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Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
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CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Not a whif, but rather a custom build for a friend who recently sold his VW T2 camper - originally bought as a restauration project, but reality reared its ugly head and time turned out to be too sparse for this hobby.
However, I dediced to create a model of the specific T2 camper as a memorabilia piece, on a low budget, though.
The basis is a 1:43 scale die cast model from Premium Classixx, a manufacturer that also supplies VW's own fan shop. The company produces lots of limited series models (typically 500 per run), and they are nicely detailed (out- and inside), even though the paint is a bit thick.
I tried to find a basis that was close to the real bus, yet available and affordable - and in my shortsightedness I bought an orange/ivory T2a camper with a Westfalia tent roof, which appeared quite close to the original, at least at first glance.
I am not a VW expert, but I soon realized (actually while work was already in progress!) that the model I bought is T2a, while the bus I wanted to recreate is a later T2b!!! Rats!
At a cursory glance the differences are minimal, but they are there, and they are quite fundemantal.
For instance, front and rear differ between the two T2 models. On the front, the T2b blinkers are placed high, right under the windscreen, while the T2a has them further outside, above the bumbers. The latter are also different, they are extended around the corners, reaching under the front doors. The latter could be easily mended through trimming, while the blinkers were a more complicated affair - I filled the original openings and created a new air inlet for the front (well, it had to be re-done, anyway in the course of re-painting the bus) with new blinkers with a home-printed water-slide decal, some silver decal sheet and clear paint.
The rear end, esp. the brake lights, are totally different, but I left them as is, because a modification would have been much too complicated. But I am agitated that I did not notice the differences before I bought the bus model...
The tent roof is, BTW, also different, but I stuck to the OOB shape because I did not have a view from the top of the real bus' roof.
Internally, the camper received a complete re-design of the furniture, because the seats and other elements like the kitchen block were arranged almost completely different.
The upholstery and wall covers had also to be changed: the model came with an olive green interior (Yuck! Almost RLM02!) and red/blue seats, and I had to change them into a leather brown interior with green/yellow seats. In the original bus, the front seats had furthermore been replaced with more modern (Eighties Golf Mk. II?) parts with head rests, so they were modified accordingly and became two-tone grey.
Another neat internal detail from the original bus is a fake flower chain in rainbow colors that used to hang from the rear view mirror. This distinctive piece was scratched with wire, sawdust and enamel paint.
Music boxes were scratched, too, and hung into the boot, right behind the back window.
While the model came with painted/printed curtains in the windows, I had to re-do them, too, because their sand color would have been too dark; the paint was carefully wet-sanded away, as good as possible, and the free areas patched up with a pale yellow.
On the exterior, the colors had to be changed completely. The ivory roof and the bumpers became white, like the roof, while the wheels received yellow rims (their shape does not match the original rims, either...).
A really big challenge was the spare wheel that is attached to the bus' front: I was not able to get an additional wheel from the manufacturer, so I had to re-cast the spare wheel from one of the model's parts. With an alginate mold and 2C putty the stunt worked, somehow, but it took several attempts and experiments to get it more or less right.
Around the hull, several small details were added, e .g. an individual plug socket, a scratched tow coupling and other very small things.
On the model's basis (it comes in a clear display box with a piece of cobblestone street), I added a flat dish which traditionally collected oil from the engine - created from aluminum foil and a square plastic stencil.
The overall hull color was, after having been wet-sanded, changed from orange to a bright lime green. In order to stay close to the original and not present a "cleaned-up" result of a restauration, I tried to emulate the original's bus slightly shaggy look - after all, it never evolved from its "pre restauration" status to something more solid. Consequently, there's some visible rust, and on the flanks you can see the red primer coat shine through here and there, the original paint finish is rather cloudy and somewhat preliminary.
In order to re-create this look I gave the model a basic coat with mineral red, sanded it, and on top of that I added a coat of green (a mix of Humbrol 38 and 36, it comes surprisingly close to the real tone) with a flat, soft brush,for a slightly uneven, streaky look.
Some areas were later treated with a slightly different mix of the Humbrol colors, and some anti rust primer added at specific areas. Even though there are some areas where the paint gathered into a bumpy surface, the look I achieved is quite convincing!
Beyond the new T2b front grill, as mentioned above,many other things on the exterior were printed as decals at home. This includes the license plates, but also many stickers on the front and back end of the bus. Photographs of the original bus were the basis, and the result is good for the 1:43 scale.
Finally, the model received a coat with Italeri's Semi Gloss acrylic varnish, which creates a good finish that comes close to the original bus, which is/was also never really shiny.
Well, I hate building cars, and the bus was actually not an exception. But I took it as a challenge, and, after all, creating an individual present (with an emotional hook) is always a good motivation.
In the end I must be satisfied with the result, but the model became not as "good" or close to the real world bus as I had hoped for - but this might be crabbing on a very high level. But as long as you do not take a close look, the result is quite convincing, and I hope that the bus model will be well received.
Design Thinking works to create concept-nets (schema) through the process of at least two levels of abstraction; this first level of abstraction is when we move from the level of specific examples (three or more) to the level of our first common concept, which in turn allows us to gather many additional ideas beneath this extracted concept; the second level of abstraction is when we move from a collection of common concepts (each formed from a collection of specific ideas) to a higher level of a meta-concept, which in turn allows us to gather many additional concepts and it is here at this second level of abstraction that we can give a name to the concept net.
© All rights reserved. Fekete Nándor Photography 2013
((lens: Canon EF 135 mm f2 L USM))
Busójárás means Buso-walking in Hungarian, and it's an age-old annual tradition and event specific to the town of Mohács.
The History Behind Busójárás (Buso-Walking)
In 1526, Sultan Suleiman of the Ottoman Empire marched his pompous army into Europe with the sole intention to crush and conquer everything in his path. Having defeated the peoples of the Balkan, the Sultan who liked to be referred to as "The Magnificent," reached the borders of the then flourishing Kingdom of Hungary. He decided to take his campaign to the next level by entering what was then considered to be civilized Europe.
Royal Hungary, perceiving that the Ottomans were not unassailable and intending to withstand their onslaught, built up an immense army that employed the technology of King Frances I of France. The bulk of the army consisted of heavily armored medieval knights and cavalry made up of adventurous mercenaries for the main. They faced the significantly larger army of Suleiman, which was the most modern and professional army of the time.
Owing to their outdated technology, the Hungarian army was crushed in many battles, Mohács being the decisive one.
Historical Facts
Mohács is known for two famous battles in Hungarian history:
The first battle of Mohács was fought on August 29, 1526 between the Kingdom of Hungary led by King Louis II of Hungary and Bohemia and the army of the Ottoman Empire commanded by Sultan Suleiman the Magnificent. It resulted in the defeat of Hungary.
This defeat eventually led to the partition of Hungary for centuries to come between the Ottoman Empire, the Habsburg Monarchy, and the Principality of Transylvania.
The second battle of Mohács, 1687, a.k.a. the Battle of Berg Harsány, happened between the army of Sultan Mehmed IV of the Ottoman Empire, and the forces of Holy Roman Emperor Leopold I, led by Charles of Lorraine.
This battle resulted in a devastating defeat for the Turks. These two battles marked the beginning and end of the Ottoman occupation of Hungarian territory.
The Legend Behind Busójárás (Buso-Walking)
According to legend, after the defeat the Hungarian people fled the battlefield and the town of Mohács to seek refuge in the nearby woods and swamps and lay hidden. On one night, while they were sitting around the campfire and discussing how to make new league against the Turkish foes, they were visited by a Šokci man who gave them counsel.
"On a dark, stormy night that is soon to come, you can return home with a vengeance and restore peace to the land. Craft new weapons and carve hideous devil masks for your people, and wait for the night when a masked warrior will come to you and lead you to victory."
A few days later, as promised by the old man, there came a dark, stormy night, and a masked warrior of tall and robust stature marched into camp. The people stood in readiness to put on their masks made of gnarled wood, and follow the command of the newcomer. They lit fires and swarmed into Mohács making as much noise as they could.
