the end of the regular DB operated coal flows into Fiddler's Ferry Power Station in 2014 took the class 60's away, and with it any lingering pretence of interest I may have had.
Despite this, I'm saddened to hear that 49 years of power generation at Fiddler's comes to an end on March 31st. To be fair, there's no surprise here, Fiddler's has been on tickover for a long time now, and losing money hand over fist. It only lasted so long because of government contracts, the very government that has pledged to discontinue what little coal-fired power generation is left by 2025.
Once a huge draw and one of my popular subjects of the time, 6F74 Liverpool Bulk Terminal-Fiddler's Ferry Power Station growls through the Unilever Crosfields site, ably led by the Drax Tug, 60066, on 1 March 2014.
And that kids, is the double whammy.
Crosfields has a 130 year history of producing soap powder for the nation, churning out box after box of Persil and Tide.
Seems we, and you can include me in that, aren't using powder any more, preferring gels and pods to traditional detergent.
And that means the factory has to close.
Should you find yourself standing on the platforms of Warrington Bank Quay in whatever time the Unilever complex has left, take a moment to breathe in the vaguely soapy atmosphere and listen to the whirr and clunk of a factory at work.
You'll miss it when its gone.
🇫🇷 Clair de lune dans les chênes
Il n'y a qu'à se promener en forêt la nuit pour confirmer que nous ne sommes faits que pour le jour. Même notre sens principal - la vue - ne peut rien pour nous fournir une idée précise de qui se passe en plein cœur d'une 🌳chênaie🌳. C'est en levant la tête que l'on peut trouver un repère, la lune, elle-même en mouvement tout au long de la nuit, et elle roule d'une branche à l'autre, indifférente à nos déboires d'orientation.
🌿🌿🌿🌿🌿 🌿🌿🌿🌿🌿
🇺🇸 ️Moonlight in the oaks
You only have to walk in the forest at night to confirm that we're only made for the daytime. Even our primary sense - sight - can do nothing to provide us with an accurate idea of what's going on in the heart of a 🌳oak grove🌳. It's by looking up that we can find a landmark, the moon, itself in motion throughout the night, and it rolls from branch to branch, indifferent to our orientation woes.
Milieu naturel, écosystème : 🌳 Chênaies🌳
Natural environment, ecosystem: 🌳 Oak groves🌳
Lieu / Location : Forêt de Sénart / Essone / France
web site : pascalechevest.com
The precise moment that the guy in the turban and the woman with the camera engaged. Priceless encounter for the woman. India.
This is a shot of the precise spot where the Byzantine Cathedral of the Taxiarchs (of St. Michael the Archangel) once stood in Ioannina, Greece, within the South-Eastern citadel (aka Iç-Kale) of the Castle. The church was deliberately demolished in c.1430, then on the exactly same spot the “FETHİYE Câmii” (Turkish for “mosque of the Conquest”) was erected by the Ottoman Turks.
It was in writing that the latter had promised certain privileges (such as the freedom of worship with no conversion of churches into mosques etc.) to the people living in Ioannina as conditions of the surrender agreement reached (“Sinan Paşa's designation”, ratified by imperial decree of Sultan Murad II).
Parliament Of Worms.
Compréhension consciente impressions précises précisions luttes,
Conceptualized engagierte Prozesse Betrunkenen Allwissenheit unerreichbar sensorischen Extremen,
nodau tystiolaeth cyfarwyddo merwino anymwybodol gwybodaeth eirfa continwwm integreiddio deddfau,
lactentes conceitos discriminatórios objetivismo realidade pensamento olhos borrada foco mental lascada língua,
волевое переменного разведки неявные бормотание внимательные факты принципы свободы топали,
Pro rationis identitatis inaestimandus consilium data facultate sciendi phantasiae cognitiones radices,
concettualizzazioni coinvolgenti cruciali prospettive fatti meccanismo di riduzioni inammissibili errori umani,
التشابه تطفو على السطح ألسنة بلاغة الفلاسفة الشريط الحدودي الخلافات خيارات مبررات التناقضات,
antecedente nonaxiomatic essências ilógicas imitações proposições oponentes construindo polêmicas sociais egoístas,
虚偽の書類の引用の残りの部分を伝える引用する文おなじみの階層基本法則.
Steve.D.Hammond.
Playing with Photoscape, mixed the parking lot night diorama pictures with real, vintage pictures. Not precise, just fooling around with past memories.....One day I will photograph at night, with artificial lights, indoors, using real illuminated buildings as a background....
In a small town in the North East corner of Iceland ascends the Arctic Henge. The monument consist of four six meter tall gates and one ten meter high column. The gates function as a sundial, as they capture the sunlight and cast shadows on precise locations. They are inspired by the four cardinal dwarves of Norse mythology, Austri, Norðri, Suðri and Vestri, that befittingly face their namesake, east, north, south and west. These four dwarfs are acknowledged in the Prose Edda book, and assigned a role by Odin, the god of wisdom, to hold up the sky. In this piece the dwarfs are assigned an additional role, along with the sixty eight dwarfs mentioned in Völuspá and together they form a calendar. Old and new merges as the dwarfs, who all have rather peculiar names, are aligned together to form a chronological circle. This circle is based on their names which relate to the four seasons. Up until this point, the reason for mentioning these sixty eight dwarves in Völuspá has remained a mystery but their names have a clear connotation to the structure of the year. Theories aside, close to the Arctic Circle, the lighting in this remote part of the country is a natural phenomenon. The arctic henge is still under construction.
The Arctic Henge
Set in Raufarhöfn, one of the most remote and northernmost villages in Iceland where the Arctic Circle lies just off the coast, the Arctic Henge (Heimskautsgerðið) is under construction. Similar to its ancient predecessor, Stonehenge, the Arctic Henge is like a huge sundial, aiming to capture the sunrays, cast shadows in precise locations and capture the light between aligned gateways.
History
Heimskautsgerðið (The Arctic-Henge) has it s roots in the innovators Erlingur Thoroddsen’s speculations about the possibility of making use of the endless expanse with nothing on the horizon and the midnight sun.The idea to use the dwarf names from the eddic poem Völuspá (Prophecy of the Seeress) and modernize some aspects of the old world of the Sagas, soon became a part of these speculations. The first version of the idea is from 1998 but in 2004 it was finalized, with allusions to mythology and folklore, designed to interact with the unique natural light. The artist Haukur Halldórsson worked with Erlingur on the ideas for the Heimskautsgerði and made sketches and models that were useful in the work that followed.
No one has been able to explain the dwarfs in the Völuspá, apart from Austri (East), Vestri (West), Norðri (North) and Suðri (South), who carry the sky. By connecting the names of the dwarfs to the season, as for example Bjartur (Bright) Blíður (Sweet) and Svásuður (Gengle) to the summer, it is possible to fit the names of the dwarfs to a yearly circle of 72 weeks. The year-circle of the dwarfs becomes a kind of almanac, where each dwarf controls a five day period. All the dwarfs have been given a role and they have all have their own personalities. This means that the dwarfs can be connected to birthdays and people can connect to their personal dwarf.
Around this made up world rises the Heimskautsgerði (Arctic-Henge) on the Melrakkaás in Raufarhöfn. The Heimskautsgerði is around 50 meters in diameter, with 6 meter high gates that face the main directions. Between the gates is a high wall with a small opening at the top. Inside the circle stands 10 meter high column on four pillars. The column will be topped with cut prism-glass that splits up the sunlight unto the primary colors. The opening between the pillar look towards the main directions, so example the midnight sun can be seen from the south gate through the middle column and the north gate. The play of light and shadow will follow the time of the day. The openings on the wall will let in the sunrays so when the building is completed a sundial can be set up.
