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With just, precise, urgent words, but all united to surround love. The work of the Uruguayan Marosa di Giorgio (1932-2004) always had this sensitive topic at the centre of her poetry, but in one and a thousand ways she knew how to build an exquisite aesthetic to escape (with notable success) the expected. In La flor de lis, she gives us a series of poems that had already been published in other contexts or separately, so having them together delineates a corpus where lives is the access to a delicate and explosive eroticism that invites us to buy a travel ticket to the few pages.
Before that, the dedication that opens the book ("Poems of love to Mario") already says a lot as a foretaste, but that feeling will be resignified with the page running because we all have someone we love against all evil, and just for Marosa, Mario was that. At the same time, the guy stood as a totem pole stealing his days, sighs and dreams, many dreams as a starting point for what will come pages ahead. That is why in the development gush out bubbles of images, passions and the fantastic emergence of new worlds where fire makes and dissolves as an inventor of new realities that overwhelm. To hear and feel the nerve of that feeling, the book comes with Diadema, a CD with the voice of Marosa reciting other writings, but where each and every one of the words acquires an outbreak as meaningful as the energy that emerges from a first time. Diego Gez
blog.bestprice4product.com/travel-costa-rica/
Costa Rica is one of the top vacation destinations in the Americas. Aside from sun-drenched beaches, steamy jungles, and abundant wildlife, Costa Rica has a wealth of attractions and adventures to please a wide range of travelers. Whether you’re a family looking for something new, a snow bunny working on a winter tan, or an avid naturalist itching to delve into the wonderful world of the tropical rain forest, there’s a Costa Rican vacation waiting just for you.
HILL OF CROSSES
It was raining a lot, but I managed to visit this historical and religious place.
Hill of Crosses is a major site of Catholic pilgrimage near the city of Šiauliai. 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 Jurgaičiai or Domantai hill fort after the rebellion against Russian authorities in 1831. As families could not locate bodies of perished rebels, they started putting up symbolic crosses at the site of a former hill fort. Today there are more than 100,000 crosses and counting. Once Lithuania declared its independence, 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. In 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice.
Šiauliai, Lithuania July 2022 #itravelanddance
American Interior - 1934
Artist: Charles Sheeler (American, 1883–1965)
Charles Sheeler based American Interior on a photograph, which he had taken from above, of the living room of his former home in South Salem, New York. He designed the painting with the eye of a photographer, using a cropped composition, an oblique view, precise contours, and contrasts of light and dark. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair.
"Charles Sheeler based his 1934 painting American Interior on a photograph. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair. Kathryn Scanlan and Karin Roffman will talk about objects, painting, photography, and the fine line between the imaginary and the real."
windhamcampbell.org/festival/events/close-looking-charles...
www.youtube.com/watch?v=zRa8_CQFNMk
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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As long as we have the actual size and position of any object... human beings manage to sketch it out.....via any angle or any perspective scene...with the appropriate
angular rotation and velocity as well
ONLY THROUGH the computer software nowadays is not enough... we have to integrate our technical know how knowledge too ....
Because of the above reasons, we can turn it into animation or video format too. If are interested, kindly refer to
video.cctv.com/channel/HIEWKIMLIAN.html
...should you have any comment or feed back, please feel free to contact the undersigned....I need your rescue seriously.
It is truly incredible!!!
Other relevant terms:
Culture_express__Universal_n_Planetary_Sizes_and_Distances_Comparison AccurateScientificResult PRECISE_UNIVERSAL_SCENE ActualPlanetSizeComparison
DONALD TRUMP AGAINST KAMALA HARRIS -
By Bernard Bujold -
The strategies are clear and precise for the November 5, 2024 vote!
Donald Trump's Republicans want to keep Joe Biden's image alive in the campaign and highlight his direct influence on Vice President Kamala Harris. The Democrats have the opposite strategy: to make people forget Biden's existence altogether...
Joe Biden won in 2020 because Covid had turned everything upside down and people feared chaos. They thought Biden would end the polarization, but he made it worse.