Upon seeing this, the Turks were terrified and thought that they invaded the land of imps and demons and fled the town in hysterical fright before the sun came up.
This possibly fictitious event gave birth to the tradition of Busójárás (Buso-Walking) that Hungarians celebrate in February every year. It is like a pagan ritual whose purpose is to chase away winter and let the sunny season set in.
Buso-Walking, The Festival
Buso-walking is a yearly folk festival held in February in the town of Mohács, usually lasting from Thursday to Tuesday. It signifies the end of the carnival season before Ash Wednesday. The biggest celebration occurs on Sunday and the festival ends two days later with a symbolic ritual called 'The Burial of Farsang,' 'Shrove Tuesday,' or 'Mardi Gras.'
The celebrations feature Busós, folk music performances, masquerading, parading, and dancing. It all beings with a landing on the opposite bank of the river, followed by a parade from Kóló Square to Main Square. The festivities include saying farewell to winter by burning a pyre, which is the equivalent of burning winter itself, and also dancing in circles around the pyre.
Busójárás is attended by groups of performers and visitors alike from many neighboring countries like Croatia, Serbia, Slovenia, Romania, Poland and Bulgaria, where similar celebrations are held for many different reasons.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Today's trip to the center had a specific purpose - find a new notebook. Before I left I bought some piece of crap Mead notebook and after just a little over one week it's literally falling apart. I talked with my hosts today to find out A.) in what kind of store I could find a decent notebook [answer: a papelería (paper store) not a librería (bookstore)] and B.) where a store of that type was located. I got downtown, found the store right away, and spent the rest of the afternoon searching for the perfect bar in which to sit, drink, and transfer my notes.
I found this one. I've already forgotten the name, not that it matters, though you'd think I'd have written that down. Huh. Anyway, it was on some back alley with no tourists around, no English on the menu, and a bunch of Spaniards inside speaking so fast that I could hardly understand anything, and a cold case with a selection of tapas of various shapes and colors, none of which I recognized at all.
So that was wonderful. Truly wonderful. That's exactly where I wanted to be today, not in some dink tourist bar.
I have never owned a Moleskine pocket notebook before and I'm looking forward to abusing the hell out of it and seeing if it can hold up. Seriously, that Mead notebook is now a bunch of tangentially-related pieces of paper held together by a whisper of a wish and the promise of friendship past.
I thought of you while I was sitting there.
Flower Obsession, a site specific interactive installation, was designed by Yayao Kusama in 2020. First developed for children as part of the Queensland Art Gallery's APT 2002: Asia Pacific Triennial of Contemporary Art in 2002, Kusama's obliteration rooms are simple in design--every visitor is given sheet of stickers that they are asked to place wherever they want in the room. The rooms have been part of her repertoire ever since, but this is the first time she extended the idea to a greenhouse.
KUSAMA: Cosmic Nature, on display from April through October 2021 following a Covid-related postponement, showcases contemporary Japanese artist Yayoi Kusama's lifelong fascination with the natural world beginning with her childhood spent in the greenhouses and fields of her family’s seed nursery.
The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London. It contains 48 different gardens and plant collections.
Something Out of Nothing
Organization: No Longer Empty
Location:Invisible Dog Art Center
51 Bergen Street, Brooklyn
October 3 - Nov 14, 2009
Beware: “The Invisible Dog“ is unleashed this Saturday, October 3rd! The latest group exhibition produced by No Longer Empty, “The Dog” is a show “out of nothing” in a warmly decrepit out-of-use belt factory on Bergen Street in Brooklyn.
Following the tails of the Improv Everywhere stunt last week, the show presents a multitude of site-specific works reflecting both the history of the space and the profound beauty of the Invisible Dog. A rift on the 70’s gag, it’s a void object waiting for creative minds and hands to bring it to life.
Here in the factory, artists grabbed the many trimmings, reels of fabric, leather and other materials and transformed them into something new. The artist duo Steven and William created a “chandelier” of abandoned belt buckles. Guerra del la Paz amassed tons of discarded clothing, one color at a time. Here, la Paz’s “trashy” tribute becomes an imposing, yurt-shaped spectral prism. In the neighborhood spirit, Tom Sanford brings Jonathan Lethem’s novel “Motherless Brooklyn”-- which takes place on this block, to life via a fantastic, larger than life mural. Even the freight elevator is transformed: here, Giuseppe Stampone takes us on a trip from Hell to Heaven al Dante.
The Invisible Dog Art Center | Click Here
The Invisible Dog, a new three-story art center in Cobble Hill, Brooklyn, is an exuberant example of the integration of forward thinking and care for the past. The art center, admittedly, had a leg up: its home came equipped with an irresistable history. Built in the late nineteenth century, the 20,000 square-foot factory went through a number of industrial incarnations before its owners struck gold in the 1970s with the invisible dog trick: a stiff lease and collar surrounding the empty space where a dog would be. A mixture of party-hearty silliness and tongue-in-cheek trompe l’oeil, the trick became an icon of its era. But eventually public taste moved on; meanwhile, over the years, the Brooklyn neighborhood was changing. The factory closed its doors in the late 1990s; the boarded-up building was a blight on its quiet Brooklyn block.
What happened then is a kind of urban fairytale. In December 2008, Muriel Guépin leased the storefront and turned it into Shop Art Gallery, a small gallery with decidedly democratic spirit. Soon after, Lucien Zayan, a recent New York immigrant, stumbled upon Shop Art and inquired after the building behind it. Zayan knew he had hit on something when he heard the building’s history: he’d spent his life working in the French theater, including the Aix-en-Provence festival and Paris’s renowned Théàtre de Odeon and Théàtre de la Madeleine, and he recognized the perfect mise-en-scène. With the support of the building’s current owners, he decided to turn the space into a large-scale art center.
Less than a year later, the Invisible Dog is up and running. The building has been restored for safety and cleaned, but otherwise preserved intact. The rawness of the unfinished space is integral to the Invisible Dog’s identity: Zayan wanted a place that artists could really use, not a pristine renovation without personality. The ceiling on the third floor was restored using floor boards found in other parts of the building, and the enormous elevator shaft (the elevator removed) will be left open, as a unique exhibition space. Everywhere, the commitment to collaboration and community is clear. The ground floor, with its 14-foot ceilings, will be used for public events, performances, educational programs, and exhibitions, organized by guest curators from around the world. The second floor, divided into studios, is already occupied by nine specially-selected artists on one-year leases. They meet regularly with Zayan to discuss their work and the project. The third floor, light-filled and spacious designed by Anne Attal, will be available for flexible rental by the general public.
Artists:
Thomas Bell
Ryan Brennan
Amanda Browder
Rosane Chamecki, Andrea Lerner & Phil Harder
Gina Czarnecki
Jeanette Doyle
Steve DeFrank
Richard Garet
Guerra de la Paz
Rafael Lozano-Hemmer
Kaarina Kaikkonen
Giles Lyon
Miguel Palma
José Parlá
Rey Parlá
Tom Sanford
Keith Schweitzer
Francesco Simeti
Alfred Steiner
Giuseppe Stampone
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
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Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Specific date: 7/1940
Draftsman: Pressler, Paul E. Ink and pencil on tissue paper. Inks: black, red, orange. Pencil: blue, orange, yellow, lead. Plot plan, compass, schedule of roads, typical roads/cross sections. LN: 45.70 x WD: 34.48
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
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View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
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A specific tribute to my new followers in the UK. I know it's not the coaches that you normally share with us, but I hope you'll accept a night view of one of our light rail trains on the Canada Line, between YVR airport and Waterfront station in Vancouver.
In the academies, the children learn in very specific terms how the climate crisis threatens their future and the lives of people around the world. They experience vividly what climate justice can look like and work in groups to develop their own actions for their future. The children plant trees with their own hands and in doing so learn how to motivate others to plant trees. Training in public speaking teaches them how to appear self-confident, because, as ambassadors, they have a message that they want to carry out!
