the wheel, New York, wars and so on — whilst all the dolphins had ever done was muck about in the water having a good time. But conversely, the dolphins had always believed that they were far more intelligent than man — for precisely the same reasons :-)

Douglas Adams, The Hitch-Hiker's Guide to the Galaxy

HSS!!

prunus, dwarf flowering peach, 'NCSU Dwarf Double Red', j c raulston arboretum, ncsu, raleigh, north carolina

www.metropoliabierta.com/vivir-en-barcelona/cultura/jaume...

ENGISH

Jaume Plensa (Barcelona, 1955) is an artist of materials, sensations and ideas. His references include literature, especially poetry, music, religion and thought. He considers himself, above all, a sculptor, although his creative process has included multiple disciplines. His work addresses the very condition of being: its physical and spiritual essence, ontological awareness of present and past, moral codes and dogmas, and our relationship with nature. What we cannot explain is, precisely, what makes us human. Plensa’s objective is not to create objects, but to develop relationships that embrace everyone.

ESPAÑOL

Jaume Plensa (Barcelona, 1955) es un artista de materiales, sensaciones e ideas. Sus referencias abarcan la literatura ―en especial la poesía―, la música, la religión y el pensamiento. Él se considera, ante todo, escultor, aunque su proceso creativo ha transitado por múltiples disciplinas. Sus obras apelan a la condición misma del ser: su esencia física y espiritual, la conciencia de sí mismo y de su pasado, sus códigos morales y dogmas y su relación con la naturaleza. Lo que no podemos explicar es, precisamente, lo que nos explica como personas. Su objetivo no es construir objetos, sino desarrollar relaciones e incluirnos a todos en ellas.

CATALÀ

Jaume Plensa (Barcelona, 1955) és un artista de materials, sensacions i idees. Les seves referències abracen la literatura ―en especial la poesia―, la música, la religió i el pensament. Ell es considera, abans que res, escultor, tot i que el seu procés creatiu ha transitat per múltiples disciplines. Les seves obres s’adrecen a la condició mateixa de l’ésser: la seva essència física i espiritual, la consciència de si mateix i del seu passat, els seus codis morals i dogmes i la seva relació amb la natura. El que no podem explicar és, precisament, allò que ens explica com a persones. El seu objectiu no és fer objectes, sinó desenvolupar relacions i incloure’ns-hi a tots.

SOURCE(FUENTE/FONT: MACBA

or more precisely, part of the Grand Beguinage of Leuven - a community for unmarried, semi-religious women originating in the early 13th century.

Texture layer by Distressed Jewell ...

Nestled in the central part of Bhutan, Bumthang is a hidden gem that often goes unnoticed by travelers, but it's precisely this remote location that makes it so enchanting. During our stay, we had the opportunity to experience the region's charm by visiting a farmhouse and savoring a delicious meal prepared by a local mother of four. One of her children had emigrated to Australia, while the others lived in Thimpu, the country's capital. To supplement her income from farming, the lady of the house organized dinners for the occasional tourists who visited the area, a challenging feat in Bhutan where young people are leaving rural areas, leading to a shortage of workers to tend to the farms. This trend threatens Bhutan's self-sufficiency, a value that the country has long promoted. Despite the challenges, the food served was outstanding, with the noodles being a standout dish. The dinner at the farmhouse not only provided a glimpse into the local way of life but also helped us understand the challenges the country is facing – Bumthang, Bhutan

The Veil Nebula is a cloud of heated and ionized gas and dust in the constellation Cygnus. It constitutes the visible portions of the Cygnus Loop (radio source W78, or Sharpless 103), a large but relatively faint supernova remnant. The source supernova exploded circa 3,000 BC to 6,000 BC, and the remnants have since expanded to cover an area roughly 3 degrees in diameter. The distance to the nebula is not precisely known, but Far Ultraviolet Spectroscopic Explorer (FUSE) data supports a distance of about 1,470 light-years. (en.wikipedia.org/wiki/Veil_Nebula)

22 hrs RGB captured for this 2 panel Mosaic between 17 april and 18 June 2018 with Esprit 100 refractor/QHY16200 @-20C. Stacking/mosaic in AstroPixelProcessor, further processing in Pixinsight.

Knight Observatory, Tomar

[Explore 20180703]

uploading this images probably inadvertently deleted yesterdays photo. BTW I have no Idea what the correllas are discussing

I don't know where this man started or ended his daily walk, but he came past this corner every day, at precisely the same time.

He was always reading something on his cell phone, so he never did see me; indeed, his dog paid more attention to me than he did. He was always wearing a leather jacket, and he always seemed to have a pair of fashionably-thin ear muffs.

A few days after I took this photo, the weather was bitter-cold as I sat outside. The man was all bundled up in a leather jacket ... and he had put a blue coat on the dog. The man was still bundled up pretty heavily on the following morning, but the dog's jacket was gone. Life goes on ...

Note: I chose this as my "photo of the day" for Oct 23, 2015.

**********************

As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here. and here.).

In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”

Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …

On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.

But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …

But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.

But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.

And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.

With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:

1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).

2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…

3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.

4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.

But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves

5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.

Evening gowns theme:

Tilly was born in Italy, in a region of the North West called Liguria and more precisely in the area of ​​Liguria which takes the name of "Riviera dei Fiori". The best known city is Sanremo, known for its flowers, in fact, and for the Italian Song Festival.

For this reason Tilly was inspired by flowers to create this outfit, as a tribute to the land where she was born.

Dernier's dress really looks like the corolla of a flower that opens to show the precious treasure it has inside...almost a birth of Venus.

The elegance of black combines with the delicacy of the pink of the lapels, the bodice of the head decoration and the dancing petals for a romantic evening look full of poetry and ... music!

For more informations about details see: tillyopaline3.wixsite.com/.../miss-globe...

If you look precisely, you can see the andromeda-galaxy and the pleiades-cluster (Seven Sisters / Messier 45). :)

Santorini Akrotiri Lighthouse: The Lighthouse of Akrotiri is among the oldest lighthouses in Greece and was constructed way back in 1892. It stands like a sentinel towards the sea, on the southern peninsula of Santorini island.

(www.greeka.com/cyclades/santorini/sightseeing/akrotiri-li...)

Henro Boke[H]-Photography

"The church of Santo Stefano, or more precisely the church of Santo Stefano Protomartire, is one of the oldest churches in Ferrara. It was built before the 11th century in the city that was developing along the left bank of the Po, next to a stream that was then buried and later became Piazza Saint'Etienne (from the French city of the same name twinned with Ferrara since 1960).