Inside the circle there will be 68 dwarfs who stand around a circular dwarf trail. Inside the trail will also be the polar star pointer, which does exactly what its name says. There you will eventually also be able to find the throne of the sun that is meant to be a place where the traveler can sit down to have his picture taken. Also a hall of rays, which is a sort of sanctuary between high columns, with one seat, where the guest can empty his mind an renew his energy. An altar of fire and water, that reminds us of the power of the elements, where events can be performed, for examples weddings, oath taking and so forth. However, as stated above, the Arctic Henge is still under construction. (arctichenge.is)
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
Last Tuesday to be precise. They say wearing black is meant to be slimming but looking at this I'm not so sure. My eyes are unfortunately still quite bad so this was the last time I dressed, hopefully they'll have cleared up (or at least improved) so I can go out on Thursday. I spent most of Monday playing golf and am now most definitely paying the price from an eczema perspective, as grass and I don't really don't get along. Oh well back to work 💋
The Importance of Being Ernesto
“While it takes many valuable people to run any company, there is none more important than the cat that runs the forklift.” - Ward McCready.
Meet Ernesto T. Rodarte of Station 19, Outpost 31 located on Rospaw, the last of Ubiquidyne Industries’ port hubs before the thirty-seven hour jump to Helvetius. Don’t call him Ernie, or Ern, or any shortened facsimile of what his name is. He is Ernesto. And out here in the Dark, that carries more weight than any overly familiar and juvenile misrepresentation can carry. He has no time for any level of stupid keeping this station running smoothly. He doesn’t talk much; but when he does, it’s fast and precise and always with the best interests of the facility in mind. He is an asshole and an asset, and he is proud of both. And above all, he wants everything to run smooth.
However…
He may be inclined to “adjust” shipping manifests and other documentations and orders if the priorities deem it necessary or the price is right. Treat him fair and he’ll treat you fair; treat him otherwise and there may be an issue. Or five. Or simply something missing from your cargo’s smooth passage through this bustling port. Shrink happens, more so in a vast, impossible to account for everything corporation such as Ubiquidyne Industries. Remember that you can trust that Ernesto will make sure everything runs smooth.
And Ernesto keeps this hub running smoothly with Ol’ Number 7, a Caterpillar 808F skid loader. It dutifully runs the bays with the only hiccup being a leaky shock in the left rear that he’s been threatening to fix for well over a Sol year if he ever gets a chance. Along with Ernesto, she’ll make sure any cargo is given the best care money can buy and that your time on Rospaw is a smooth one.
Fourth wall: Well, as soon as I said I was going to focus more on trophy fig scale and there about, I go and get an itch to build this. It comes about as I actually sat down and started working on Hecate again. Yes, she’s still here taking up a good chunk of real estate and screaming at me every day to work on her. So I did. A little bit anyways, minor stuffs as proofs of concept more than anything. But I started getting back into the swing of mental disparity that is building something on this massively stupid scale, which is to eat it as you would an elephant: Small bites. And the small bite I needed next was a forklift. I found exactly what I was envisioning as a suitably futuristic loader HERE and made some slight alterations for more weight, balance, and strength. I wanted it to look like Ripley’s loader without being a walking facsimile (while I adore it, there ain’t nothin’ wrong with wheels and treads.) So here ya’ll go with no promise that Hecate will be done soon or that I will concentrate on her or anything for that matter. I’m just building so long as my back and hands hold out.
Cheers!
Well, to be more precise, the same four day-old Moon, on the left first in 16bit mode and then on the right in 8bit mode a few minutes later with the same camera and all other settings identical. I wanted to see if there was any obvious difference in the quality of the two images. There is - just - it is very subtle and difficult to pick up though.
Both images were taken in evening twilight before it got dark.
Peter
At this precise moment in time, a family member is laying on a hospital bed knowing there is not long left..
During times like these people get sad, people cry, people ask questions, people get angry..with me...it sort of stays inside..I dont bottle it up.. I just deal with quietly.
Its times like these that make you take a step back and think..
This family memeber... said words that I will never forget.. Ever. As she lay there on the bed she asked my mother..."why is this happening to me ?, I have never done nobody any harm. I have been nothing but kind."
Hearing my mum tell me those words.. really hit me.. I never get emotional at sad times.. I show it in the bucket loads during fun times..but sad times I hide it.. But at that moment,, It hit me.. and I cried.
How do you deal with knowing you are going to die..in days ?
It makes me wonder.. sometimes....what is the whole point of it all..
We all know that every single one of us has the same destiny.. we can not change that..
Whoever decided that this is the way is was to be....needs to re-think.. because this way is shit.
I wish I was I was in charge of all this.. I wouldn't know what to do, or the right way to make it all better.. but I know it should not have to be this way.
"Too often we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment. Or the smallest act of caring, all of which have the potential to turn a life around."
All to often, when we go through these tough times..we are given advice or get told things to help make good of what we have.
Here are a few litte quotes that spring to mind..
Laugh when you can,
Apologise when you should,
Let go of what you can not change,
Kiss slowly,
Forgive quickly,
Play hard,
Take chances,
Give everything and have no regrets,
Life is too short to be anything else but happy..
Edit: Explored !! Thank You !!
Highest position: #220 on Wednesday, July 7, 2010
A hoverfly resting delicately on a purple wildflower, captured in natural light.
I was drawn to the contrast between the soft petals and the precise geometry of the insect — a brief moment where balance, color, and stillness came together.
Nature often offers these quiet, perfect compositions if we slow down enough to notice them.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) - Portrait of a woman - National Gallery of Ancient Art of Palazzo Barberini
Studiò con Prospero Fontana, e probabilmente con Camillo Procaccini, tra il 1570 e il 1580; nel 1578 fu accettato nella compagnia dei pittori a Bologna.
Nel 1582, con i cugini Annibale e Agostino, istituirono una scuola che aveva il preciso compito di formare culturalmente e pittoricamente nuovi artisti, chiamandola prima Accademia dei Desiderosi e successivamente di Accademia degli Incamminati (1590).
E proprio i Carracci contribuirono in maniera determinante all'uscita dalla crisi del Manierismo, alla formazione della cultura figurativa Barocca, a nuove soluzioni pittoriche basate sul recupero della tradizione classica e rinascimentale ma rinnovata seguendo la pratica e i precetti dello studio del vero e del disegno.
He studied with Prospero Fontana, and probably with Camillo Procaccini, between 1570 and 1580; in 1578 he was accepted in the company of painters in Bologna.
In 1582, with his cousins Annibale and Agostino, they established a school that had the precise task of forming culturally and pictorially new artists, calling it first Accademia dei Desiderosi and then Accademia degli Incamminati (1590).
The Carracci contributed in a decisive way to the exit from the crisis of Mannerism, to the formation of the Baroque figurative culture, to new pictorial solutions based on the recovery of the classical and Renaissance tradition but renewed following the practice and the precepts of the study of the truth and the drawing.
One of my favorite female Northern Harriers making a very precise approach to her postal perch in the coastal wetland.
“We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over.” [Ray Bradbury, Fahrenheit 451]
It was momentous to leave North Saanich this time, knowing what we do. The beauty of friendship is often tinged with sadness. And that in itself is a far more beautiful thing than indifference.
looking at the back of Evelyn and Andrew's house
No matter how precise the manufacture of a mechanical instrument, proper servicing and regular use is necessary to keep it running smoothly. This is certainly the case with my vintage Leica IIf from 1952.
It is more than likely that this old camera has not been used to take photographs in decades. So what could go wrong?
Recently our fully mechanical Dugena clock manufactured in East Germany in 1960 simply stopped working. It is now undergoing a proper service. It appears the problem is simply one of lubrication. Over time the lubricants wear out and need to be replaced. Mechanically the clock is fine.
There are two problems with the camera that you can see in these samples: (1) One of the shutter curtains appears to be closing fractionally late and shows up "ghosting" in the sky. (2) Those little spots of light on the dark wood panels are telltale signs of pinholes that have formed in the cloth shutter curtains allowing light leaks onto the negative.