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
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"CHIHARU SHIOTA
Infinity Lines
Feb. 21 - Aug. 6, 2017
SCAD Museum of Art presents Chiharu Shiota’s "Infinity Lines," an expansive site-specific commissioned installation. This immersive artwork is the newest iteration of Shiota’s exploration of the interconnectivity between one’s possessions and the stories they hold. Labyrinthine networks of yarn intertwine objects and embody their imbedded narratives, leading viewers along a line of questioning — who has owned these objects, and why do they own them no longer?
For this exhibition, Shiota has incorporated antique wooden chairs that show evidence of their previous use. Red yarn connects one chair to another and also to the surfaces of the gallery itself, filling the space and tying individual stories and memories together, like neurons mapping memories in the brain. Just as memories and life experiences stay with each individual throughout their lives, the objects in the exhibition retain the personal histories of their owners and symbolically link present and past.
Shiota describes her installations as "drawings in space." The seemingly endless webs of red or black yarn have ensconced shoes, keys, beds occupied by sleepers, charred pianos and more. For the artist, red yarn connotes the body and human interaction. Performance is a longstanding part of Shiota’s practice, and even when she or other performers aren’t present in her installations, corporeal physicality remains an integral component of her work. Viewers navigate the space through pathways she determines, encountering found objects along the way. Shiota’s incorporation of these abandoned objects illustrates her belief that people removed from their home countries, such as herself, "live with their bodies as their only real possession."
"Infinity Lines" is guest curated by Aaron Levi Garvey with assistance from Amanda York, assistant curator.
About the artist
Born in 1972 in Osaka, Japan, Shiota initially studied painting at Kyoto Seika University, Japan. During this time, she undertook an exchange residency at ANU School of Art, Canberra, Australia, where she began to explore the boundaries of painting. She moved to Germany in 1996 and continued her studies, first in Braunschweig and later Berlin, where she continues to live today. She has received numerous notable prizes including the Philip Morris Art Award and the Audience Choice Award at The First Kyiv International Biennale of Contemporary Art, Ukraine. Her achievements also include set design for several major theatrical and operatic productions, most notably Daniel Karasek's "Tristan and Isolde" at Theater Kiel, Germany.
Shiota’s museum exhibitions include MoMA PS1, New York; National Museum of Art, Osaka; La Maison Rouge, Paris; The Museum of Art, Kōchi, Japan; Freer and Sackler galleries of art, Washington D.C., and Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, among others. In addition to exhibiting at the 2015 Venice Biennale, her work also been featured in the Biennale of Sydney, the Aichi Triennale in Japan, the Gwangju Biennale in South Korea and the Yokohama Triennale, Japan. Her works are included in The Leopold Private Collection, Vienna; 21st Century Museum of Contemporary Art, Kanazawa, Japan; The Hoffmann Collection, Berlin and The National Museum of Modern Art, Tokyo."
scadmoa.org/art/exhibitions/2017/chiharu-shiota-infinity-...
...
Melanie Gibson: Site-specific installation
Norwich Fringe Festival, Norwich, Norfolk, England, UK
7-22 October 2006
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
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Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
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CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
(c) 2014, Lavista-Llanos et al, subject to a CC-BY 4.0 license (creativecommons.org/licenses/by/4.0/). Free to use and re-use, provided proper attribution is included.
Original research article can be found at dx.doi.org/10.7554/eLife.03785
We specialise in competitive training in the disciplines of mixed martial arts such as : Boxing, Kickboxing, Muay Thai, Takedown and Submission Wrestling, Brazilian Jiu Jitsu etc.We also offer personal training for your specific needs in a welcoming friendly environment.
...specific type of signal due to the signal box standing at the platform end. A 23 rumbles in with an evening rush hour commuter train (11/4/1974)
With the aging of the Grumman S-2 Tracker and the increasing effectiveness of Soviet submarines, the US Navy issued a requirement for a new carrier-based ASW aircraft. Lockheed won the contract, partnering with LTV to design carrier-specific equipment and Univac to design the ASW suite. The resulting S-3A Viking first flew in January 1972 and entered the fleet in February 1974.
While the S-2 had integrated the hunter-killer team concept into a single airframe, the S-3 went one step further by completely computerizing the sub-hunting process, integrating the entire sensor suite into one system. Flown by a crew of four, the S-3’s interior was so efficient that one aviation writer described it as the most compactly designed aircraft in history. The S-3A acquired a reputation for being a reliable, easy to fly aircraft, and spawned a number of variants, including the US-3A carrier-onboard delivery (COD) transport aircraft and the ES-3A Shadow Elint variant. A dedicated KS-3A tanker never went into production, but S-3s were increasingly equipped with buddy refuelling packs. When the KA-6D Intruder dedicated tanker was retired from the US Navy in the mid-1990s, the S-3 took over the role, though its relatively slow speed meant it could not accompany strikes into enemy territory.
Despite that, the S-3 has always had the capability to carry not only antisubmarine ordnance such as torpedoes and depth charges, but also bombs and later the AGM-84 Harpoon antiship missile and AGM-65 Maverick AGM. The S-3’s antiship capability was used in both Gulf Wars: in 1991, a S-3 sank an Iraqi attack boat with conventional bombs, while in 2003 a S-3 destroyed an Iraqi command post with a Maverick in Basra.
Beginning in 1991, the S-3As in service were modified to S-3B standard, with upgraded avionics and a new synthetic-aperature radar, giving the S-3B a significant ship-detection and SAR capability as well. Though the ES-3A was withdrawn from service in the mid-1990s, several S-3Bs were converted to littorial reconnaissance (Gray Wolf) and ground surveillance (Brown Boy) roles. With the reduction of submarine threats to the US Navy, the S-3 fleet was gradually retired; today, only a handful remain with Navy testing units.
This model represents a S-3A assigned to VS-38 ("Red Griffins") aboard the USS Ranger in the late 1980s. It is configured for the antishipping role, with an AGM-84 Harpoon on the port wing and three LAU-3 rocket pods on the starboard. The subdued overall gray camouflage had been adopted fleetwide by this time, making gaudy squadron colors a thing of the past. It is also displayed with the MAD boom extended.
Cadets from 2nd Regiment, Advanced Camp graduate at Fort Knox Ky., July 9, 2023. Specific cadets were given awards for various achievements throughout Advanced Camp. |Photo by Emily Hudson, Murray State University, Public Affairs Office
"Each a specific bicycle; together a collective symbol of joyful empowerment."
Taliah Lempert’s designs of uniquely fashioned bicycles playfully ride alongside cyclists headed down the Greenway. The barriers, that separate cyclists and pedestrians from vehicular traffic, measure approximately 1400 feet in length.
NYCDOT Urban Art Program, Barrier Beautification
Bike Stacks by Taliah Lempert
Presented with New York Cares
Barrier Site, Spring 2011-Spring 2012
Flushing Ave between Williamsburg St W and Washington Ave, Brooklyn
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Lucky little solid black male pup with offset white blaze on his face, listed as a "Lab mix" when other pups with his coloration and similar body conformation are listed as "pit bull terrier mix". This cute guy will be available for adoption as a "lab mix", when he would be killed after 3 days if labeled as a "pit bull mix".
Using breed ID like this makes BSL or breed specific legislation useless, as how one defines a specific breed or mix is based on how one interprets that single dog.
Page 7
NOTE: The paragraph in brackets are those of the artist:
THE FIRST ARCH 1949–1951 Ages 17–18–19
Of all of the arches of VATICAN CORRIDOR, A Non-Specific
Autobiography, the events that occurred within this particular
arch are perhaps the most important in that they set indelibly
the direction of the life of the artist emotionally, intellectually,
and creatively. Prior to his seventeenth birthday, there were
many indications of who he was and of what he would
ultimately become. Like the majority of his peers, as a child
and as an adolescent he experienced the familiar problems,
joys, anger, frustration, sexual experimentation, familial
estrangement, and sibling rivalry commensurate with his age.