Ferrara (/fəˈrɑːrə/, Italian: [ferˈraːra]; Emilian: Fràra [ˈfraːra]) is a city and comune in Emilia-Romagna, northern Italy, capital of the Province of Ferrara. As of 2016 it had 132,009 inhabitants. It is situated 44 kilometres (27 miles) northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km (3 miles) north. The town has broad streets and numerous palaces dating from the Renaissance, when it hosted the court of the House of Este. For its beauty and cultural importance, it has been designated by UNESCO as a World Heritage Site." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon.

Doll is Jogging Fleur precisely from 198?.

(there were no dates on the boxes)

Dress made by me.

Precisely one year ago we visited Cape Otway on Victoria's Great Ocean Road, staying at the Cape Otway Lightstation for a milestone birthday treat.

There are three or four cottages or studios in historical buildings in which you can stay at the Lightstation.

On this occasion, we are pretty sure we were the only guests staying overnight, and given the staff don't stay on site, we had this incredible piece of history to ourselves overnight.

I haven't done a lot of night sky photography, but with a clear night and a new moon in a remote location I had to take the opportunity.

Staying overnight provides the opportunity to scout out compositions before dusk, and the use of the PhotoPills app allowed me to plan the time of night when the milky way would be aligned above the lighthouse.

While I am sure that there is a lot of room for improvement, I am very happy with this image. Not only it is a decent image of the magnificent night sky, it brings forth great memories and wonderful imaginings.

Photography is a medium for story telling. This image provokes thoughts of the vastness of the universe, it is a reminder of the danger of navigation along a treacherous coastline. These threads combine—for me—into thoughts of exploration and journey.

Photographed using Nikon ED Nikkor 500mm 1:4.0P with Nikon TC-301

Though overcast with broken clouds, I found it very demanding to precisely focus through the viewfinder. The bird incessantly moved. I had to place a wide-brimmed hat over my face and the camera to allow me to better see and focus the camera. The Nikon ED Nikkor 500mm 1:4.0P has two focusing barrels, one very large, that should allow fine adjustment, but is still too course. Also, the shutter speed used for previous photos of 1/30 and 1/15 second was too slow, for such a long lens, though mounted on a truly heavy duty Manfrotto 161Mk2B tripod, with an equally heavy duty 400N geared head. Again, raising the shutter speed and keeping the ISO as low as possible to eliminate noise, made acquiring adequate depth-of-field a monster to deal with. So, the settings of f/5.6, 1/125, and ISO 100 were merely the best compromise. My recommendation would be to use a Nikon D3s or D3, though only 12.1 megapixel image will be available.

A gentle reminder about copyright and intellectual property-

Ⓒ Cassidy Photography (All images in this Flickr portfolio)

cassidyphotography.net

Zodiac ---Der WIDDER -- Millimeter genau > immer mit dem Kopf durch die Wand !!!!!

Eigenschaften > Sturheit , Durchsetzungsvermögen , Begeisterungsfähigkeit und eisener Wille ;))))

/////////

Zodiac --- The WIDDER - Millimeter Precisely> always with the head through the wall !!!!! Properties> Stubbornness, assertiveness, enthusiasm and iron will ;))))

Protea (pron.: /ˈproʊtiːə/) is both the botanical name and the English common name of a genus of South African flowering plants, sometimes also called sugarbushes (Afrikaans: suikerbos). The genus Protea was named in 1735 by Carl Linnaeus after the Greek god Proteus, who could change his form at will, because proteas have such a wide variety of forms. Linnaeus's genus was formed by merging a number of genera previously published by Herman Boerhaave, although precisely which of Boerhaave's genera were included in Linnaeus's Protea varied with each of Linnaeus's publications. The Proteaceae family to which proteas belong is an ancient one. Its ancestors grew in Gondwana, 300 million years ago. Proteaceae is divided into two subfamilies: the Proteoideae, best represented in southern Africa, and the Grevilleoideae, concentrated in Australia and South America and the other smaller segments of Gondwana that are now part of eastern Asia. Africa shares only one genus with Madagascar, whereas South America and Australia share many common genera — this indicates they separated from Africa before they separated from each other. (Source: Wikipedia)

__________________________________________

© All rights reserved.

This image may not be copied, reproduced, distributed, republished, downloaded,

displayed, posted or transmitted in any form or by any means, including electronic,

mechanical, photocopying & recording without my written consent.

The yellow-billed teal (Anas flavirostris) is a South American species of duck. Like other teals, it belongs to the diverse genus Anas; more precisely it is one of the "true" teals of subgenus Nettion. It occurs in Argentina, the Falkland Islands, Chile, Peru, Bolivia, Uruguay, and Brazil. It has also established itself in South Georgia, where it was first recorded breeding in 1971, and has been recorded as far east as Tristan da Cunha. It inhabits freshwater wetlands, preferring palustrine habitat to rivers. Considering its wide range and local abundance, it is not considered threatened by the IUCN.

Description

The namesake bill is bright yellow with a black tip and a black band along the ridge of the culmen. The species is somewhat similar to the larger yellow-billed pintail, but has a darker head, shorter neck and plain grayish sides.

Taxonomy

Mitochondrial DNA sequence data is most similar to that of the very different-looking green-winged teal. Apart from the mystifying relationship with the red-and-green-headed teals, it altogether most resembles the Indian Ocean radiation of teals. However, the yellow-billed teal's unicolored underside and namesake bill are unique, as is to be expected from a species that evolved half a world apart from Bernier's or the grey teal.

This species is also unique among its relatives in some aspects of its post-copulation behavior: After dismounting, the drakes stretch themselves up high and swim around and alongside the females.

Traditionally, there are 2 subspecies:

Sharp-winged teal, Anas flavirostris oxyptera (Meyen, 1834) – highlands of central Peru to northern Chile and Argentina.

Chilean teal, Anas flavirostris flavirostris (Vieillot, 1816) – southern South America as far north as southern Brazil and northern Argentina. Also in the Falkland Islands.

Previously, this species and the Andean teal formed the superspecies speckled teal, but increasingly taxonomists consider the two species distinct.