Tyvek (yes that building stuff) quilt blocks by Andre Mowbray currently on exhibit at Fruitlands Museum in Harvard, Massachusetts
121 in 2021
#73 - Precision
Thank you in advance for your views, comments, and faves. They are much appreciated!
I stood infront of the Jedi, staring into his eyes.
"Is this what you want?" he chuckled, "You want death and war again?"
"Just death. To be more precise, I want all the lives of the Rebels gone, starting with you."
I had never this felt emotion before, but this was something.... powerful. I gritted my teeth and swung my arm towards the Jedi. A "vhroom" was heard. I didn't look to see what had happened. I only walked away wiping the blood of my garments.
_____
It was a few years ago my first kill. I had only just begun training with him. He was a powerful man. My master had always said, never feel the anger in your veins, but it was useless. I was a born killer.
I had killed my first Jedi when I became angered by him. He was also being trained by the same Jedi as I. He had only asked me of my birth, and I had gotten outraged, for my parents had abandoned me. My master, Khudhun Fghyita had sent me away to think of what I had done. When I returned, I had been replaced by another child.
Born to darkness, I was turned to the Dark Side. I was cast into training, and was taught not to feel, anything. So I didn't.
I was made into the monster I am, who still seeks revenge.
____
The battle I had just won, was both a victory for me, and for the Empire. Without Vader, almost all of the Siths in training abandoned the Empire. I was the only one left. The Empire believed I was not ready to lead them, so I was to now lead another "brother empire." When I did so, I had changed my name. To "intimidate". So I had changed my name.
My name is Gredd. And I lead the Empire of Tomorrow.
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Yeah I know, this is short, but I believe it is enough for now. Tell me if you guys like it! (btw this is after Episode VI)
The last photo from The Medieval Mining Settlement in Złoty Stok and then we'll be going to the mine :)
The Medieval Mining Settlement is a very precise replica of a medieval settlement, including machines and devices reconstructed in a 1:1 scale. They are all in working order, as every visitor can find out. All the machines and devices were built very precisely on the basis of medieval illustrations by Georgius Agricola. This is the only this type attraction in Europe. Visiting the Park is very much like a travel in time back to the Middle Ages. In addition, visitors to the Mining Settlement can walk through a mysterious and scary underground tunnel leading to the cottage of the local executioner. This attraction relates to the medieval office and profession of executioner in Złoty Stok - he played an important role in punishing miners who stole gold or other criminals.
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Ostatni rzut oka na średniowieczną osadę górniczą i teraz będziemy szli zwiedzać kopalnię :)
Średniowieczny Park Techniki, stanowi bardzo dokładną replikę średniowiecznej osady górniczej wyposażonej w urzadzenia skonstruowane w skali 1:1 na podstawie rycin oraz opisów Georgiusa Agricoli. Wszystkie urządzenia działają o czym może przekonać się każdy zwiedzający. Jest to jedyna tego typu atrakcja w Europie. Zwiedzanie Parku można spokojnie określić jako podróż w czasie do średniowiecza. Dodatkowo w Osadzie Górniczej zwiedzający natrafiają na pełen tajemnic i strachów podziemny tunel, który kończy się wizytą w Chacie złotostockiego Kata. Atrakcja ta nawiązuje do średniowiecznego Urzędu Kata w Złotym Stoku jak i do jego zawodu – kat odgrywał ważną rolę przy karaniu m.in. górników, którzy kradli złoto.
Oh my little précises baby …..So you had to find out the hard way…..Love hurts ….So very much…..And now look at you with your heart all broken……But now sweetheart, Mother is by your side ….Now Come ….. Let me wipe away you’re heartbroken tears …. And ease your mind Billie Jean…… I too have had my heart broken, and like you….I thought it would never heal …..But soon …pretty soon…You will start to feel better…..As I did……. And yes there will be other favourite toys that you will have……that heads don’t fall off when you are playing with them…..Now…. will look and see what Di has done ….Why she has darned teddy head right back on..<3 <3 <3 …..So let’s see the BJ smile again …..xxxx
We heard these guys before we saw them, luckily they were really high (the very top to be precise) on our list of birds we wanted to see that day out in the karoo so we had become very familiar with their call on the road there.
We came across a small dam and decided to hang around for a while because in the karoo, water is a big deal for everything that lives there. Soon after admiring some tiny Stone Plants we heard their chirps and hey presto!
These Eremomelas are endemic to the Karoo and are rather tricky to track down - super chuffed with this lifer!
Light was rather harsh but I'm not even mad.
La chiesa di San Lorenzo Maggiore a Napoli durante i restauri.
Foto scattata nella zona destra del transetto-
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greco-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali . The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the Roman archaeological site beneath the church itself.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St. Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 1200s.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
Da wilkipedia
Rolleiflex - Ektachrome - Scanner - Photoshop,
Buon fine settimana amici ! - Have a nice weekend my friends !
Ulak Tartysh is team riding horse game. It consist in a wrestle for possession of the headless carcass of a goat. The two teams of riders attempt to deliver it across the opposition s goal line, or into the opposition s goal, made with a big tub or a circle marked on the ground.
The goat is 35 kilogs, and the men on the horses carry it with 1 hand!
© Eric Lafforgue
Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.
Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.
This description incorporates text from the English Wikipedia.
I am back --- take that as a warning! 7 days and 2,271 miles more on the rental, red-eyed, in need of a long, long shower but happy, very happy to be precise; I am back from a whirlwind trip to the best of northwestern Oregon, more precisely, Portland, Mt. Hood, Cape Kiwanda and the Columbia River Gorge which all have been wonderful places to explore.
I had Oregon's finest in the burger department, so I was told and still... it can't even remotely compete with a fine Cali In-n-Out Double Double. Anyhoooow, this shot is dedicated to The Captain, Miles Morgan who I had the pleasure meeting and shooting with. Thanks for the rad time, buddy! I thoroughly enjoyed the trip!
More to come, folks. I need to catch up on some sleep --- in a real bed.
...Have you ever tried to force a flower of magnolia to open its petals?
It is wonderful in early morning, when its sweetness is stronger.
Do not cut the flower, it is strong on the plant, but if you cut it away, it will die in a little time.
By the way: try to open its heart: a strong fragrance of lemon will be everywhere; close your eyes and touch those petals with a soft caress and the lemon sweetness will remain on your fingers as the most sensual sensation of freshness and beauty.
Now, open your eyes: look at the flower... its magic shape, its magic pure and simple shape: only few petals giving us all Love of Nature....
From a travelling English woman's vacations diary
IT WAS CAPTURED AS IT WAS ON THE PLANT
NO PHOTOSHOP; NO DIGITALLY CORRECTED: OBLIQUE NATURAL LIGHTED.
SEE ON BLACK, PLEASE, IT WOULD BE EVEN BETTER
Primavera, is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".
The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550.
Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.
The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.
The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.
The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.
The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.
These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.
The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.
The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories.
Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world." It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Poliziano is usually thought to have been involved in this, though Marsilio Ficino, another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism, has also often been mentioned.
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."
Venus presides over the garden – an orange grove (a Medici symbol). It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. According to Claudian, no clouds were allowed there. Venus stands in front of the dark leaves of a myrtle bush. According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.
The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
Botticelli's Pallas and the Centaur (1482) has been proposed as the companion piece to Primavera.
Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting.
In a different interpretation the Earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what many believe hung as the companion piece to Primavera: Pallas and the Centaur, in which "love oriented towards knowledge" (embodied by Pallas Athena) proves triumphant over lust (symbolized by the centaur).
The basic identification of the figures is now widely agreed,but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone.
In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation.
Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). Mercury was the god of medicine and "doctors", medici in Italian. Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings.
The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.
The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.
In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the Primavera had a large white frame.
In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.
Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.
Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.