But he possessed an unbridled and unquenchable curiosity
about nearly everything he encountered and read. He made
toys and sculpted innumerable animals in clay. In high school,
he was an avid and accomplished student admired and praised
by his teachers and was socially adept with and honored by
his peers.
He proved a tenacious and talented art student in high
school. At age seventeen, he received from his art teacher,
Hazel Bartley, his first commission. The resultant INFANT
OF PRAGUE may be considered his first actual sculpture.
Using the coal-fired furnace to melt the copper required,
he cast the sculpture in the basement of his family home in
Toledo, Ohio, burning out the furnace in the process.
After graduation from high school, he left home to attend
Alfred University. In the Preparatory Study, he notes
"the necessity/decision/desire to “become;” 17. Leaving
home. The ‘who’ is very strong–young, vital, sexual,
beautiful, naive, fearless, boundless energy, a late emergence
from puberty. David? Theseus?"
With the exception of the INFANT OF PRAGUE, all
other actual work executed by him during that three year
period was the result of specific student assignments, only
rare examples of which have been photographed or are
otherwise recorded. They were purely experimental both of
ideas and materials and reflective of the “styles” and
metaphors of the time. Yet some of those experiments gave
hint of the artist he would become. In later life he spoke
of the period of the First Arch as an awaking from the
emotional and intellectual restraints imposed upon him by
his parents who only wished for him a “normal” life in
which he would use his education at Alfred University to
prepare him to enter a recognized trade, return to the family
fold, marry, reproduce and derive pleasure from playing the
piano and tennis. But his eyes were opening, his imagination
expanding, and the challenges ever more formidable and
freeing. He said: “Compared to the Jewish girls from New
York City, I was merely ignorant, unread, and inexperienced.”
The years at Alfred University proved invaluable
for it was there he recognized the impossibility of pursuing
a course antithetical to his emerging what. Numerous of his
student notebooks and essays have been preserved and these, more than anything else, indicate the formulation of the
ideas and concepts that have been subsequently analyzed and
developed and expanded by him during the decades thereafter. Some of the ideas in gestation during the years
seventeen through twenty, and even until the present, are
addressed by the then forty-two year old artist in the
contemplation of the creation of the First Arch:
[How does “whatness” occur? Does it begin to develop
simultaneously with the developing “who”? Is it created
because of or in spite of an initial flaw within the identity
of the “who”? I would like to believe that the inner-self, the
“what,” is born out of the “who’s” non-acceptance of the
doctrine of linear time–a non-acceptance of death—a desire
to create out of oneself a sphere whose inner walls reflect
the inner desire of all men regardless of time or space. This
would mean an acceptance of all man’s behavior. Nothing
would exist as external to the sphere—neither “good” nor
“evil”—one man=all men. Acceptance eliminates the
doctrine of linear time, and with it the theory of
oppositeness. Within the sphere, “good” or “bad” have no
meaning—neither do life or death; rather, there exists
synonymity, a relating and reflecting of oneself in terms and
degree of the evolving “what.” The possibility for the
creation of “whatness” exists in all men, but it seems such a
fragile and destructible thing. I believe that Everyman at one
point or another within the linear life-span of the “who” is
confronted by the initial choice for the creation of his
“whatness”—and because it is a choice, there are men who
choose not to create, but rather to remain within the
doctrine of linear time—within the theory of
oppositeness…to become historical artifacts stored within
the ever-changing metaphors of the absolute “who.” They
kill and are killed—an endless repetition of the murder of
their own “whatness.” These presences, too, must be
included in Vatican Corridor—but they will exist within the
spaces between the arches.
[If an initial moment of choice must be selected for the
creation of a second or non-linear self, perhaps that moment
would be when “who” one is detaches itself from what one
was in terms of the linear matrix? “Son of…” “Daughter
of…” etc. Because of this detachment and vulnerability of
the “who,” a choice is presented—a reinforcement of the
linear “who” through a posture of “I am me because I am
not you,” or a transposition of linear into spherical
“whatness:” One man=all men…“I am me because I am
you.” The inner wall of the First Arch must somehow carry
the significance of the initial choice—or rather, what it is
that confronts the “who” at the moment of initial
choice——: A blank? An undisturbed volume? A vision existing within a block? A kind of geometric “perfection”? A void? A vacant arch? Shadows of possibilities? A block barely opened or in the act of opening? A concave reflection of the outer-wall? A gestured void corresponding to the convex and volumetric “who”? Certain volumes to exist within the concavity as an indication of some sort of predetermined limitation upon
the “what” in reference to the influences imposed upon the
“who” in terms of the “who’s” linear “whatness”? A kind of
imposed pre-choice identity? In terms of non-specific
autobiography, could or would this imposition be sexual?
Should this indication of pre-choice identity take the form
of a brutalization through the arches until it, too, is
assimilated and accepted in terms of the evolving “what”?
[In this, the First Arch, there are no transpositions from
the outer to the inner walls. It is a statement more of “this is
the way it is” with only two elements specifically to be noted:
the arm of the figure in the outer wall is held back firmly by
the hand of restraint; the hand of the parents, society, the
church, anyone and everything that would disallow a
departure, an escape, from familiar and restrictive traditions,
perhaps. The other is the uncarved top of the head, clearly
indicating that the soon to begin emerging what already is in
possession of the one element that would make full transposition possible: whatness, the universality of Desire.]
At the conclusion of the preparatory study for the inner
wall of the First Arch, Robert Cremean wrote:
[Perhaps gestured outline of concave volumes should relate
to outer wall in terms of a more mature image—a reflection
of the outer wall’s vision rather than a mirrored duplication
of the actual “who” at the specific time of initial choice? The
gestured outline of the concave volumes would thus remain
static as a mature presence or receptacle throughout the series of arches. Would this mean then that the “what” exists as an established form—timeless and unchangeable—a constant
alternative to the mortality of the linear directed “who”?
Would this then also mean that choice is a constant possibility
for Everyman at any stage throughout the evolution of the
“who”? Then the choice for “whatness” is omnipresent? That
“whatness” by its very nature is omnipresent regardless of the
particularized “who”?
[The question of this “omnipresent” “whatness” persists
throughout the entire VATICAN CORRIDOR. For, if the
concept of “whatness” is present but not recognized and
embraced, which of the other transpositions are possible?
And if it is recognized but only partially understood and
accepted, is it possible to progress the full length of the
corridor or are we, as individuals sharing this “non-specific
autobiography,” ultimately locked into a particular “arch”
within this “corridor” of the self?]
The following is written in the Fourth Arch:
Within the evolution of the Inner Wall—the “what”—there
could exist an equation with the First Arch Outer Wall and
the Inner Wall of the Fourth Arch: An awareness of
“beyondness,” an expansion through exposure. The “what”
is very strong—young, vital, sensual, beautiful, naive,
fearless—boundless energy…
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
On May 18, Solange performed "An Ode To," an interdisciplinary performance piece and meditation, that examined themes from "A Seat at the Table." Through movement, installation, and experimentation with reconstructed musical arrangements, Solange transformed the iconic Frank Lloyd Wright rotunda with her mesmerizing site-specific performance and melodic vocals. This performance was part of the Red Bull Music Academy Festival.
Photos: Carys Huws, Stacy Kranitz, and Krisanne Johnson
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Picture taken February 1983!
______________________
The Mahakam River is in Indonesia. It flows 980 km from the district of Long Apari in the highlands of Borneo, to its mouth at the Makassar Strait.
The city of Samarinda, the provincial capital of East Kalimantan, lies along the river 48 km from the river mouth. The delta Mahakam river consist of specific micro climate which is influenced by high and low tide at sea level.
SUMMARY
The Mahakam River is the largest river in East Kalimantan, Indonesia, with a catchment area of approximately 77,100 km2. The catchment lies between 2˚N to 1˚S latitude and 113˚E to 118˚E longitude. The river originates in Cemaru from where it flows south-eastwards, meeting the River Kedang Pahu at the city of Muara Pahu. From there, the river flows eastward through the Mahakam lakes region, which is a flat tropical lowland area surrounded by peat land. Thirty shallow lakes are situated in this area, which are connected to the Mahakam through small channels. Downstream of the connection with the Semayang and Melintang lakes, the Mahakam meets three other main tributaries - the rivers Belayan, Kedang Kepala, and Kedang Rantau - and flows south-eastwards through the Mahakam delta distributaries, to the Makassar Strait.