“Wonder—is not precisely knowing…” by Emily Dickinson Wonder—is not precisely Knowing And not precisely Knowing not— A beautiful but bleak condition He has not lived who has not felt— Suspense—is his maturer Sister— Whether Adult Delight is Pain Or of itself a new misgiving— This is the Gnat that mangles men—

being a pilot means taking precisely a bend at 240 km per hour. A 239 you have lost the race. At 241 the car

Jean-Louis Trintignant

www.marcellomachelli.com/

Mamiya 6MF, Ektachrome PRZ2048, digitised by photographing the original 60mm transparency on a light pad; tethered capture and development in Lightroom - my aim is always a good representation of the original.

I have omitted geotags on most of my photos. of Kata Tjuṯa because I really cannot remember with any confidence precisely where most were taken.

Wikipedia: "The 36 domes that make up Kata Tjuṯa cover an area of 21.68 km² [and] are composed of conglomerate, a sedimentary rock consisting of cobbles and boulders of varying rock types including granite and basalt, cemented by a matrix of sandstone. The highest dome, Mount Olga, is 1066m above sea level, or approximately 546m above the surrounding plain (198m higher than Uluṟu). [...] The actual fresh rock that makes up the Kata Tjuṯa and Uluṟu is medium to dark grey with green or pink hues in some laminae. The bright orange-red hue, for which the structures are noted, is due to a patina over finely divided feldspar coated in iron oxide."

and further: "The majority of mythology surrounding the site is not disclosed to outsiders, and in particular, women. As is the custom, should women become privy to the "men's business", they are susceptible to violent attacks, even death. The Anangu people believe the great rocks of Kata Tjuṯa are homes to spirit energy from the 'Dreaming', and since 1995 the site is being used once again for cultural ceremonies."

en.wikipedia.org/wiki/Kata_Tjuta

Rut track:

The ruts of this route in the Salonaise countryside, more precisely in the municipality of Pélissanne, are 1.27 to 1.30 m between axes. This ancient route linked Lambesc to Salon and was parallel to Via Aurelia located 2 km further south.

Note the central wear between the ruts, it is due to two phenomena. The first on the hooves of tractors (horses or oxen) and the second on the shoes of walkers for centuries. The depth of the ruts in molassic limestone can reach places of 30 or 40 cm.

Note that the depth of the ruts quickly became a problem for the axles of the carts which ended up touching the rock. We noticed cuts in the rock to place stones intended to retain a backfill.

Two words on La Via Aurelia:

It linked Italy to Arles in the year 6 of our era under Emperor Augustus, then it joined Via Domitia (in Nîmes) and Via Augusta in Spain via the Panissars pass.

I was able to find there ruts of 1.43 / 1.45 m in the countryside which correspond well to those of the Roman chariot.

-----------------------------------------

Les ornières de cette voie dans la campagne salonaise, plus précisément sur la commune de Pélissanne, font 1,27 à 1,30 m d'entre axes. Cette voie ancienne reliait Lambesc à Salon et se trouvait en parallèle de la Via Aurelia située 2 km plus au sud.

On remarquera l'usure centrale entre les ornières, elle est due à deux phénomènes. Le premier aux sabots des tractionneurs (chevaux ou bœufs) et le second aux chaussures des marcheurs durant des siècles. La profondeur des ornières dans le calcaire molassique peut atteindre par endroits 30 à 40 cm.

A noter que la profondeur des ornières devenait vite un problème pour les essieux des chariots qui finissaient par toucher le rocher. On a remarqué des retailles dans le roc permettant de placer des pierres destinées à retenir un remblai de comblement.

Deux mots sur La Via Aurelia:

Elle reliait l'Italie à Arles dès l'an 6 de notre ère sous L'Empereur Auguste, ensuite elle rejoignait la Via Domitia (à Nîmes) et la Via Augusta en Espagne par le col de Panissars.

J'ai pu y relever des ornières de 1,43/1,45 m dans la campagne qui correspondent bien à celles des chariots romains.

The current Via dell'Inferno was known in the 15th century as Via di Nostra Signora dell'Avesa, after the church of the same name, which was now number 3 and of which traces of a fresco (seriously degraded and defaced by remarkably stupid vandals) remain under the portico.

Between the 16th and 17th centuries, Inferno was a toponym that referred not only to the current Via dell'Inferno, but also to Via dei Giudei, and the reason for this name was explained precisely by the presence of the Jewish ghetto, which meant that the inhabitants of this area were destined for Hell.

However, the toponym, documented as early as the beginning of the 15th century, is much older than the creation of the ghetto in this area (mid-16th century).

The Inferno, documented at the beginning of the 15th century, is said to be near the butchers' shops of the Mercato di Mezzo, where the pig skinning shop was located, described in the Galleria Giovanni Acquaderni entry, and already operational at the end of the 14th century.

The Napoleonic reform of 1801 attributed the street name Inferno to this street, which was confirmed as Via Inferno with the reform of 1873/78.

From what we've seen, it's clear that Inferno did not originate from the presence of the Jews, given that the name is much older than the creation of the ghetto.

Instead, it seems that the skinning shop (or skinning shop) played an important role in the birth of the name Inferno: the first documents mentioning Inferno, as we've just seen, refer to the existing butchers' shops, or rather, the skinning shop that was already operational in the final years of the 14th century. The skinning mill exploited the waters of the Aposa stream, which were evidently used to eliminate the stinking waste from the slaughterhouse.

It is likely that it was precisely the infernal stench emanating from the waste from the skinning mill and carried by the waters of the Aposa, which ran uncovered alongside Via dell'Inferno until the 19th century, that gave rise to the toponym (place name) Inferno, later becoming an odonym (street name).

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La actual Via dell'Inferno se conocía en el siglo XV como Via di Nostra Signora dell'Avesa, por la iglesia del mismo nombre, que entonces era el número 3 y de la que aún se conservan restos de un fresco (gravemente deteriorado y desfigurado por vándalos increíblemente ineptos) bajo el pórtico.

Entre los siglos XVI y XVII, Inferno era un topónimo que se refería no solo a la actual Via dell'Inferno, sino también a Via dei Giudei, y el motivo de este nombre se explicaba precisamente por la presencia del gueto judío, lo que significaba que los habitantes de esta zona estaban destinados al infierno.

Sin embargo, el topónimo, documentado ya a principios del siglo XV, es mucho más antiguo que la creación del gueto en esta zona (mediados del siglo XVI).

Se dice que la calle Inferno, documentada a principios del siglo XV, se encontraba cerca de las carnicerías del Mercato di Mezzo, donde estaba ubicada la desolladora de cerdos, descrita en la entrada de la Galleria Giovanni Acquaderni, y que ya estaba en funcionamiento a finales del siglo XIV.