It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."
Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.
It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was restored.[66] The work has darkened considerably over the course of time
Prompt: Use Image 1 as the Base image. Perform a precise, natural-looking edit while preserving all unmentioned elements exactly as in the original, including the child’s identity and likeness, facial features, clothing colors and style, pose, environment, props, lighting mood, painterly illustration style, composition, camera angle, and background setting. Replace the existing puppy on the left with a realistic West Highland White Terrier puppy (small, fluffy white coat, dark nose and eyes), positioned naturally on the same spot with correct scale, grounding, and soft contact shadows matching the scene lighting. Add an additional salt-and-pepper Schnauzer puppy (gray and white wiry coat, distinct eyebrows and beard) near the girl, integrated as a second puppy without crowding, with believable posture and eye line. Modify the little girl’s hair so it is long blonde hair flowing down naturally, maintaining her age, facial likeness, and pouting mood; pouting facial expression. Ensure seamless blending: consistent lighting direction, color harmony, texture fidelity, and painterly finish with no halos or cutout artifacts at 200% zoom.
This digital fine art was created using OpenAI Sora AI and Photoshop
First off, I'm glad this was accepted. And second off, I'm throwing this in as a scene from the future.
-----------------------------
Earth: Home of Peter Quill
Quill landed the ship.
"Ok Groot, Rocket. Time to get off."
"What the hell are we even doing here Quill?" asked Rocket.
"I am Groot?"
"We're here to deliver a message."
Quill took out a photo.
"To be precise, this message."
He handed the photo to Rocket.
"Is that you?"
"Yep. Before I started this whole thing. 5 years ago."
"Shit Quill. Why do you still have this?"
Quill looked at the house.
"That's a good question."
Quill hopped out of the Milano. He walked over to the door, and opened it.
"I am Groot."
"Yes we lock doors on Earth Groot. This one.. doesn't. He doesn't need to."
"And why's that Quill?" asked Rocket in a sarcastic voice.
"He's not a normal man...."
Quill dropped the photo on the ground.
"I am Groot?"
"I'm dropping it on the ground because it will remind him."
"I am Groot?"
"Of us. The Guardians. Remember a few years back when we stopped here? We pretended I was his friend Harry?"
"I am Groot."
"Yeah, great you remember."
"Ya know what else I remember?"
Quill looked at Rocket.
"I thought rodents couldn't remember. It's a disability they have... called, Not Human?"
"Why you......"
Rocket lunged at Quill, but Groot caught him mid air.
"I am Groot."
"Lemme at him! Come on one punch!"
"I... AM....GROOT."
"Yeah. Like the big guy said, no fighting."
"Ya know what I remember Quill?"
Groot put Rocket down.
"I remember you abandoning your crew. People died that day Quill. Don't forget that. The only reason I'm here... is to do good for NOVA Core."
Quill put his hand to his mouth, and then replied, "I know. I know what happened. I knew what was going to happen."
Rocket and Groot looked at each other.
"Then... why the hell did you leave? If you knew you could have helped...."
"Rocket. You don't understand. I can't tell you. If I did... many more would die."
"I am Groot."
"Yeah. We have the right to know." said Rocket.
Quill sat down.
"Alright... don't say I didn't warn you."
Nowhere: 5 years ago
Quill got into the ship. He walked to the front where he saw Cosmo waiting.
"Yo Quill. You ready?"
"Yeah. I'll go get the team."
He looked at a red, slimy object.
"Just... make sure that doesn't go anywhere."
Cosmo nodded, and went back to playing Tetris on the computer screen.
Quill hopped off the Milano. He was proud of his ride. It had gotten them through 204 missions together. Even stopping Thanos at one point. He walked to a door, and put a key card up to it.
"Quill, Peter. Enter."
Quill entered, and went to the training room. There he saw Drax, Vell, and Victory in there. They all were beating each other up.
He opened the door.
"Drax! Stop fighting with you're sister!"
"I'm sorry?" Drax said confused. "She is not related to me."
Vell just laughed.
"It was a joke."
"Ah... I see."
Major Victory got up and walked with Quill.
"They are learning. And well." Victory said.
"And how about yourself?"
"Fine. We're becoming a team.... just like you said we would."
"Alright. Well, we better go and head to the ship. We just got intell on..."
"Quill." Eric was calling his name.
Quill looked at Victory.
"Head to the ship. I'll be there soon."
Victory nodded, and told Drax and Vell to head to the ship. Quill walked towards Eric. Eric was smiling. For some unknown reason he was smiling. A major threat was coming to destroy Zandar, and he was smiling.
"Quill. I need to talk to you."
"Alright, but make it quick. We gotta go."
"I intend to make it quick."
They walked into the office that was once Eric's fathers. He had retired when Quill became the leader of the Guardians. He had said that he was never more proud.
Eric sat down at the desk.
"Quill, I'm going to make this quick."
"Good."
"But... you won't like it."
"Well I usually never do... if you're involved."
Eric straightened himself up.
"Have you ever heard of... blackmail?"
Quill laughed.
"Yeah. It's called credit card companies."
Eric did not laugh. He only smiled.
"Good. So you'll know what I'm about to do."
Quill ceased to laugh. He looked behind him to notice the door was locked, and the camera was off.
"Eric..."
"Listen Quill."
When Quill turned around he could see Eric holding a gun under his desk.
"I know you and I have had it rough. You're past... my future. It's all going to come into play here."
Quill knew he could take the gun from Eric two weeks ago. But now, since he had the full power of Nova... he could do nothing.
"The Guardians are a fantastic team... really they are. I like what you've done to the program. But... there's a bump in the road."
"What bump?"
"See.... you're the problem Quill. I don't like you. I never will. But you can do me a favor. I mean, you are the leader of the Guardians, and practically the Core."
Quill felt his palms getting sweaty.
"What you're going to do is... well, how to I say this." Eric said laughing.
"Just... just say it."
"You're going to kill your team."
Quill just took in those words. Kill you're team. Eric must have been crazy. Why would he want to do that?
"I'm sure you'll succeed. You were an excellent officer."
Quill wondered why. Why did he want him to do this?
"If I don't?"
"I'll make the officers of Nova Core kill every living thing on Zandar."
Eric could do that. With some convincing, he could command and army. He was the leader of the Core.
"Why do you want to me to kill them?"
"See, I don't like you Quill. And if you assembled you're team, they have to go. Good people, but I can't work with them."
"Why would you work with them?"
"Well, I would be the new leader of the Guardians obviously."
"Why?"
"Well, I would have everything. Power, fame, glory. Everything my father gave to you."
Quill was horrified with Eric. Why would he want this?
"I would assemble my team of Guardians. And then you would go to prison, and tortured to death. As you will kill them."
"No... I won't."
"Well then. Let me just announce that..."
"NO! Wait. I'll do it. I'll... do what you want."
"Excellent. Now when you go out to do your mission, just... kill them there."
Quill nodded. There was nothing he could do. He even thought of letting Eric kill him, but there was no point. Eric would have killed the team anyways. Quill could save them though. He was Star Lord after all.
He went back to the Milano. Everyone was on board. Quill climbed to the cockpit. There, Cosmo was waiting for him.
"Ready?"
"Yeah. I need you to help me with something though."
Quill told Cosmo everything. Cosmo demanded they storm into Eric's office and kill him themselves.
"No, that won't do. He would just get the Core Officers on us. I have an idea though. So just here me out."
Quill explained that he would get everyone off the ship before they reached their destinations. They would not be able to got to Zandar or Nowhere anymore. Quill would fly the Milano into the threat, hence destroying the ship, and killing him in the process. Cosmo tried to talk him out of it, but Quill was certain it was the only way. Eric had put a chip in Quill's suit and the Milano, which could view them doing the crime. Good thing it didn't have sound.
Cosmo finally agreed. He put the ship in drive, and started off. Quill was ready to die. He had to be.