GEOLOGY
Kalimantan, where the Mahakam lies, is part of the Sunda Continental Plate. The large island has mountain ranges between Indonesia and Malaysia. As described by van Bemmelen (1949), River Mahakam rises in Cemaru (1,681 m) in the centre of Kalimantan, from there it cuts through the pre-tertiary axis of the island east of the Batuayan (1,652 m) and then reaches the tertiary basin of Kutai. Its middle course traverses a lowland plain with many marshy lakes. This intermontane depression is separated from the neighboring basin, the Barito depression, by a broad hilly tract of less than 500 metres altitude. After this region, the Mahakam cuts through the Samarinda anticlinorium and reaches its alluvial delta, which spreads like a broad fan over the shelf-sea, with a base of 65 kilometres and a radius of about 30 kilometres..
Upstream of Long Iram (upstream part of Mahakam river basin) the river is flowing in tertiary rocks (Voss, 1983). Between Long Iram and Muara Kaman (middle Mahakam area) the river is flowing in quaternary alluvium, while in the downstream area between Muara Kaman and the coast including the Mahakam delta, tertiary rocks are again present. The presence of the large delta is explained by the formation and rejuvenation of the hilly region near Samarinda.
CLIMATE
The Mahakam catchment is around the equator. According to Köppen climate classification, this area belongs to type Af (tropical rainforest) that has a minimum temperature ≥18 °C and precipitation of the driest month in normal year ≥60 mm Transfer of mass and energy in the tropical zone occurred through general air circulation known as the Hadley cell. According to Seidel et al. (2008) the precipitation pattern in this area is largely determined by this large-scale atmospheric wind patterns, which is observable in several ways throughout the atmosphere. This circulation carries moisture into the air, generating rainfall in equatorial regions, whereas at the edges of the tropical belt are drier. Within this circulation, evaporation occurs intensively around the equator on the centre of low pressure called the Intertropical Convergence Zone (ITCZ), characterized by accumulation of cloud in the area. The ITCZ moves following the pseudo-motion of the sun within 23.5°N and 23.5°S zone, therefore its position always changes according to this motion.
The ITCZ drives the Indo-Australian monsoon phenomena which influence the regional climate including the Mahakam catchment. In December, January, February (winter in northern hemisphere) the concentration of high pressure in Asia and low pressure in Australia make the west wind blows in Indonesia (west monsoon). In June, July, August concentration of low pressure in Asia (summer in northern hemisphere) and concentration of high pressure in Australia make the east wind blows in Indonesia (east monsoon). Due to the global air circulation and the regional climate mentioned above, the Mahakam catchment which is located around the equator has a bimodal rainfall pattern with two peaks of rainfall, which are generally occurred in December and May. This is because the ITCZ passed through the equator twice a year, from the northern hemisphere in September and from the southern hemisphere in March.
LAKES
There are about 76 lakes spread in the Mahakam river basin and about 30 lakes are located in the middle Mahakam area including the three main lakes (Lake Jempang 15,000 Ha; Lake Semayang 13,000 Ha; Lake Melintang 11,000 Ha). The lakes levels are seasonally fluctuated from 0.5 m – 1 m during dry period to seven meters during rainy season. The Mahakam lakes and surrounding wetlands act as water storage as well as a trap of sediment contained in the water flowing into the lakes which are now known to become shallower, presumably as a result of an imbalance between sediment input and slow subsidence.
Fishing is the primary source of livelihood in the Mahakam lakes area, most of the people around the lakes are fishermen. The middle Mahakam lake area is an area of intensive fishing activity with a productivity of 25,000 to 35,000 metric tons per year since 1970.
DELTA
The Mahakam delta is a mixed fluvial-tidal dominated delta. The delta covers about 1800 km2, consisting of mangrove areas near the shore, Nypa swamps in the central areas, and lowland forest near the apex, corresponding to the first bifurcation, however, recent fishery development in this area has converted a vast area of mangrove into shrimp ponds (tambak). The delta has three main distributaries system directed Northeast, Southeast and South. The area between distributaries consists of a series of tidal channels generally unconnected to the main distributaries. The distributary channels are narrow and rectilinear with the depth ranging from 8 to 15 m and distributary channel bifurcations appear every 10 to 15 km.
This lower Mahakam area is the second most productive hydrocarbon basin of Indonesia which contains around 3 billion barrels of oil and 30 Tcf of gas reserves. Field geological investigations in this area was started in 1888 and in 1897 exploration drilling discovered oil at shallow depth of 46 m on the Louise structure. Production started in 1898 followed by expansion of exploration to the entire Mahakam.
ECOLOGY
Mahakam and its floodplain is an ecologically important region. A total of 147 indigenous freshwater fish species had been identified from the Mahakam. The Mahakam hosts the freswater dolphin Irrawaddy Dolphin (Orcaella brevirostris; called Pesut by local people) a critically endangered species, which is included on CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora) Appendix I. The Mahakam river basin is also an important breeding and resting place for 298 bird species, among them 70 protected and five endemic species: Borneo Dusky Mannikin (Lonchura fuscans), Borneo Whistler (Pachycephala hypoxantha), Bornean Peacock-pheasant (Polyplectron schleiermacheri), Bornean Blue-flycatcher (Cyornis superbus) and Bornean Bristlehead (Pityriasis gymnocephala).
A research cluster: "Upsetting the balance in the Mahakam Delta: past, present and future impacts of sea-level rise, climate change, upstream controls and human intervention on sediment and mangrove dynamics" extensively carry out research on the Mahakam. The cluster's objective is to study the impact of external forcing factors such as sea-level rise, climate change, upstream sediment, as well as human interference on past, present and future development of the Mahakam delta in different time scales.
POLLUTION
Logging and mining activities have contributed to the "alarming rate" of pollution of East Kalimantan’s Mahakam River. Tests of water pollutants showed levels increased sharply between 2009 and 2011. Despite the growing pollution, it is claimed that "the water is basically still safe for consumption."
Unsafe concentrations of heavy metals have been observed in Mahakam fish. A 2015 study found lead concentrations in excess of 1000 times safe levels along with unsafe levels of copper, zinc, and cadmium.
BRIDGES
Bridges include the 400 m Mahakam Bridge and the 710 m Kutai Kartanegara Bridge. The latter collapsed on 2011-11-26, it took 3 years of planning and one and half years more to rebuild new bridge on the same spot. The new Kutai Kertanegara Bridge now open for public since 2015-12-08 after opening ceremony held by local regent.
SOCIAL ASPECT
The River Mahakam is an economic resource for fishermen and farmers, and as freshwater source, as a waterway since ancient time until today. It is in this river basin where the Kutai kingdom evolved. The Kutai history is divided into two periods, Kutai Martadipura (around 350-400) and Kutai Kartanegara period (around 1300). Kutai Martadipura, a Hindu kingdom founded by Mulawarman at Muara Kaman, is regarded as the oldest kingdom in Indonesia. Kutai Kartanegara was founded by settlers from Java at Kutai Lama near the mouth of Mahakam. In around 1565, Islam was extensively spread in Kartanegara by two Moslem preachers from Java, Tunggang Parangan and Ri Bandang.
The Dayaks are the indigenous people inhabiting Kalimantan beside the Kutais and the Banjars. Since the 1970s transmigration of people to East Kalimantan was organised by the Indonesian government especially in areas near River Mahakam. Transmigration aims to migrate people from overpopulated Java, Bali, and Madura islands to stimulate greater agricultural productivity in outer islands. By 1973, almost 26% of the land under cultivation in East Kalimantan was being worked by transmigrants.
WIKPEDIA
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
self portariat with my camera on the floor.