La reforma napoleónica de 1801 atribuyó el nombre de calle Inferno a esta calle, que se confirmó como Via Inferno con la reforma de 1873/78.

Por lo que hemos visto, es evidente que el nombre Inferno no se originó por la presencia judía, dado que es mucho más antiguo que la creación del gueto.

En cambio, parece que la desolladora desempeñó un papel importante en el origen del nombre Inferno: los primeros documentos que mencionan Inferno, como acabamos de ver, se refieren a las carnicerías existentes, o más bien, a la desolladora que ya estaba en funcionamiento a finales del siglo XIV. La fábrica de desollar aprovechaba las aguas del arroyo Aposa, que evidentemente se utilizaban para eliminar los fétidos desechos del matadero.

Es probable que fuera precisamente el hedor infernal que emanaba de los desechos de la fábrica de desollar y que era transportado por las aguas del Aposa, que corría al descubierto junto a la Via dell'Inferno hasta el siglo XIX, lo que dio origen al topónimo «Inferno», que más tarde se convirtió en nombre de calle.

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L'attuale via dell'Inferno era nota nel XV secolo come via di Nostra Signora dell'Avesa, dalla chiesa omonima che era all'odierno numero 3 e di cui si conserva traccia di affresco (assai degradato e deturpato da vandali di rilevante stupidità) sotto al portico.

Tra XVI e XVII secolo, Inferno era toponimo che indicava non solo l’attuale via dell’Inferno, ma anche via dei Giudei, e si spiegava la ragione di tale nome, appunto, con la presenza del ghetto ebraico, per cui gli abitanti di questa zona erano destinati all’Inferno.

Senonchè il toponimo, documentato già all’inizio del XV secolo, è molto più antico della creazione del ghetto in questa zona (metà del XVI secolo).

L’Inferno documentato all’inizio del XV secolo è detto essere vicino alle beccarie del Mercato di Mezzo, dove era lo scorticatoio dei maiali, descritto nella scheda di Galleria Giovanni Acquaderni, e già operativo alla fine del XIV secolo.

La riforma napoleonica del 1801 attribuì l’odonimo Inferno a questa via, confermato in via Inferno con la riforma nel 1873/78.

Da quanto visto, è evidente che Inferno non originò dalla presenza degli Ebrei, visto che l'odonimo è parecchio più antico della creazione del ghetto.

Sembra invece che lo scorticatoio (o pellatoio) abbia avuto parte importante per la nascita dell'odonimo Inferno: i primi documenti che citano Inferno, si è visto poc’anzi, fanno riferimento alle beccarie (macellerie) esistenti, ovvero al pellatoio che era già operativo negli ultimi anni del XIV secolo. Il pellatoio sfruttava le acque del torrente Aposa che evidentemente venivano usate per eliminare gli scarti ammorbanti del macello.

E’ probabile che sia stato proprio il fetore ... infernale emanato dagli scarti del pellatoio e trascinati dalle acque dell'Aposa, che correva scoperto a fianco di via dell'Inferno fino al XIX secolo ad originare il toponimo (nome di luogo) Inferno, per poi diventare odonimo (nome di via).

www.storiaememoriadibologna.it/archivio/luoghi/inferno-dell

...when you are longing for precisely this color combination when you get on your bike and ride out to the countryside...

The Royal Air Force's world-famous Red Arrows aerobatic team flies over the Massachusetts Statehouse on Beacon Hill in their signature "Big Battle" formation on the afternoon of Thursday, July 9th, precisely at 3:15 PM. The team uses colored smoke in their displays and flyovers, and in this case, if you look closely, they were in the process of painting a mile-long American Flag on the sky over Boston. The Red Arrows were in the US for a brief, 5-week tour, hitting a few airshows including the EAA Airventure in Oshkosh, WI, later in July, and performing ceremonial flyovers like this one to help America celebrate the 250th anniversary of the Declaration of Independence. The Reds were performing a pair of displays that weekend in Brunswick, Maine, along with the US Navy Blue Angels. They would be back over Boston Harbor just 2 days later, flying over the tall ship parade.

Getting the Red Arrows to the US is a really big deal. The small training aircraft flown by most of the European teams do not have aerial refueling capability like our own Thunderbirds and Blue Angels. For that reason, they have to make a number of shorter hops over the North Atlantic, flying from Scotland to Iceland to Greenland, to Labrador. It typically takes 3-4 days with all of the stops and servicing. They also bring with them at least a couple of large transports, bringing personnel and equipment. The Brits and the French both utilize the big, Airbus A400M, which is a massive turboprop. If you have not seen a European-style display, it is quite different from what we are used to. They don't make a lot of noise or go 700 mph, but they do a lot of large, formation aerobatics with colored smoke, and most teams also feature solo routines which sometimes include maneuvers that our US fighter jocks can only dream of.

Thank you, Great Britain, for sending these fine aviators for us to watch. You didn't have to do this, but we are grateful!

This chick stands precisely where its egg lay in the nest, at PHD 14.

Alpine Tarns. Kings Canyon National Park, California. September 15, 2013. © Copyright 2013 G Dan Mitchell - all rights reserved.

Alpine tarns at the base of talus slopes, Kings Canyon National Park

The meaning of the term "tarn" is somewhat varied. Two technical definitions I've heard include (rather precisely) a small lake in a depression scooped out by glacial action, or (more informally perhaps) simply any very small body of mountain water too small to qualify as a real lake. Yes, that's pretty subjective! Aside from their tendency to produce mosquitos, I love tarns, and I especially love areas where they are embedded in a rocky landscape broken by small meadows and occasionally trees.

I photographed this spot with its tarns (or small lakes, if you prefer) in shaded, soft light. There was sun, but it was low enough in the sky that its direct light was blocked by a tremendous rocky ridge to our west. Down here at the base of the small valley where we camped, everything was quiet and soft, including the light.

G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.

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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Protea /ˈproʊtiːə/is both the botanical name and the English common name of a genus of South African flowering plants, sometimes also called sugarbushes (Afrikaans: suikerbos).

The genus Protea was named in 1735 by Carl Linnaeus after the Greek god Proteus, who could change his form at will, because they have such a wide variety of forms. Linnaeus's genus was formed by merging a number of genera previously published by Herman Boerhaave, although precisely which of Boerhaave's genera were included in Linnaeus's Protea varied with each of Linnaeus's publications.

selfportrait.. thx to my lil brotha for blowing bubbles so precisely and persistently lol

This is Sokcho and it is actually located north of the 38th parallel at precisely 38 degrees 12' 25.24" N and 128 degrees 35' 30.52" E.