When they got to the point of where Quill was going to tell everyone to get off, Cosmo stopped him.
"Lets take them out in groups.. so they won't be alone."
Quill nodded, as Cosmo set them into groups. Vell, Drax, and Victory all went together. Groot, Rocket, Venom and Cosmo were the other group. Cosmo didn't tell them what Eric had said. It was best left alone. Before anyone could do anything a mist started to appear. Adam Warlock had created it. He went up to Quill. The others in the back were almost asleep.
Adam Warlock approached Quill.
"I can read thoughts Peter."
"Well then. Great to know."
"I know you have no choice Peter."
"Yeah. So get in the back with the others and jump off."
"I have a better idea. You're a good man Quill. They'll understand. You need to stay alive."
"Look, Adam, someone has to die."
"Yes. The team."
Quill was shocked. Adam was with Eric. He was going to kill the team. Adam was the sense of right and wrong! And he thought this was right?
"Adam! What are you talking about! They don't have to die.."
"Quill. Please. Trust me."
With that Adam went to Victory. With one thrust, he drove a whole through his heart.
Quill ran to stop him, but it was no use. Adam pushed him out of the way. Quill still kept trying, and eventually got to the release button. He pressed it, and with that, all the members went flying into space. Adam shouted, and grabbed Vell, and Drax. Quill floated towards Adam, and managed to free Vell. He turned on his jetpack and tried to fly away, but Adam used his powers to return Vell to him. Quill stared in horror as Adam drove his fist through her also. He saw the blood come out of her mouth as he did so. Quill started to tear up. The one love of his life. Gone. Then Adam did the same to Drax. Quill dove at Adam, and pushed him back to the ship. He held off Adam, until he knew the other members could not have been harmed. Then, he kicked Adam through the front of the Milano. Quill flew off thinking of what would happen to Zandar.
Earth: Present Day
After Quill had finished explaining, Groot and Rocket were fired up. They were angry, sad, and horrified at the same time.
"I AM GROOT!"
"Yeah what he said!"
"Look, guys... Eric might still plan to do this. So just do what he says. Or the fate of Zandar might be altered."
--------------------------------------------------------------------------------------
Very loooooooonng issue to start with. But I wanted to tell the story of what happened to the other members. So there you have it.
Gravity of Earth
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From Wikipedia, the free encyclopedia
Earth's gravity measured by NASA GRACE mission, showing deviations from the theoretical gravity of an idealized, smooth Earth, the so-called Earth ellipsoid. Red shows the areas where gravity is stronger than the smooth, standard value, and blue reveals areas where gravity is weaker. (Animated version.)[1]
The gravity of Earth, denoted by g, is the net acceleration that is imparted to objects due to the combined effect of gravitation (from mass distribution within Earth) and the centrifugal force (from the Earth's rotation).[2][3] It is a vector quantity, whose direction coincides with a plumb bob and strength or magnitude is given by the norm
=
‖
‖{\displaystyle g=\|{\mathit {\mathbf {g} }}\|}.
In SI units this acceleration is expressed in metres per second squared (in symbols, m/s2 or m·s−2) or equivalently in newtons per kilogram (N/kg or N·kg−1). Near Earth's surface, the gravity acceleration is approximately 9.81 m/s2 (32.2 ft/s2), which means that, ignoring the effects of air resistance, the speed of an object falling freely will increase by about 9.81 metres (32.2 ft) per second every second. This quantity is sometimes referred to informally as little g (in contrast, the gravitational constant G is referred to as big G).
The precise strength of Earth's gravity varies depending on the location. The nominal "average" value at Earth's surface, known as standard gravity is, by definition, 9.80665 m/s2 (32.1740 ft/s2).[4] This quantity is denoted variously as gn, ge (though this sometimes means the normal equatorial value on Earth, 9.78033 m/s2 (32.0877 ft/s2)), g0, gee, or simply g (which is also used for the variable local value).
The weight of an object on Earth's surface is the downwards force on that object, given by Newton's second law of motion, or F = m a (force = mass × acceleration). Gravitational acceleration contributes to the total gravity acceleration, but other factors, such as the rotation of Earth, also contribute, and, therefore, affect the weight of the object. Gravity does not normally include the gravitational pull of the Moon and Sun, which are accounted for in terms of tidal effects.
Variation in magnitude
A non-rotating perfect sphere of uniform mass density, or whose density varies solely with distance from the centre (spherical symmetry), would produce a gravitational field of uniform magnitude at all points on its surface. The Earth is rotating and is also not spherically symmetric; rather, it is slightly flatter at the poles while bulging at the Equator: an oblate spheroid. There are consequently slight deviations in the magnitude of gravity across its surface.
Gravity on the Earth's surface varies by around 0.7%, from 9.7639 m/s2 on the Nevado Huascarán mountain in Peru to 9.8337 m/s2 at the surface of the Arctic Ocean.[5] In large cities, it ranges from 9.7806[6] in Kuala Lumpur, Mexico City, and Singapore to 9.825 in Oslo and Helsinki.
Conventional value
In 1901 the third General Conference on Weights and Measures defined a standard gravitational acceleration for the surface of the Earth: gn = 9.80665 m/s2. It was based on measurements done at the Pavillon de Breteuil near Paris in 1888, with a theoretical correction applied in order to convert to a latitude of 45° at sea level.[7] This definition is thus not a value of any particular place or carefully worked out average, but an agreement for a value to use if a better actual local value is not known or not important.[8] It is also used to define the units kilogram force and pound force.
Calculating the gravity at Earth's surface using the average radius of Earth (6,371 kilometres (3,959 mi)),[9] the experimentally determined value of the gravitational constant, and the Earth mass of 5.9722 ×1024 kg gives an acceleration of 9.8203 m/s2,[10] slightly greater than the standard gravity of 9.80665 m/s2. The value of standard gravity corresponds to the gravity on Earth at a radius of 6,375.4 kilometres (3,961.5 mi).[10]
Latitude
The differences of Earth's gravity around the Antarctic continent.
The surface of the Earth is rotating, so it is not an inertial frame of reference. At latitudes nearer the Equator, the outward centrifugal force produced by Earth's rotation is larger than at polar latitudes. This counteracts the Earth's gravity to a small degree – up to a maximum of 0.3% at the Equator – and reduces the apparent downward acceleration of falling objects.
The second major reason for the difference in gravity at different latitudes is that the Earth's equatorial bulge (itself also caused by centrifugal force from rotation) causes objects at the Equator to be further from the planet's center than objects at the poles. Because the force due to gravitational attraction between two bodies (the Earth and the object being weighed) varies inversely with the square of the distance between them, an object at the Equator experiences a weaker gravitational pull than an object on one of the poles.
In combination, the equatorial bulge and the effects of the surface centrifugal force due to rotation mean that sea-level gravity increases from about 9.780 m/s2 at the Equator to about 9.832 m/s2 at the poles, so an object will weigh approximately 0.5% more at the poles than at the Equator.[2][11]
Altitude
The graph shows the variation in gravity relative to the height of an object above the surface
Earth vs Mars vs Moon gravity at elevation
Gravity decreases with altitude as one rises above the Earth's surface because greater altitude means greater distance from the Earth's centre. All other things being equal, an increase in altitude from sea level to 9,000 metres (30,000 ft) causes a weight decrease of about 0.29%. (An additional factor affecting apparent weight is the decrease in air density at altitude, which lessens an object's buoyancy.[12] This would increase a person's apparent weight at an altitude of 9,000 metres by about 0.08%)
It is a common misconception that astronauts in orbit are weightless because they have flown high enough to escape the Earth's gravity. In fact, at an altitude of 400 kilometres (250 mi), equivalent to a typical orbit of the ISS, gravity is still nearly 90% as strong as at the Earth's surface. Weightlessness actually occurs because orbiting objects are in free-fall.[13]
The effect of ground elevation depends on the density of the ground (see Slab correction section). A person flying at 9,100 m (30,000 ft) above sea level over mountains will feel more gravity than someone at the same elevation but over the sea. However, a person standing on the Earth's surface feels less gravity when the elevation is higher.