A specific feature of the 2024 campaign is that the momentum of the two political parties varies from week to week. In contrast, in the past, you could establish momentum that lasted an average of six months.
Kamala Harris reminds me of Hillary Clinton in 2016. Hillary had a high profile following her political career with Barack Obama, and she was wearing the name of a former president, Bill Clinton. Even with these two advantages, she failed because of the glass ceiling concerning women, but above all by focusing on the popular vote, contrary to her husband Bill's advice to target the key states...
In my opinion, Donald will replay 2016 by targeting key states rather than the popular vote, and in the end, the winner of the vote will not be decided on the character of Trump or Harris, but rather on the best effort to get the vote out in key states.
To be continued!
SEE ANALYSIS THE NEW YORK TIMES
lestudio1mediamonitoring.blogspot.com/2024/08/donald-trum...
DONALD TRUMP CONTRE KAMALA HARRIS -
Par Bernard Bujold -
Les stratégies sont claires et précises pour le vote du 5 novembre 2024 !
Les républicains de Donald Trump veulent entretenir l'image de Joe Biden dans la campagne et mettre en avant son influence directe sur la vice-présidente Kamala Harris. Les démocrates ont la stratégie inverse : faire oublier l'existence de Joe Biden...
Joe Biden a gagné en 2020 parce que Covid avait tout chamboulé et que les gens craignaient le chaos. Ils pensaient que Biden mettrait fin à la polarisation, mais il l'a aggravée.
La campagne de 2024 se caractérise par le fait que la dynamique des deux partis politiques varie d'une semaine à l'autre. Dans le passé, il était possible d'établir une dynamique qui durait en moyenne six mois.
Kamala Harris me fait penser à Hillary Clinton en 2016. Hillary jouissait d'une grande notoriété suite à sa carrière politique avec Barack Obama, et elle portait le nom d'un ancien président, Bill Clinton. Même avec ces deux avantages, elle a échoué à cause du plafond de verre concernant les femmes, mais surtout en se focalisant sur le vote populaire, contrairement aux conseils de son mari Bill de cibler les états clés....
À mon avis, Donald va rejouer 2016 en ciblant les états clés plutôt que le vote populaire, et au final, le vainqueur du vote ne se décidera pas sur le caractère de Trump ou de Harris, mais plutôt sur le meilleur effort pour faire sortir le vote dans les états clés.
À suivre!
VOIR L'ANALYSE DU NEW YORK TIMES
lestudio1.blogspot.com/2024/08/donald-trump-contre-kamala...
A very precise ritual for the lighting of the Flame is followed at every Games. It is lit from the sun's rays at the Temple of Hera in Olympia, in a traditional ceremony among the ruins of the home of the ancient Games.
After a short relay around Greece, the Flame is handed over to the new Host City at another ceremony in the Panathenaiko stadium in Athens.
The Flame is then delivered to the Host Country, where it is transferred from one Torchbearer to another, spreading the message of peace, unity and friendship. It ends its journey as the last Torchbearer lights the cauldron at the Olympic Games Opening Ceremony in the Olympic Stadium, marking the official start of the Games.
The Flame is extinguished on the final day of the Games, at the Closing Ceremony.
Rotated and cropped from last shot.
276 sec exposure, motor off for about 30 sec. Will be more precise next time.
PE Test method
New CGEM reducer
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola) es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola)3 es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
I love birds of prey - beautiful, vicious, inquisitive, precise, and calm when at rest - nothing speaks of self-believe and total knowledge that "there is no better than I" than an owl considering it's next feeding time.
Anyone that gets a chance to just sit quietly and watch them closely I'm sure will agree, it's the quiet moments that tell you the most about these animals.
If it wasn't for the fact that I've seen them feeding, I might have said in my next life I want to be an owl.
I am going to share some more raptor shots at some stage, maybe not part of the 365 project though as I have other plans developing.
Two really interesting shots I wanted to share today:
www.flickr.com/photos/anrb/4464260362/ - Does anyone else dare risk their relationship for 'that shot'?