Sokcho is on the East Sea. (The portion of the border that is exactly on the 38th Parallel is on the other side of the peninsula.) From this point it is possible to drive even further north to the border which is about 70 kilometers north of the 38th Parallel at this longitude. Bottom line is that the border is not a straight line and you can be north of the 38th parallel and still be in South Korea.

Sokcho, ROK

Olympus XA2 on Fujifilm 200

August 2017

This is precisely where the leaf was resting when I spotted it by the side of the road.

Moments after I took this shot a gust of wind carried it away.

Today's random guest in Sofia and more precisely in trolleybus depot Nadezhda - Ikarus 250.59 from Ukraine. It is private owned by people who use it to travel around Europe. Documentarily it's production year is 1987th, but the owner told us that the bus had been in factory storage for at least 2 years (it's windows are produced in 1984th and 1985th).

the 7:32 outbound pulls into Barrington station at precisely 7:32pm in the evening

The elegant Christmas Tree installed in front of Torre Picasso, precisely in the center of Pablo Picasso Square.

I liked the spheric balls framing the tree, therefore I though it could be a great perspective.

I hope you like this picture.

Press "L or Z" to enlarge the picture.

Enjoy a great Thursday!

________________________________

El Árbol de Navidad en la Plaza de Pablo Picasso, Centro Financiero de Azca, Madrid, España

El elegante árbol de Navidad instalado frente a la Torre Picasso, justo en el centro de la Plaza Pablo Picasso.

Me gustaron las esferas metálicas que enmarcaban el árbol, así que pensé que podría ser una perspectiva genial.

Espero que os guste esta foto.

Pulsa "Z o L" para agrandar la foto.

¡Pasad un buen jueves!

© all rights reserved

Please take your time... and enjoy it large on black

The general term ice age or, more precisely, glacial age denotes a geological period of long-term reduction in the temperature of the Earth's surface and atmosphere, resulting in an expansion of continental ice sheets, polar ice sheets and alpine glaciers. There have been at least four major ice ages in the Earth's past. Outside these periods, the Earth seems to have been ice-free even in high latitudes. There is evidence that greenhouse gas levels fell at the start of ice ages and rose during the retreat of the ice sheets, but it is difficult to establish cause and effect. Greenhouse gas levels may also have been affected by other factors which have been proposed as causes of ice ages, such as the movement of continents and vulcanism. Although the last glacial period ended more than 8,000 years ago, its effects can still be felt today. For example, the moving ice carved out landscape in Canada, Greenland, northern Eurasia and Antarctica. The erratic boulders, till, drumlins, eskers, fjords, kettle lakes, moraines, cirques, horns, etc., are typical features left behind by the glaciers.

Photo taken inside a hummock taken at the IJsselmeer (IJmeer) near Amsterdam. A hummock is a boss or rounded knoll of ice rising above the general level of an ice-field, Hummocky ice is caused by slow and unequal pressure in the main body of the packed ice, and by unequal structure and temperature at a later period. Blue ice occurs when snow falls on the ice. The blue color is actually created for the same reason that water is blue, that is, its slight absorption of red light due to an overtone of the infrared OH stretching mode of the water molecule.

Een ijstijd of glaciatie is een geologisch tijdvak waarin ijskappen voorkomen. In het Engels wordt dit een periode van ice-house genoemd, als tegenhanger van een ijskaploze periode, de greenhouse ("broeikas"). Aangezien er gletsjers liggen op bijvoorbeeld Groenland of Antarctica, leven we tegenwoordig in een ijstijd. Men neemt aan dat dit in de gehele geologische geschiedenis van de Aarde minstens vijfmaal het geval is geweest, waarvan eenmaal zelfs zo sterk dat de ijskappen van de polen vrijwel tot aan de evenaar waren opgerukt. Ook zijn er periodes dat er aanzienlijke opwarming optrad waarbij die ijskappen grotendeels waren weggesmolten. Het klimaat op Aarde wordt beïnvloed door vele factoren, zoals de intensiteit van de zonnestraling, de ligging van de continenten, de continentverplaatsingen, vulkanisme, de zeestromen, de bedekking van het land door vegetatie, het weerkaatsingsvermogen van het aardoppervlak en vele kleine andere factoren. Met behulp van klimaatmodellen wordt door wetenschappers een reconstructie van het klimaat en de klimaatveranderingen in het verleden gemaakt. Alhoewel er een zekere consensus bestaat onder wetenschappers, zijn er nog vele onzekerheden en tegenstrijdigheden in dit onderzoek.

Hierboven een foto van kruiend ijs. Zoetwatermeren kunnen spectaculair bevriezen. Grotere meren zoals het IJsselmeer (IJmeer) hierboven hebben bijna altijd wel golven, en dit werkt directe bevriezing van het wateroppervlak tegen. Eerst vormen zich kleine ijsschotsen, die naar de kust drijven onder invloed van de wind. Deze schotsen vormen zo een ijsveld op het water dat de golven dempt, en uiteindelijk vriezen alle schotsen aan elkaar vast tot een massa. Voordat dit gebeurt schuren de schotsen voortdurend langs elkaar heen en schrapen zo stukjes ijs van elkaar af; elke schots krijgt zo een witte rand. Zulk ijs is dus totaal niet geschikt om op te schaatsen. Wanneer grotere delen van het meer bevriezen beginnen de platen, die soms een paar vierkante kilometer groot zijn, langzaam tegen elkaar te bewegen onder invloed van de wind en stroming. Dit heeft kruiend ijs tot gevolg: de ijsschotsen worden met kracht gebroken en op elkaar gestapeld langs de dijken langs het meer. Dit hoeft niet alleen bij dun ijs te gebeuren; soms kruit het ijs bij een dikte van meer dan 20 cm. De stapels ijs worden dan hoog, en het geluid is oorverdovend.

The genus Protea was named in 1735 by Carl Linnaeus after the Greek god Proteus, who could change his form at will because they have such a wide variety of forms. Linnaeus's genus was formed by merging a number of genera previously published by Herman Boerhaave, although precisely which of Boerhaave's genera were included in Linnaeus's Protea varied with each of Linnaeus's publications.

Most proteas occur south of the Limpopo River. However, Protea kilimanjaro is found in the chaparral zone of Mount Kenya National Park. 92% of the species occurs only in the Cape Floristic Region, a narrow belt of mountainous coastal land from Clanwilliam to Grahamstown, South Africa. The extraordinary richness and diversity of species characteristic of the Cape Flora are thought to be caused in part by the diverse landscape where populations can become isolated from each other and in time develop into separate species.