The following formula approximates the Earth's gravity variation with altitude:
ℎ
=
0
(
e
e
+
ℎ
)
2
{\displaystyle g_{h}=g_{0}\left({\frac {R_{\mathrm {e} }}{R_{\mathrm {e} }+h}}\right)^{2}}
Where
gh is the gravitational acceleration at height h above sea level.
Re is the Earth's mean radius.
g0 is the standard gravitational acceleration.
The formula treats the Earth as a perfect sphere with a radially symmetric distribution of mass; a more accurate mathematical treatment is discussed below.
Depth
Gravity at different internal layers of Earth (1 = continental crust, 2 = oceanic crust, 3 = upper mantle, 4 = lower mantle, 5+6 = core, A = crust-mantle boundary)
Earth's radial density distribution according to the Preliminary Reference Earth Model (PREM).[14]
Earth's gravity according to the Preliminary Reference Earth Model (PREM).[14] Two models for a spherically symmetric Earth are included for comparison. The dark green straight line is for a constant density equal to the Earth's average density. The light green curved line is for a density that decreases linearly from center to surface. The density at the center is the same as in the PREM, but the surface density is chosen so that the mass of the sphere equals the mass of the real Earth.
See also: Shell theorem
An approximate value for gravity at a distance r from the center of the Earth can be obtained by assuming that the Earth's density is spherically symmetric. The gravity depends only on the mass inside the sphere of radius r. All the contributions from outside cancel out as a consequence of the inverse-square law of gravitation. Another consequence is that the gravity is the same as if all the mass were concentrated at the center. Thus, the gravitational acceleration at this radius is[15]
(
)
=
−
(
)
2
.
g(r) = -\frac{GM(r)}{r^2}.
where G is the gravitational constant and M(r) is the total mass enclosed within radius r. If the Earth had a constant density ρ, the mass would be M(r) = (4/3)πρr3 and the dependence of gravity on depth would be
(
)
=
4
3
.
g(r) = \frac{4\pi}{3} G \rho r.
The gravity g′ at depth d is given by g′ = g(1 − d/R) where g is acceleration due to gravity on the surface of the Earth, d is depth and R is the radius of the Earth. If the density decreased linearly with increasing radius from a density ρ0 at the center to ρ1 at the surface, then ρ(r) = ρ0 − (ρ0 − ρ1) r / re, and the dependence would be
(
)
=
4
3
0
−
(
0
−
1
)
2
e
.
g(r)={\frac {4\pi }{3}}G\rho _{0}r-\pi G\left(\rho _{0}-\rho _{1}\right){\frac {r^{2}}{r_{{{\mathrm {e}}}}}}.
The actual depth dependence of density and gravity, inferred from seismic travel times (see Adams–Williamson equation), is shown in the graphs below.
Local topography and geology
See also: Physical geodesy
Local differences in topography (such as the presence of mountains), geology (such as the density of rocks in the vicinity), and deeper tectonic structure cause local and regional differences in the Earth's gravitational field, known as gravitational anomalies.[16] Some of these anomalies can be very extensive, resulting in bulges in sea level, and throwing pendulum clocks out of synchronisation.
The study of these anomalies forms the basis of gravitational geophysics. The fluctuations are measured with highly sensitive gravimeters, the effect of topography and other known factors is subtracted, and from the resulting data conclusions are drawn. Such techniques are now used by prospectors to find oil and mineral deposits. Denser rocks (often containing mineral ores) cause higher than normal local gravitational fields on the Earth's surface. Less dense sedimentary rocks cause the opposite.
A map of recent volcanic activity and ridge spreading. The areas where NASA GRACE measured gravity to be stronger than the theoretical gravity have a strong correlation with the positions of the volcanic activity and ridge spreading.
There is a strong correlation between the gravity derivation map of earth from NASA GRACE with positions of recent volcanic activity, ridge spreading and volcanos: these regions have a stronger gravitation than theoretical predictions.
Other factors
In air or water, objects experience a supporting buoyancy force which reduces the apparent strength of gravity (as measured by an object's weight). The magnitude of the effect depends on the air density (and hence air pressure) or the water density respectively; see Apparent weight for details.
The gravitational effects of the Moon and the Sun (also the cause of the tides) have a very small effect on the apparent strength of Earth's gravity, depending on their relative positions; typical variations are 2 µm/s2 (0.2 mGal) over the course of a day.
Direction
Main article: Vertical direction
A plumb bob determines the local vertical direction
Gravity acceleration is a vector quantity, with direction in addition to magnitude. In a spherically symmetric Earth, gravity would point directly towards the sphere's centre. As the Earth's figure is slightly flatter, there are consequently significant deviations in the direction of gravity: essentially the difference between geodetic latitude and geocentric latitude. Smaller deviations, called vertical deflection, are caused by local mass anomalies, such as mountains.
Comparative values worldwide
Tools exist for calculating the strength of gravity at various cities around the world.[17] The effect of latitude can be clearly seen with gravity in high-latitude cities: Anchorage (9.826 m/s2), Helsinki (9.825 m/s2), being about 0.5% greater than that in cities near the equator: Kuala Lumpur (9.776 m/s2). The effect of altitude can be seen in Mexico City (9.776 m/s2; altitude 2,240 metres (7,350 ft)), and by comparing Denver (9.798 m/s2; 1,616 metres (5,302 ft)) with Washington, D.C. (9.801 m/s2; 30 metres (98 ft)), both of which are near 39° N. Measured values can be obtained from Physical and Mathematical Tables by T.M. Yarwood and F. Castle, Macmillan, revised edition 1970.[18]
Acceleration due to gravity in various cities
Mathematical models
Main article: Theoretical gravity
If the terrain is at sea level, we can estimate, for the Geodetic Reference System 1980,
{
}
g\{\phi\}, the acceleration at latitude
\phi :
{
}
=
9.780327
m
⋅
s
−
2
(
1
+
0.0053024
sin
2
−
0.0000058
sin
2
2
)
,
=
9.780327
m
⋅
s
−
2
(
1
+
0.0052792
sin
2
+
0.0000232
sin
4
)
,
=
9.780327
m
⋅
s
−
2
(
1.0053024
−
0.0053256
cos
2
+
0.0000232
cos
4
)
,
=
9.780327
m
⋅
s
−
2
(
1.0026454
−
0.0026512
cos
2
+
0.0000058
cos
2
2
)
{\displaystyle {\begin{aligned}g\{\phi \}&=9.780327\,\,\mathrm {m} \cdot \mathrm {s} ^{-2}\,\,\left(1+0.0053024\,\sin ^{2}\phi -0.0000058\,\sin ^{2}2\phi \right),\\&=9.780327\,\,\mathrm {m} \cdot \mathrm {s} ^{-2}\,\,\left(1+0.0052792\,\sin ^{2}\phi +0.0000232\,\sin ^{4}\phi \right),\\&=9.780327\,\,\mathrm {m} \cdot \mathrm {s} ^{-2}\,\,\left(1.0053024-0.0053256\,\cos ^{2}\phi +0.0000232\,\cos ^{4}\phi \right),\\&=9.780327\,\,\mathrm {m} \cdot \mathrm {s} ^{-2}\,\,\left(1.0026454-0.0026512\,\cos 2\phi +0.0000058\,\cos ^{2}2\phi \right)\end{aligned}}}
This is the International Gravity Formula 1967, the 1967 Geodetic Reference System Formula, Helmert's equation or Clairaut's formula.[19]
An alternative formula for g as a function of latitude is the WGS (World Geodetic System) 84 Ellipsoidal Gravity Formula:[20]
{
}
=
[
1
+
sin
2
1
−
2
sin
2
]
,
g\{\phi\}= \mathbb{G}_e\left[\frac{1+k\sin^2\phi}{\sqrt{1-e^2\sin^2\phi}}\right],\,\!