Project Room
Barry McGee
Site-Specific Loft Installation
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
- Roberts and Tilton Gallery
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it for this exhibit. Barry asked, "Can I build a loft?" And they did. A real interesting space. MORE PHOTOS HERE
Miracle Mile, Los Angeles, CA
12/2006
I'm searching for help in identifying this lens.
Very specific is the halfmoon shaped mask on the frontlens.
Is this a lens from i.e. a copier or from a camera ?
The frontlens has a diameter of about 62 mm.
I think it's an triple element lens because i can observe 3 reflections of i.e. a lamp. Glass has a blue haze so is probably coated.
The lensbarrel is about 70mm long and has 1 inner and 1 outer thread.
The outer thread has a diameter from about 80mm.
No identification text but only a small, handwritten, sticker stating "12.7".
The weight is about 740 grams.
The Rolls-Royce Silver Ghost name refers both to a car model and one specific car from that series.
Originally named the "40/50 h.p." the chassis was first made at Royce's Manchester works, with production moving to Derby in July 1908, and also, between 1921 and 1926, in Springfield, Massachusetts. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names, but the Silver Ghost title was taken up by the press, and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925, when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.
HISTORY
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four-cylinder 20 hp and a six-cylinder 30 hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished, and examples were not provided to the press for testing until March 1907.
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two-cylinder units on the earlier six. A three-speed transmission was fitted at first with four-speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication, and the centre main bearing was made especially large to remove vibration, essentially splitting the engine into two three-cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919.[1] Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.
Development of the Silver Ghost was suspended during World War I, although the chassis and engine were supplied for use in Rolls-Royce Armoured Cars.
The chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever, with a pedal-operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913. Four-wheel servo-assisted brakes became optional in 1923.
Despite these improvements the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded by the early 1920s. Sales declined from 742 in 1913 to 430 in 1922. The company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.
A total of 7874 Silver Ghost cars were produced from 1907 to 1926, including 1701 from the American Springfield factory. Many of them still run today. A fine example is on display at the National Motor Museum, Beaulieu.
THE ALPINE EAGLES
A 40/50 was privately entered in the prestigious 1912 Austrian Alpine Trial by James Radley, but its 3-speed gearbox proved inadequate for the ascent of the Katschberg Pass. A factory team of four cars were prepared for the 1913 event with four-speed gearboxes, and engine power increased from 60 to 75 bhp (56 kW) by an increase in compression ratio and larger carburettor. The team gained six awards including the Archduke Leopold Cup. Replicas of the victorious cars were put into production and sold officially as Continental models, but they were called Alpine Eagles by chief test driver (and later Rolls-Royce Managing Director) Ernest Hives, and this is the name that they have kept.
THE SILVER GHOST
In 1907 Claude Johnson, Commercial and Managing Director of Rolls-Royce, ordered a car to be used as a demonstrator by the company. With chassis no. 60551 and registered AX 201, it was the 12th 40/50 hp to be made, and was painted in aluminium paint with silver-plated fittings. The car was named the "Silver Ghost" to emphasise its ghost-like quietness, and a plaque bearing this name adorned the bulkhead. An open-top Roi-des-Belges body by coachbuilder Barker was fitted, and the car readied for the Scottish reliability trials of 1907 and, immediately afterwards, another 24,000 km test which included driving between London and Glasgow 27 times.
The aim was to raise public awareness of the new company and to show the reliability and quietness of their new car. This was a risky idea: cars of this time were notoriously unreliable, and roads of the day could be horrendous. Nevertheless, the car set off on trials, and with press aboard, broke record upon record. Even after 11,000 km, the cost to service the car was a negligible £2 2s 7d (£2.13). The reputation of the 40/50, and Rolls-Royce, was established.
AX201 was sold in 1908 to a private customer, who used it for his annual vacation to Italy, and recovered by the company in 1948. Since then, it has been used as a publicity car and travelled worldwide. In 1989, the car was restored by SC Gordon Coachbuilders Luton, and P&A Wood, London, UK. It is now owned by Bentley Motors.
In 1984, the car was photographed in great detail whilst in storage in Luton by precision model makers Franklin Mint. This die-cast model went on to become one of their best-selling products.
The Silver Ghost is considered the most valuable car in the world; in 2005 its insured value was placed at US$35 million.
WIKIPEDIA
Cattle (Bos taurus) are large, domesticated, bovid ungulates. They are prominent modern members of the subfamily Bovinae and the most widespread species of the genus Bos. Mature female cattle are referred to as cows and mature male cattle are referred to as bulls. Colloquially, young female cattle (heifers), young male cattle (bullocks), and castrated male cattle (steers) are also referred to as "cows".
Cattle are commonly raised as livestock for meat (beef or veal, see beef cattle), for milk and dairy products (see dairy cattle), and for hides, which are used to make leather. They are used as riding animals and draft animals (oxen or bullocks, which pull carts, plows and other implements). Another product of cattle is their dung, which can be used to create manure or fuel. In some regions, such as parts of India, cattle is considered as a sacred animal. Cattle, mostly small breeds such as the Miniature Zebu, are also kept as pets.
Different types of cattle are common to different geographic areas. Taurine cattle are found primarily in Europe and temperate areas of Asia, the Americas, and Australia. Zebus (also called indicine cattle) are found primarily in India and tropical areas of Asia, America, and Australia. Sanga cattle are found primarily in sub-Saharan Africa. These types (which are sometimes classified as separate species or subspecies) are further divided into over 1,000 recognized breeds.
Around 10,500 years ago, taurine cattle were domesticated from as few as 80 wild aurochs progenitors in central Anatolia, the Levant and Western Iran. A separate domestication event occurred in the Indian subcontinent, which gave rise to zebu. According to the Food and Agriculture Organization (FAO), there are approximately 1.5 billion cattle in the world as of 2018. Cattle are the main source of greenhouse gas emissions from livestock, and are responsible for around 10% of global greenhouse gas emissions. In 2009, cattle became one of the first livestock animals to have a fully mapped genome.
Taxonomy
See also: Bos and Bovinae
Cattle were originally identified as three separate species: Bos taurus, the European or "taurine" cattle (including similar types from Africa and Asia); Bos indicus, the Indicine or "zebu"; and the extinct Bos primigenius, the aurochs. The aurochs is ancestral to both zebu and taurine cattle. They were later reclassified as one species, Bos taurus, with the aurochs (B. t. primigenius), zebu (B. t. indicus), and taurine (B. t. taurus) cattle as subspecies. However, this taxonomy is contentious and some sources prefer the separate species classification, such as the American Society of Mammalogists' Mammal Diversity Database.
Complicating the matter is the ability of cattle to interbreed with other closely related species. Hybrid individuals and even breeds exist, not only between taurine cattle and zebu (such as the sanga cattle (Bos taurus africanus x Bos indicus), but also between one or both of these and some other members of the genus Bos – yaks (the dzo or yattle[10]), banteng, and gaur. Hybrids such as the beefalo breed can even occur between taurine cattle and either species of bison, leading some authors to consider them part of the genus Bos, as well. The hybrid origin of some types may not be obvious – for example, genetic testing of the Dwarf Lulu breed, the only taurine-type cattle in Nepal, found them to be a mix of taurine cattle, zebu, and yak. However, cattle cannot be successfully hybridized with more distantly related bovines such as water buffalo or African buffalo.
The aurochs originally ranged throughout Europe, North Africa, and much of Asia. In historical times, its range became restricted to Europe, and the last known individual died in Mazovia, Poland, in about 1627. Breeders have attempted to recreate cattle of similar appearance to aurochs by crossing traditional types of domesticated cattle, creating the Heck cattle breed.
A group of taurine-type cattles exist in Africa. It is hotly debated whether they represent an independent domestication event or were the result of crossing taurines domesticated elsewhere with local aurochs, but it's clear that they are genetically quite distinct; some authors choose to name them as a separate subspecies, Bos taurus africanus. The only pure African taurine breeds remaining are the N'Dama, Kuri and some varieties of the West African Shorthorn.