Proteas attracted the attention of botanists visiting the Cape of Good Hope in the 17th century. Many species were introduced to Europe in the 18th century, enjoying a unique popularity at the time amongst botanists. #7DWF

Astronomers using NASA’s Hubble Space Telescope have for the first time precisely measured the distance to one of the oldest objects in the universe, a collection of stars born shortly after the big bang.

This new, refined distance yardstick provides an independent estimate for the age of the universe. The new measurement also will help astronomers improve models of stellar evolution. Star clusters are the key ingredient in stellar models because the stars in each grouping are at the same distance, have the same age, and have the same chemical composition. They therefore constitute a single stellar population to study.

Image Credit: NASA, ESA, and T. Brown and S. Casertano (STScI) ; Acknowledgement: NASA, ESA, and J. Anderson (STScI)

Read more

NASA Media Usage Guidelines

This isn't a gentle transition

A metamodernist discussion by artist JJFBbennett

We are standing precisely at the convergence of two irreconcilable truths. On the left, look at that thick, violent churning of deep purple impasto paint. It is heavy, chaotic, and entirely insular—a tactile representation of our existential noise, a modern anxiety built layer upon layer with a heavy palette knife. Then look to the right. The world abruptly fractures into a grand, romantic landscape of rolling green valleys beneath a soaring sunset. It’s a beautifully naive, sincere longing for a peaceful reality that feels almost mythological.

But the metamodern spirit doesn't allow us the luxury of choosing one over the other.

This isn't just illumination; it’s an intervention. It’s the realisation that the cynical chaos we inherit and the sincere beauty we yearn for are ultimately warmed by the exact same fire. The light doesn't resolve the disparity—it shatters the illusion that they were ever truly separate.

Metamodernism,Art Philosophy,Life Transitions,Digital Surrealism,

Blogger:

www.jjfbbennett.com/2026/07/my-psychological-landscape-sp...

YouTube: www.youtube.com/@jjfbbennett

37371 comes off the Romsey branch at precisely 09:40 and heads for (I guess) Fawley on a cold and misty February morning.

Oil trains used to frequent Eastleigh on a regular basis but, alas, underground pipelines have made this traffic a thing of the past.

37371 remained in traffic until November 1999. She was cut up at the CDRC at Wigan Springs during June 2001. RIP.

This early arriving Hummer is one of several males that are fighting over control of the nectar feeder just below. They now compete with breath-taking high-speed aerial sky dives to impress the feeding females and get their attention (for breeding... although this year's young are already flying). This flight action is both visually and audibly impressive! It's still very early morning, and the sunlight is heavily filtered by the tall forest growth to the east. Although I have the sun at my back, the gorgets will not display full red iridescence until it gets a little brighter. In this shot you can get only a hint of the vibrant wine-red color to come with later more intense sunlight! This dazzling display is then based more on iridescence than pigment colors... but the sun angle has to be correct. The experienced males know how to precisely position themselves relative to sun angle to awe the ladies.

IMG_6235; Broad-tailed Hummingbird

Das Leberblümchen, genauer Gewöhnliches Leberblümchen, auch Dreilappiges Leberblümchen genannt, ist eine Pflanzenart innerhalb der Familie der Hahnenfußgewächse.

The Leberblümchen, more precisely common Leberblümchen, also Dreilappiges Leberblümchen mentioned, is a plant type within the family of the Hahnenfußgewächse

Operations image of the week:

In order to precisely deliver the Schiaparelli landing demonstrator module to the martian surface and then insert ExoMars/TGO into orbit around the Red Planet, it’s necessary to pin down the spacecraft’s location to within just a few hundred metres at a distance of more than 150 million km.

To achieve this amazing level of accuracy, ESA experts are making use of ‘quasars’ – the most luminous objects in the Universe – as ‘calibrators’ in a technique known as Delta-Differential One-Way Ranging, or delta-DOR.

Until recently, quasars were only poorly understood. These objects can emit 1000 times the energy of our entire Milky Way galaxy from a volume that it not much bigger than our Solar System, making them fearfully powerful.

They are fuelled by supermassive black holes – which are many, many times more massive than our Sun – feeding on matter at the centre of their host galaxies. In addition to their extreme luminosity, their extreme distance means that, seen from Earth, they appear to be fixed in the sky and their positions can be mapped with high precision, making them very useful as reference points for spacecraft navigation.

In the delta-DOR technique, radio signals from ExoMars/TGO are being received by two widely separated deep-space ground stations, one, say, at New Norcia, Western Australia, and one at Cebreros, Spain, and the difference in the times of signal arrival is precisely measured.

Next, errors due to current conditions in Earth’s atmosphere (which affect all radio signals passing through) are derived by simultaneously tracking radio signals from a quasar. Engineers can apply these as corrections to the signal received from ExoMars/TGO, delivering a significantly more accurate fix on its position.

On Wednesday this week, ESA ground stations began the first of many delta-DOR observations that will be used to precisely locate ExoMars/TGO, using quasar P1514-24, seen inset in an image of ESA's deep-space tracking station at Malargüe, Argentina, above.

Delta-DOR observations will be increasingly performed as the journey to Mars enters the crucial phases, enabling flight dynamics teams to generate precise instructions for thruster burns and separation timing and to assess manoeuvre performance.

“In October, in the final critical week before Mars arrival, teams will be conducting two delta-DOR observations daily,” says Mattia Mercolino, responsible for delta-DOR activities at ESOC, ESA’s operations centre in Darmstadt, Germany.

“It’s an excellent example of critical, real-time teamwork between the flight dynamics experts, the ground station operators, the ExoMars mission controllers and our delta-DOR team, and it would be much more difficult to get to Mars without this expertise.”

How precisely will we know ExoMars/TGO’s location?

“The current set of delta-DOR observations will enable us to locate the spacecraft to less than 1000 m when it’s near Mars, a distance of slightly more than 150 million km from Earth,” says Mattia.

“This is comparable to detecting from the location of an object in Singapore from Darmstadt, to about 5 cm precision.”

“In future, with currently planned technology improvements, we should be able to get the accuracy down to just 150 m at 150 million km.”