where,
,
{\displaystyle a,\,b} are the equatorial and polar semi-axes, respectively;
2
=
1
−
(
/
)
2
{\displaystyle e^{2}=1-(b/a)^{2}} is the spheroid's eccentricity, squared;
,
{\displaystyle \mathbb {G} _{e},\,\mathbb {G} _{p}\,} is the defined gravity at the equator and poles, respectively;
=
−
{\displaystyle k={\frac {b\,\mathbb {G} _{p}-a\,\mathbb {G} _{e}}{a\,\mathbb {G} _{e}}}} (formula constant);
then, where
=
9.8321849378
m
⋅
s
−
2
{\displaystyle \mathbb {G} _{p}=9.8321849378\,\,\mathrm {m} \cdot \mathrm {s} ^{-2}},[20]
{
}
=
9.7803253359
m
⋅
s
−
2
[
1
+
0.001931852652
sin
2
1
−
0.0066943799901
sin
2
]
{\displaystyle g\{\phi \}=9.7803253359\,\,\mathrm {m} \cdot \mathrm {s} ^{-2}\left[{\frac {1+0.001931852652\,\sin ^{2}\phi }{\sqrt {1-0.0066943799901\,\sin ^{2}\phi }}}\right]}.
where the semi-axes of the earth are:
=
6378137.0
m
{\displaystyle a=6378137.0\,\,{\mbox{m}}}
=
6356752.314245
m
{\displaystyle b=6356752.314245\,\,{\mbox{m}}}
The difference between the WGS-84 formula and Helmert's equation is less than 0.68 μm·s−2.
Further reductions are applied to obtain gravity anomalies (see: Gravity anomaly#Computation).
Estimating g from the law of universal gravitation
From the law of universal gravitation, the force on a body acted upon by Earth's gravitational force is given by
=
1
2
2
=
(
⊕
2
)
{\displaystyle F=G{\frac {m_{1}m_{2}}{r^{2}}}=\left(G{\frac {M_{\oplus }}{r^{2}}}\right)m}
where r is the distance between the centre of the Earth and the body (see below), and here we take
⊕M_\oplus to be the mass of the Earth and m to be the mass of the body.
Additionally, Newton's second law, F = ma, where m is mass and a is acceleration, here tells us that
=
{\displaystyle F=mg}
Comparing the two formulas it is seen that:
=
⊕
2
{\displaystyle g=G{\frac {M_{\oplus }}{r^{2}}}}
So, to find the acceleration due to gravity at sea level, substitute the values of the gravitational constant, G, the Earth's mass (in kilograms), m1, and the Earth's radius (in metres), r, to obtain the value of g:[21]
=
⊕
2
=
6.674
⋅
10
−
11
m
3
k
g
−
1
s
−
2
×
6
×
10
24
k
g
(
6.4
×
10
6
m
)
2
=
9
+
795
2
10
≈
9.77637
m
s
−
2
{\displaystyle g=G{\frac {M_{\oplus }}{r^{2}}}=6.674\cdot 10^{-11}\mathrm {{m}^{3}\,{kg}^{-1}{s}^{-2}} \times {\frac {6\times 10^{24}\mathrm {kg} }{(6.4\times 10^{6}\mathrm {m} )^{2}}}=9+{\frac {795}{2^{10}}}\approx 9.77637\,\mathrm {{m}\,{s}^{-2}} }
This formula only works because of the mathematical fact that the gravity of a uniform spherical body, as measured on or above its surface, is the same as if all its mass were concentrated at a point at its centre. This is what allows us to use the Earth's radius for r.
The value obtained agrees approximately with the measured value of g. The difference may be attributed to several factors, mentioned above under "Variations":
The Earth is not homogeneous
The Earth is not a perfect sphere, and an average value must be used for its radius
This calculated value of g only includes true gravity. It does not include the reduction of constraint force that we perceive as a reduction of gravity due to the rotation of Earth, and some of gravity being counteracted by centrifugal force.
There are significant uncertainties in the values of r and m1 as used in this calculation, and the value of G is also rather difficult to measure precisely.
If G, g and r are known then a reverse calculation will give an estimate of the mass of the Earth. This method was used by Henry Cavendish.
Measurement
Main article: Gravimetry
The measurement of Earth's gravity is called gravimetry.
Satellite measurements
This section is an excerpt from Gravimetry § Satellite gravimetry.[edit]
Gravity anomaly map from GRACE
Currently, the static and time-variable Earth's gravity field parameters are being determined using modern satellite missions, such as GOCE, CHAMP, Swarm, GRACE and GRACE-FO.[22][23] The lowest-degree parameters, including the Earth's oblateness and geocenter motion are best determined from Satellite laser ranging.[24]
Large-scale gravity anomalies can be detected from space, as a by-product of satellite gravity missions, e.g., GOCE. These satellite missions aim at the recovery of a detailed gravity field model of the Earth, typically presented in the form of a spherical-harmonic expansion of the Earth's gravitational potential, but alternative presentations, such as maps of geoid undulations or gravity anomalies, are also produced.
The Gravity Recovery and Climate Experiment (GRACE) consists of two satellites that can detect gravitational changes across the Earth. Also these changes can be presented as gravity anomaly temporal variations. The Gravity Recovery and Interior Laboratory (GRAIL) also consisted of two spacecraft orbiting the Moon, which orbited for three years before their deorbit in 2015.
My Son Has An Anova Sous Vide Immersion Circulator so I looked it up. Here’s what I found:
Why should I cook sous vide?
Sous vide cooking utilizes precise temperature control with circulation to produce results that you can’t achieve through any other cooking technique. The reason–when using traditional methods of cooking, you don’t have control over heat and temperature. Consequently, it’s very difficult and time consuming to consistently cook great food. Food ends up overcooked on the outside, with only a small portion in the center that is cooked to the temperature you want. Food loses flavor, overcooks easily, and ends up with a dry, chewy texture. With precise temperature control in the kitchen, sous vide provides the following benefits:
Consistency
Because you cook your food to a precise temperature for a precise amount of time, you can expect very consistent results.
Taste
Food cooks in its juices. This ensures that the food is moist, juicy and tender.
Waste Reduction
Traditionally prepared food dries out and results in waste. For example, on average, traditionally cooked steak loses up to 40% of its volume due to drying out. Steak cooked via precision cooking, loses none of its volume
.
Flexibility
Traditional cooking can require your constant attention. Precision cooking brings food to an exact temperature and holds it. There is no worry about overcooking.
Types of Sous Vide Machines
Sous vide equipment has existed for decades in professional kitchens around the world, but it has always been bulky, expensive, and overloaded with complex features. This type of equipment eventually made its way into high-end specialty retail shops, but remained limited to chefs and consumers with extensive culinary experience. Cooking shows, social media, and online communities have furthered consumers’ knowledge of sous vide cooking, but it wasn’t until Anova released the first affordable and easy-to-use consumer device that sous vide became accessible to home cooks. There are now many sous vide options available to the home cook. Below are a few types of equipment for you to consider when you’re ready to build your ultimate sous vide setup:
I
Sous Vide Immersion Circulator
The Anova’s Sous Vide Cooker is a standalone immersion circulator that heats water and circulates it around the pot to maintain precise temperatures evenly. Immersion circulators are an affordable and easy-to-use sous vide machine option. They do not come with a built-in water bath, so they take up very little space in your kitchen. Standalone sous vide devices don’t require additional equipment to get started because they clamp on and adjust to any pot you already own. The Anova’s Sous Vide Cooker is a sous vide immersion circulator. Other examples include ChefSteps Joule, Nomiku, and Sansaire.