Etymology
Cattle did not originate as the term for bovine animals. It was borrowed from Anglo-Norman catel, itself from medieval Latin capitale 'principal sum of money, capital', itself derived in turn from Latin caput 'head'. Cattle originally meant movable personal property, especially livestock of any kind, as opposed to real property (the land, which also included wild or small free-roaming animals such as chickens—they were sold as part of the land). The word is a variant of chattel (a unit of personal property) and closely related to capital in the economic sense. The term replaced earlier Old English feoh 'cattle, property', which survives today as fee (cf. German: Vieh, Dutch: vee, Gothic: faihu).
The word cow came via Anglo-Saxon cū (plural cȳ), from Common Indo-European gʷōus (genitive gʷowés) 'a bovine animal', cf. Persian: gâv, Sanskrit: go-, Welsh: buwch. The plural cȳ became ki or kie in Middle English, and an additional plural ending was often added, giving kine, kien, but also kies, kuin and others. This is the origin of the now archaic English plural, kine. The Scots language singular is coo or cou, and the plural is kye.
In older English sources such as the King James Version of the Bible, cattle refers to livestock, as opposed to deer which refers to wildlife. Wild cattle may refer to feral cattle or to undomesticated species of the genus Bos. Today, when used without any other qualifier, the modern meaning of cattle is usually restricted to domesticated bovines.
Terminology
In general, the same words are used in different parts of the world, but with minor differences in the definitions. The terminology described here contrasts the differences in definition between the United Kingdom and other British-influenced parts of the world such as Canada, Australia, New Zealand, Ireland and the United States.
An "intact" (i.e., not castrated) adult male is called a bull.
A father bull is called a sire with reference to his offspring.
An adult female that has had a calf (or two, depending on regional usage) is a cow. Steers and heifers are also colloquially referred to as cows.
A mother cow is called a dam with reference to her offspring. Often, mentions of dams imply cows kept in the herd for repeated breeding (as opposed to heifers or cows sold off sooner).
A young female before she has had a calf of her own and who is under three years of age is called a heifer. A young female that has had only one calf is occasionally called a first-calf heifer. Heiferettes are either first-calf heifers or a subset thereof without potential to become lineage dams, depending on whose definition is operative.
Young cattle (regardless of sex) are called calves until they are weaned, then weaners until they are a year old in some areas; in other areas, particularly with male beef cattle, they may be known as feeder calves or feeders. After that, they are referred to as yearlings or stirks if between one and two years of age.
Feeder cattle or store cattle are young cattle soon to be either backgrounded or sent to fattening, most especially those intended to be sold to someone else for finishing. In some regions, a distinction between stockers and feeders (by those names) is the distinction of backgrounding versus immediate sale to a finisher.
A castrated male is called a steer in the United States; older steers are often called bullocks in other parts of the world, but in North America this term refers to a young bull. Piker bullocks are micky bulls (uncastrated young male bulls) that were caught, castrated and then later lost. In Australia, the term Japanese ox is used for grain-fed steers in the weight range of 500 to 650 kg that are destined for the Japanese meat trade. In North America, draft cattle under four years old are called working steers. Improper or late castration on a bull results in it becoming a coarse steer known as a stag in Australia, Canada and New Zealand. In some countries, an incompletely castrated male is known also as a rig.
A castrated male (occasionally a female or in some areas a bull) kept for draft or riding purposes is called an ox (plural oxen); ox may also be used to refer to some carcass products from any adult cattle, such as ox-hide, ox-blood, oxtail, or ox-liver.
A springer is a cow or heifer close to calving.
In all cattle species, a female twin of a bull usually becomes an infertile partial intersex, and is called a freemartin.
A wild, young, unmarked bull is known as a micky in Australia.
An unbranded bovine of either sex is called a maverick in the US and Canada.
Neat (horned oxen, from which neatsfoot oil is derived), beef (young ox) and beefing (young animal fit for slaughtering) are obsolete terms, although poll, pollard and polled cattle are still terms in use for naturally hornless animals, or in some areas also for those that have been disbudded or dehorned.
Cattle raised for human consumption are called beef cattle. Within the American beef cattle industry, the older term beef (plural beeves) is still used to refer to an animal of either sex. Some Australian, Canadian, New Zealand and British people use the term beast.
Cattle bred specifically for milk production are called milking or dairy cattle; a cow kept to provide milk for one family may be called a house cow or milker. A fresh cow is a dairy term for a cow or first-calf heifer who has recently given birth, or "freshened."
The adjective applying to cattle in general is usually bovine. The terms bull, cow and calf are also used by extension to denote the sex or age of other large animals, including whales, hippopotamuses, camels, elk and elephants.
Various other terms for cattle or types thereof are historical; these include nowt, nolt, mart, and others.
Singular terminology issue
"Cattle" can only be used in the plural and not in the singular: it is a plurale tantum. Thus one may refer to "three cattle" or "some cattle", but not "one cattle". "One head of cattle" is a valid though periphrastic way to refer to one animal of indeterminate or unknown age and sex; otherwise no universally used single-word singular form of cattle exists in modern English, other than the sex- and age-specific terms such as cow, bull, steer and heifer. Historically, "ox" was not a sex-specific term for adult cattle, but generally this is now used only for working cattle, especially adult castrated males. The term is also incorporated into the names of other species, such as the musk ox and "grunting ox" (yak), and is used in some areas to describe certain cattle products such as ox-hide and oxtail.
Cow is in general use as a singular for the collective cattle. The word cow is easy to use when a singular is needed and the sex is unknown or irrelevant—when "there is a cow in the road", for example. Further, any herd of fully mature cattle in or near a pasture is statistically likely to consist mostly of cows, so the term is probably accurate even in the restrictive sense. Other than the few bulls needed for breeding, the vast majority of male cattle are castrated as calves and are used as oxen or slaughtered for meat before the age of three years. Thus, in a pastured herd, any calves or herd bulls usually are clearly distinguishable from the cows due to distinctively different sizes and clear anatomical differences. Merriam-Webster and Oxford Living Dictionaries recognize the sex-nonspecific use of cow as an alternate definition, whereas Collins and the OED do not.
Colloquially, more general nonspecific terms may denote cattle when a singular form is needed. Head of cattle is usually used only after a numeral. Australian, New Zealand and British farmers use the term beast or cattle beast. Bovine is also used in Britain. The term critter is common in the western United States and Canada, particularly when referring to young cattle. In some areas of the American South (particularly the Appalachian region), where both dairy and beef cattle are present, an individual animal was once called a "beef critter", though that term is becoming archaic.
Other terminology
Cattle raised for human consumption are called beef cattle. Within the beef cattle industry in parts of the United States, the term beef (plural beeves) is still used in its archaic sense to refer to an animal of either sex. Cows of certain breeds that are kept for the milk they give are called dairy cows or milking cows (formerly milch cows). Most young male offspring of dairy cows are sold for veal, and may be referred to as veal calves.
The term dogies is used to describe orphaned calves in the context of ranch work in the American West, as in "Keep them dogies moving". In some places, a cow kept to provide milk for one family is called a "house cow". Other obsolete terms for cattle include "neat" (this use survives in "neatsfoot oil", extracted from the feet and legs of cattle), and "beefing" (young animal fit for slaughter).
An onomatopoeic term for one of the most common sounds made by cattle is moo (also called lowing). There are a number of other sounds made by cattle, including calves bawling, and bulls bellowing. Bawling is most common for cows after weaning of a calf. The bullroarer makes a sound similar to a bull's territorial call.
Characteristics
Anatomy
Cattle are large quadrupedal ungulate mammals with cloven hooves. Most breeds have horns, which can be as large as the Texas Longhorn or small like a scur. Careful genetic selection has allowed polled (hornless) cattle to become widespread.