Credit: Estrack image: ESA/D. Pazos – Quasar P1514-24 inset image: Rami Rekola, Univerity of Turku, 2001

More precisely evening light on Hamilton Falls off the High Sierra Trail in an area named Valhalla in Sequoia National Parks. Yes there is more than extremely big trees and Mt Whitney in the park. This was the view from our Day 1 camp site on my recent backpacking trip. Traveling light is a necessity for this old body, so the I-Phone had to suffice. While this may not be Viking heaven, it is home to more waterfalls than can be counted! Amazing trip.

Voigtländer Bessamatic de luxe and Super Dynarex 1:4 135mm.

The Super Dynarex is an extremely compact telephoto lens whose design is completely optimised towards compactness and low weight. It is rather slow with its maximum aperture of f/4, but when I tested the lens today I found that this doesn't harm its ability to focus precisely.

What is more of a problem for everyday use is that the close focusing range is 4 metres. When I first read about this, I thought there had to be some kind of mistake. Surely they meant 4 feet (1.2 metres).

But no.

It actually is four metres, which means that the everyday usefulness of this lens is significantly limited. You'd want to shoot the occasional portrait with a 135, right? But from at least 4 metres distance from the subject?

The upside is that the lens is extremely small and light, less than 250 grams. I don't think it's physically possible to build a 135 mm lens that is smaller and lighter than this one.

Leitz made a 135 mm f/4.5 Elmar in the 1930s for the thread mount Leicas. That could focus down to 1.5 metres but it weighed 550 grams.

Shot with:

Canon EOS600D

Leica Bellows R (16860)

Leica 100mm f/4 Macro Elmar-R, bellows version (11230)

The Aqueduct of Segovia (or more precisely, the aqueduct bridge) is a Roman aqueduct and one of the most significant and best-preserved ancient monuments left on the Iberian Peninsula. It is located in Spain and is the foremost symbol of Segovia, as evidenced by its presence on the city's coat of arms.

Clouds are dumb. There are precisely 1 1/2 locations along the BNSF Topeka Sub that are good to shoot afternoon eastbounds in good light, and this spot in Lawrence is one of them. Unfortunately, what I CANNOT control are clouds. Literally moments before the train arrived, the clouds descended, and got us this. It's not bad, but...

Regardless of the clouds, I'm happy for the opportunity to have seen the train here, and to photograph it along the way.

Video of this train can be found here: youtu.be/_cpmaQGFqH0?si=25IF9d5mvTFudhdB

© all rights reserved

Please take your time... and enjoy it large on black

The general term ice age or, more precisely, "glacial age" denotes a geological period of long-term reduction in the temperature of the Earth's surface and atmosphere, resulting in an expansion of continental ice sheets, polar ice sheets and alpine glaciers. There have been at least four major ice ages in the Earth's past. Outside these periods, the Earth seems to have been ice-free even in high latitudes. There is evidence that greenhouse gas levels fell at the start of ice ages and rose during the retreat of the ice sheets, but it is difficult to establish cause and effect (see the notes above on the role of weathering). Greenhouse gas levels may also have been affected by other factors which have been proposed as causes of ice ages, such as the movement of continents and vulcanism. Although the last glacial period ended more than 8,000 years ago, its effects can still be felt today. For example, the moving ice carved out landscape in Canada, Greenland, northern Eurasia and Antarctica. The erratic boulders, till, drumlins, eskers, fjords, kettle lakes, moraines, cirques, horns, etc., are typical features left behind by the glaciers. This is the Marken lighthouse, given its name due to its shape ('paard' means 'horse' in dutch). The original was built in 1700, then reconstructed on top of the early foundations in 1839. It's still in use today.

Photo of hummocks taken at the lighthouse of Marken. A hummock is a boss or rounded knoll of ice rising above the general level of an ice-field, Hummocky ice is caused by slow and unequal pressure in the main body of the packed ice, and by unequal structure and temperature at a later period.

Een ijstijd of glaciatie is een geologisch tijdvak waarin ijskappen voorkomen. In het Engels wordt dit een periode van ice-house genoemd, als tegenhanger van een ijskaploze periode, de greenhouse ("broeikas"). Aangezien er gletsjers liggen op bijvoorbeeld Groenland of Antarctica, leven we tegenwoordig in een ijstijd. Men neemt aan dat dit in de gehele geologische geschiedenis van de Aarde minstens vijfmaal het geval is geweest, waarvan eenmaal zelfs zo sterk dat de ijskappen van de polen vrijwel tot aan de evenaar waren opgerukt. Ook zijn er periodes dat er aanzienlijke opwarming optrad waarbij die ijskappen grotendeels waren weggesmolten. Het klimaat op Aarde wordt beïnvloed door vele factoren, zoals de intensiteit van de zonnestraling, de ligging van de continenten, de continentverplaatsingen, vulkanisme, de zeestromen, de bedekking van het land door vegetatie, het weerkaatsingsvermogen van het aardoppervlak en vele kleine andere factoren. Met behulp van klimaatmodellen wordt door wetenschappers een reconstructie van het klimaat en de klimaatveranderingen in het verleden gemaakt. Alhoewel er een zekere consensus bestaat onder wetenschappers, zijn er nog vele onzekerheden en tegenstrijdigheden in dit onderzoek.

Hierboven een foto van kruiend ijs. Zoetwatermeren kunnen spectaculair bevriezen. Grotere meren zoals het IJsselmeer (IJmeer) hierboven hebben bijna altijd wel golven, en dit werkt directe bevriezing van het wateroppervlak tegen. Eerst vormen zich kleine ijsschotsen, die naar de kust drijven onder invloed van de wind. Deze schotsen vormen zo een ijsveld op het water dat de golven dempt, en uiteindelijk vriezen alle schotsen aan elkaar vast tot een massa. Voordat dit gebeurt schuren de schotsen voortdurend langs elkaar heen en schrapen zo stukjes ijs van elkaar af; elke schots krijgt zo een witte rand. Zulk ijs is dus totaal niet geschikt om op te schaatsen. Wanneer grotere delen van het meer bevriezen beginnen de platen, die soms een paar vierkante kilometer groot zijn, langzaam tegen elkaar te bewegen onder invloed van de wind en stroming. Dit heeft kruiend ijs tot gevolg: de ijsschotsen worden met kracht gebroken en op elkaar gestapeld langs de dijken langs het meer. Dit hoeft niet alleen bij dun ijs te gebeuren; soms kruit het ijs bij een dikte van meer dan 20 cm. De stapels ijs worden dan hoog, en het geluid is oorverdovend. Het Paard van Marken is een vuurtoren van Marken. De vuurtoren is gebouwd in 1839 en staat op de oostelijke punt van het eiland. De toren heeft een hoogte van 16 meter en een lichtbereik van 16,7 km.