Oskar Schlemmer, (born September 4, 1888, Stuttgart, Germany—died April 13, 1943, Baden-Baden, Germany), German painter, sculptor, choreographer, and designer known for his abstract yet precise paintings of the human form as well as for his avant-garde ballet productions.
Schlemmer was exposed to design theory at a young age as an apprentice in a marquetry workshop. He took classes at the Kunstgewerbeschule (School of Applied Arts) in Stuttgart, and a scholarship allowed him to further his studies at the Stuttgart Academy of Fine Art (1906–10). He spent a year in Berlin painting and familiarizing himself with new trends in art by artists associated with the Der Sturm Gallery. He then returned to Stuttgart in 1912 and became a master student of abstract artist Adolf Hölzel.
Schlemmer was wounded in action while serving in World War I and returned to Stuttgart in 1916. In 1919 he helped spearhead a movement to modernize the curriculum at the Stuttgart Academy of Fine Art—which also involved a staunch effort to have Paul Klee appointed to the faculty there—and, more generally, to bring modern art exhibitions to Stuttgart. He was integral to organizing early exhibitions, which featured his own work as well as that of Klee, Willi Baumeister, and others.
In 1920 Schlemmer married Helena (“Tut”) Tutein, and that same year Walter Gropius invited him to the Bauhaus school in Weimar to teach. There he made significant contributions to numerous departments (sculpture, mural painting, metal work, and life drawing) but truly left his mark in the stage workshop. For that workshop he created his best-known work, Das triadisches Ballett (1922; “The Triadic Ballet”)—a ballet that he choreographed and for which he designed costumes. He named it “Triadic” to reflect the three acts, three dancers, and three colours (one for each act). The costumes he designed—based on cylinder, sphere, cone, and spiral shapes—were revolutionary. That ballet premiered in Stuttgart in 1922 and was then presented throughout the 1920s in cities such as Weimar, Frankfurt am Main, Berlin, and Paris. Schlemmer served as head of the stage workshop at the Bauhaus from 1923 to 1929. His experience with dance influenced his paintings, which began to incorporate more depth and volume, as seen in The Dancer (1923). Schlemmer developed the Bauhaus theatre in Dessau—where the school had relocated in 1925—and was involved in the design process of many theatrical productions.
Throughout the 1920s Schlemmer was commissioned to paint several murals in both private residences, such as the home of architect Adolf Meyer (1924), and public spaces, such as the former Bauhaus in Weimar (1923), which the Nazis destroyed in 1930, and the Folkwang Museum in Essen (1928–30), which the Nazis vandalized, dismantled, and removed in 1933. Schlemmer left the Bauhaus in 1929.
From the Bauhaus, Schlemmer moved to Breslau, where he continued to work in theatre and teach (State Art Academy). He also continued to paint, and in 1932 he created his well-known work Bauhaus Stairway. Without warning the Nazi regime dismissed him from his teaching position in 1933. Schlemmer moved to Switzerland for a brief time with his wife and children and painted portraits and landscapes.
The last decade of Schlemmer’s life was marred by the Nazi dictatorship and defamation of his life’s work. In 1937 five of his works were included in the Nazi-organized “Degenerate Art” exhibition in Munich. He continued to exhibit his work when possible and participated in major exhibitions in London and New York City in 1938. Schlemmer was reunited with Baumeister and other artists in 1940 when he moved to Wuppertal, Germany, where he earned a living by working at a lacquer factory. He died of a heart attack three years later. Schlemmer’s Triadic Ballet was revived on a number of occasions in the late 20th century and was performed with the original, restored costumes. Those costumes, however, were the only original elements remaining. The music and choreography associated with Schlemmer’s production were lost. A volume of his diaries and letters edited by his wife was published in 1972; an English translation by Krishna Winston was issued in 1990.
Scan of a slide taken in November 1990; before precising the history of this vehicle, one of the odd traditions of the K&ESR's C&W Department was that Dave Dine cooked a Christmas Dinner for his fellow volunteers. I say odd, because this always seemed a slightly un-Dave thing to do but he made a fair stab at roast turkey with all the trimmings and I recall sometimes some of his work colleagues were invited too. Virtually all of us had to drive so it was a fairly abstemiousness affair (Gordon Young and Pete Carey never returned to 'work' if they had even as much as a half at lunchtime) and although memory plays tricks on me, I think the 1990 venue was this carriage. Also, if memory serves me right the interior was a bit odd, I recall Gordon describing it as a 'Formica Palace'. All would have seemed well in the world of C&W at that point; several Mark Ones were available for general services, the 'Wealden Pullman' wine and dine set had been maintained for yet another profitable season and progress was being made with the Maunsells and the vintage carriages..
This vehicle was built in 1931 at Eastleigh as a restriction '0' Corridor Composite for the restricted gauge Hasting line. It passed into Departmental Stock in 1962 as TDS70155 and arrived at Tenterden in 1990 becoming No. 91 in the K&ESR stock book. Presumably whilst we were scoffing our turkey we assumed this carriage would one day see service on the K&ESR (why else would Paul Ramsden have green lighted the purchase). However, it had move to Robertsbridge by 1995 and suffered fire damage at one end. It has since been reunited with Paul at Rampart Engineering and is most likely currently at Barrow Hill.
A CROSS marks the precise boundary between the town Kalampaka and the village Kastraki, Greece. The prominent lamdmark is located beneath the rock formation Bádovas in Meteora—one of UNESCO world heritage sites.
The Holy Symbol also defines a clear-cut boundary between Truth (pictorially represented by Clarity) and Propaganda (represented by Distortion):
In the fine art shot, the only clear part is the Cross and the Cross alone, because it represents truth, faith and heavens; the farther away from the Cross the surroundings are, the more distorted they get by a hell-like VORTEX of lies, deceit and sin.
Deceit, propaganda and lies lead to a Breakdown in communication. The latter is HELL (defined as the state of lack of communication or the state of being distanced); so, hell should be thought as a “state of being” rather than as a place. The Cross symbolizes sacrifice—the Almighty God’s power to “deliver us from evil.”
+ ✞
We are staying north of the border today, in Portstewart to be precise. Having had a good look at the photo I am struck by the three hard working (is that the correct word?) men on the middle pier, they seem to be very relaxed and laid back. I am expecting a very precise date range for this photo.
Among the commetary, insights and dating suggestions for this image is confirmation (from the StreetView provided by B-59) that the buildings in the middle of this image have been replaced or otherwise unrecognisable. Thankfully the buildings on the left of Harbour Place and the right of the Promenade remain. One of the other main takeaways from today is how excited we all are for tomorrow's launch of the Photo Detectives exhibition One more sleep indeed :)
Photographer: Robert French
Collection: Lawrence Photograph Collection
Date: Catalogue range c.1880-1900
NLI Ref: L_ROY_05579
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Small and precise. Most of its prey is taken in flight, as it moves with ease through bare branches and dense thickets.
It feeds mainly on small songbirds, which is why it is often seen during the colder months in gardens where bird feeders attract tits and other small birds. As a result, the sparrowhawk also adapts well to the presence of people.
Rain. Lots of it. 24 inches to be precise. Only 4 days after taking this picture of the Chavón River in La Romana (Dominican Republic), a new tropical storm paced its way over the island of Hispaniola, continuing on to the East coast of the US...
Lo que falta es aún peor.
Lluvia. Y mucha. 24 pulgadas para ser precisos. Sólo 4 días después de tomar esta foto del río Chavón en La Romana (República Dominicana), una nueva tormenta tropical atravesó lentamente la isla de la Hispaniola, siguiendo su curso hacia la costa Este de los EE UU...
Olympus E-3
ZD 7-14mm f/4 ED
Aperture Priority Mode
f/1
ISO 100
7mm
1/200
Metering: Spot
White Balance: Cloudy
No Photoshop
No HDR