Do take a look at the rest of the shots, particularly his fun with smoke series which I myself have been doing so is definitely an inspiration to take my own work further:
www.flickr.com/photos/anrb/4386823894/
Secondly:
www.flickr.com/photos/lighthack/4462318154/ - there is no need to make your shots complicated, keeping it simple can often be just as effective. I'm gonna look at guitars through the viewfinder at some point, and this makes a great reference. Love it!
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• Live/Average/Maximum Wind Speed
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Contact for more information: info@gaxcesensors.com
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A very precise ritual for the lighting of the Flame is followed at every Games. It is lit from the sun's rays at the Temple of Hera in Olympia, in a traditional ceremony among the ruins of the home of the ancient Games.
After a short relay around Greece, the Flame is handed over to the new Host City at another ceremony in the Panathenaiko stadium in Athens.
The Flame is then delivered to the Host Country, where it is transferred from one Torchbearer to another, spreading the message of peace, unity and friendship. It ends its journey as the last Torchbearer lights the cauldron at the Olympic Games Opening Ceremony in the Olympic Stadium, marking the official start of the Games.
The Flame is extinguished on the final day of the Games, at the Closing Ceremony.
this statue stands near the library in London and near the railway station
in such pose probably better to think...: )
This is JJ, he is a Jack-a- poo. He was rescued and barely alive, with little hope from our vet that he would make it. He's 5! I nursed him to health with a raw diet for the 1st year of his life. I have tried many holistic foods to help him, but his allergies always got the best of him. I finally found Precise, Lamb with Sweet-potato, and after the 2nd bag he is allergy free with clear skin and no ear infections! Thanks Precise!
How could I when every single one of these thermometers show a different temperature?
Happy Thanksgiving everyone!
Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
Precise timing equipment tracks the lap times for each and every lap that CP1 makes. Currently tracking at about 43 MPH, 39 to 40 seconds per lap.
Delightfully precise mileage to Oxford ! The Crocodile is a stone water conduit carved in the shape of a Crocodile's head which has been channelling spring water from the limestone hills into the River Coln for over 150 years. It had become a little worse for wear, caused by water erosion, so the villagers of Compton Abdale successfully applied for a special grant from the Cotswolds Conservation Board to enable a stonemason to carve a brand new crocodile head complete with a lead lining inside the huge toothy mouth to prevent water erosion over time.
The Hubble Space Telescope has spotted a UFO — well, the UFO Galaxy, to be precise. NGC 2683 is a spiral galaxy seen almost edge-on, giving it the shape of a classic science fiction spaceship. This is why the astronomers at the Astronaut Memorial Planetarium and Observatory gave it this attention-grabbing nickname. While a bird’s eye view lets us see the detailed structure of a galaxy (such as this Hubble image of a barred spiral), a side-on view has its own perks. In particular, it gives astronomers a great opportunity to see the delicate dusty lanes of the spiral arms silhouetted against the golden haze of the galaxy’s core. In addition, brilliant clusters of young blue stars shine scattered throughout the disc, mapping the galaxy’s star-forming regions. Perhaps surprisingly, side-on views of galaxies like this one do not prevent astronomers from deducing their structures. Studies of the properties of the light coming from NGC 2683 suggest that this is a barred spiral galaxy, even though the angle we see it at does not let us see this directly. NGC 2683, discovered on 5 February 1788 by the famous astronomer William Herschel, lies in the Northern constellation of Lynx. A constellation named not because of its resemblance to the feline animal, but because it is fairly faint, requiring the “sensitive eyes of a cat” to discern it. And when you manage to get a look at it, you’ll find treasures like this, making it well worth the effort. This image is produced from two adjacent fields observed in visible and infrared light by Hubble’s Advanced Camera for Surveys. A narrow strip which appears slightly blurred and crosses most the image horizontally is a result of a gap between Hubble’s detectors. This strip has been patched using images from observations of the galaxy made by ground-based telescopes, which show significantly less detail. The field of view is approximately 6.5 by 3.3 arcminutes.
Credit: ESA/Hubble & NASA
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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Fish and Chips. Precise species previously unknown to science. #seaside #cliche
5 Likes on Instagram
1 Comments on Instagram:
hypersquirrell: Yummy! :-)