Historically, nvestigation into tidal physics was important in the early development of celestial mechanics, with the existence of two daily tides being explained by the Moon's gravity. Later the daily tides were explained more precisely by the interaction of the Moon's and the Sun's gravity.

© all rights reserved

Please take your time... and enjoy it large on black

The general term ice age or, more precisely, glacial age denotes a geological period of long-term reduction in the temperature of the Earth's surface and atmosphere, resulting in an expansion of continental ice sheets, polar ice sheets and alpine glaciers. There have been at least four major ice ages in the Earth's past. Outside these periods, the Earth seems to have been ice-free even in high latitudes. There is evidence that greenhouse gas levels fell at the start of ice ages and rose during the retreat of the ice sheets, but it is difficult to establish cause and effect. Greenhouse gas levels may also have been affected by other factors which have been proposed as causes of ice ages, such as the movement of continents and vulcanism. Although the last glacial period ended more than 8,000 years ago, its effects can still be felt today. For example, the moving ice carved out landscape in Canada, Greenland, northern Eurasia and Antarctica. The erratic boulders, till, drumlins, eskers, fjords, kettle lakes, moraines, cirques, horns, etc., are typical features left behind by the glaciers. The Dutch IJsselmeer lake is covered with icerocks hummocks, caused by the cold weather of the passed days. At some places even higher than 6 meter!

Photo taken inside a hummock taken at the IJsselmeer (IJmeer) near Amsterdam. A hummock is a boss or rounded knoll of ice rising above the general level of an ice-field, Hummocky ice is caused by slow and unequal pressure in the main body of the packed ice, and by unequal structure and temperature at a later period. Blue ice occurs when snow falls on the ice. The blue color is actually created for the same reason that water is blue, that is, its slight absorption of red light due to an overtone of the infrared OH stretching mode of the water molecule.

Een ijstijd of glaciatie is een geologisch tijdvak waarin ijskappen voorkomen. In het Engels wordt dit een periode van ice-house genoemd, als tegenhanger van een ijskaploze periode, de greenhouse ("broeikas"). Aangezien er gletsjers liggen op bijvoorbeeld Groenland of Antarctica, leven we tegenwoordig in een ijstijd. Men neemt aan dat dit in de gehele geologische geschiedenis van de Aarde minstens vijfmaal het geval is geweest, waarvan eenmaal zelfs zo sterk dat de ijskappen van de polen vrijwel tot aan de evenaar waren opgerukt. Ook zijn er periodes dat er aanzienlijke opwarming optrad waarbij die ijskappen grotendeels waren weggesmolten. Het klimaat op Aarde wordt beïnvloed door vele factoren, zoals de intensiteit van de zonnestraling, de ligging van de continenten, de continentverplaatsingen, vulkanisme, de zeestromen, de bedekking van het land door vegetatie, het weerkaatsingsvermogen van het aardoppervlak en vele kleine andere factoren. Met behulp van klimaatmodellen wordt door wetenschappers een reconstructie van het klimaat en de klimaatveranderingen in het verleden gemaakt. Alhoewel er een zekere consensus bestaat onder wetenschappers, zijn er nog vele onzekerheden en tegenstrijdigheden in dit onderzoek.

Hierboven een foto van kruiend ijs. Zoetwatermeren kunnen spectaculair bevriezen. Grotere meren zoals het IJsselmeer (IJmeer) hierboven hebben bijna altijd wel golven, en dit werkt directe bevriezing van het wateroppervlak tegen. Eerst vormen zich kleine ijsschotsen, die naar de kust drijven onder invloed van de wind. Deze schotsen vormen zo een ijsveld op het water dat de golven dempt, en uiteindelijk vriezen alle schotsen aan elkaar vast tot een massa. Voordat dit gebeurt schuren de schotsen voortdurend langs elkaar heen en schrapen zo stukjes ijs van elkaar af; elke schots krijgt zo een witte rand. Zulk ijs is dus totaal niet geschikt om op te schaatsen. Wanneer grotere delen van het meer bevriezen beginnen de platen, die soms een paar vierkante kilometer groot zijn, langzaam tegen elkaar te bewegen onder invloed van de wind en stroming. Dit heeft kruiend ijs tot gevolg: de ijsschotsen worden met kracht gebroken en op elkaar gestapeld langs de dijken langs het meer. Dit hoeft niet alleen bij dun ijs te gebeuren; soms kruit het ijs bij een dikte van meer dan 20 cm. De stapels ijs worden dan hoog, en het geluid is oorverdovend. Dit weekend gingen honderden mensen het IJsselmeer op om het indrukwekkende kruiende ijs te bekijken. Op sommige plekken klommen de mensen zes meter omhoog.

The Golden Gate bridge has been painted, since its construction, in orange, and more precisely in international orange. The choice of this color is due to Irving Morrow, who nevertheless met with strong criticism from officials, who found the idea ridiculous. The other paintings proposed, namely steel gray (close to that of the neighboring Bay Bridge), the aluminum color were not selected, Morrow judging that orange fit perfectly with the various elements of the bay. The United States Navy had even proposed to paint the bridge yellow, with black stripes to facilitate visibility from ships crossing the bay, but Morrow never gave up his original idea, and the bridge was painted orange, which is one of his most characteristic features

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Le pont du Golden Gate est peint, depuis sa construction, en orange, et plus précisément en orange international. Le choix de cette couleur est dû à Irving Morrow, qui rencontra pourtant de vives critiques de la part des officiels, qui trouvaient l'idée ridicule. Les autres peintures proposées, à savoir le gris acier (proche de celui du Bay Bridge voisin), la couleur aluminium ne furent pas retenues, Morrow jugeant que l'orange s'accordait parfaitement avec les divers éléments de la baie. L'United States Navy avait même proposé de peindre le pont en jaune, avec des rayures noires pour faciliter la visibilité depuis des navires traversant la baie, mais Morrow ne renonça jamais à son idée première, et le pont fut peint en orange, ce qui constitue d'ailleurs l'un de ses traits les plus caractéristiques

Today after the Moonrise at night, precisely at 10-29-50 pm, over the Sea at Tiruvanmiyur - Chennai, India.

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Main Exif data

Camera - Canon EOS 7D

Lens - EF-S18-135mm f/3.5-5.6 IS

Exposure - 25

Aperture - f/4.0

Focal Length - 26 mm

ISO Speed - 100

Exposure Bias - 0 EV