Digestive system
Further information: Digestive system of ruminants
Cattle are ruminants, meaning their digestive system is highly specialized to allow the consumption of difficult to digest plants as food. Cattle have one stomach with four compartments, the rumen, reticulum, omasum, and abomasum, with the rumen being the largest compartment. The reticulum, the smallest compartment, is known as the "honeycomb". The omasum's main function is to absorb water and nutrients from the digestible feed. The omasum is known as the "many plies". The abomasum is like the human stomach; this is why it is known as the "true stomach".
Cattle are known for regurgitating and re-chewing their food, known as cud chewing, like most ruminants. While the animal is feeding, the food is swallowed without being chewed and goes into the rumen for storage until the animal can find a quiet place to continue the digestion process. The food is regurgitated, a mouthful at a time, back up to the mouth, where the food, now called the cud, is chewed by the molars, grinding down the coarse vegetation to small particles. The cud is then swallowed again and further digested by specialized microorganisms in the rumen. These microbes are primarily responsible for decomposing cellulose and other carbohydrates into volatile fatty acids cattle use as their primary metabolic fuel. The microbes inside the rumen also synthesize amino acids from non-protein nitrogenous sources, such as urea and ammonia. As these microbes reproduce in the rumen, older generations die and their cells continue on through the digestive tract. These cells are then partially digested in the small intestines, allowing cattle to gain a high-quality protein source. These features allow cattle to thrive on grasses and other tough vegetation.
Reproduction
Further information: Bull § Reproductive anatomy
On farms it is very common to use artificial insemination (AI), a medically assisted reproduction technique consisting of the artificial deposition of semen in the female's genital tract. It is used in cases where the spermatozoa can not reach the fallopian tubes or by choice of the owner of the animal. It consists of transferring, to the uterine cavity, spermatozoa previously collected and processed, with the selection of morphologically more normal and mobile spermatozoa. Synchronization of cattle ovulation to benefit dairy farming may be accomplished via induced ovulation techniques.
Bulls become fertile at about seven months of age. Their fertility is closely related to the size of their testicles, and one simple test of fertility is to measure the circumference of the scrotum: a young bull is likely to be fertile once this reaches 28 centimetres (11 in); that of a fully adult bull may be over 40 centimetres (16 in).
A bull has a fibro-elastic penis. Given the small amount of erectile tissue, there is little enlargement after erection. The penis is quite rigid when non-erect, and becomes even more rigid during erection. Protrusion is not affected much by erection, but more by relaxation of the retractor penis muscle and straightening of the sigmoid flexure.
The gestation period for a cow is about nine months long. The secondary sex ratio – the ratio of male to female offspring at birth – is approximately 52:48, although it may be influenced by environmental and other factors. A cow's udder contains two pairs of mammary glands, (commonly referred to as teats) creating four "quarters". The front ones are referred to as fore quarters and the rear ones rear quarters.
Weight and lifespan
The weight of adult cattle varies, depending on the breed. Smaller kinds, such as Dexter and Jersey adults, range between 300 and 500 kg (600 and 1,000 lb). Large Continental breeds, such as Charolais, Marchigiana, Belgian Blue and Chianina adults range from 640 to 1,100 kg (1,400 to 2,500 lb). British breeds, such as Hereford, Angus, and Shorthorn, mature at 500 to 900 kg (1,000 to 2,000 lb), occasionally higher, particularly with Angus and Hereford. Bulls are larger than cows of the same breed by up to a few hundred kilograms. British Hereford cows weigh 600–800 kg (1,300–1,800 lb); the bulls weigh 1,000–1,200 kg (2,200–2,600 lb). Chianina bulls can weigh up to 1,500 kg (3,300 lb); British bulls, such as Angus and Hereford, can weigh as little as 900 kg (2,000 lb) and as much as 1,400 kg (3,000 lb).
The world record for the heaviest bull was 1,740 kg (3,840 lb), a Chianina named Donetto, when he was exhibited at the Arezzo show in 1955. The heaviest steer was eight-year-old 'Old Ben', a Shorthorn/Hereford cross weighing in at 2,140 kg (4,720 lb) in 1910.
In the United States, the average weight of beef cattle has steadily increased, especially since the 1970s, requiring the building of new slaughterhouses able to handle larger carcasses. New packing plants in the 1980s stimulated a large increase in cattle weights. Before 1790 beef cattle averaged only 160 kg (350 lb) net; and thereafter weights climbed steadily.
A newborn calf's size can vary among breeds, but a typical calf weighs 25 to 45 kg (55 to 99 lb). Adult size and weight vary significantly among breeds and sex. Steers are generally slaughtered before reaching 750 kg (1,650 lb). Breeding stock may be allowed a longer lifespan, occasionally living as long as 25 years. The oldest recorded cow, Big Bertha, died at the age of 48 in 1993.
Cognition
In laboratory studies, young cattle are able to memorize the locations of several food sources and retain this memory for at least 8 hours, although this declined after 12 hours. Fifteen-month-old heifers learn more quickly than adult cows which have had either one or two calvings, but their longer-term memory is less stable. Mature cattle perform well in spatial learning tasks and have a good long-term memory in these tests. Cattle tested in a radial arm maze are able to remember the locations of high-quality food for at least 30 days. Although they initially learn to avoid low-quality food, this memory diminishes over the same duration. Under less artificial testing conditions, young cattle showed they were able to remember the location of feed for at least 48 days. Cattle can make an association between a visual stimulus and food within 1 day—memory of this association can be retained for 1 year, despite a slight decay.
Calves are capable of discrimination learning and adult cattle compare favourably with small mammals in their learning ability in the closed-field test.
They are also able to discriminate between familiar individuals, and among humans. Cattle can tell the difference between familiar and unfamiliar animals of the same species (conspecifics). Studies show they behave less aggressively toward familiar individuals when they are forming a new group. Calves can also discriminate between humans based on previous experience, as shown by approaching those who handled them positively and avoiding those who handled them aversively. Although cattle can discriminate between humans by their faces alone, they also use other cues such as the color of clothes when these are available.
In audio play-back studies, calves prefer their own mother's vocalizations compared to the vocalizations of an unfamiliar mother.
In laboratory studies using images, cattle can discriminate between images of the heads of cattle and other animal species. They are also able to distinguish between familiar and unfamiliar conspecifics. Furthermore, they are able to categorize images as familiar and unfamiliar individuals.
When mixed with other individuals, cloned calves from the same donor form subgroups, indicating that kin discrimination occurs and may be a basis of grouping behaviour. It has also been shown using images of cattle that both artificially inseminated and cloned calves have similar cognitive capacities of kin and non-kin discrimination.
Cattle can recognize familiar individuals. Visual individual recognition is a more complex mental process than visual discrimination. It requires the recollection of the learned idiosyncratic identity of an individual that has been previously encountered and the formation of a mental representation. By using two-dimensional images of the heads of one cow (face, profiles, 3⁄4 views), all the tested heifers showed individual recognition of familiar and unfamiliar individuals from their own breed. Furthermore, almost all the heifers recognized unknown individuals from different breeds, although this was achieved with greater difficulty. Individual recognition was most difficult when the visual features of the breed being tested were quite different from the breed in the image, for example, the breed being tested had no spots whereas the image was of a spotted breed.
Cattle use visual/brain lateralisation in their visual scanning of novel and familiar stimuli. Domestic cattle prefer to view novel stimuli with the left eye, i.e. using the right brain hemisphere (similar to horses, Australian magpies, chicks, toads and fish) but use the right eye, i.e. using the left hemisphere, for viewing familiar stimuli.
Senses
Cattle use all of the five widely recognized sensory modalities. These can assist in some complex behavioural patterns, for example, in grazing behaviour. Cattle eat mixed diets, but when given the opportunity, show a partial preference of approximately 70% clover and 30% grass. This preference has a diurnal pattern, with a stronger preference for clover in the morning, and the proportion of grass increasing towards the evening.
Vision
Vision is the dominant sense in cattle and they obtain almost 50% of their information visually.
Cattle are a prey animal and to assist predator detection, their eyes are located on the sides of their head rather than the front. This gives them a wide field of view of 330° but limits binocular vision (and therefore stereopsis) to 30° to 50° compared to 140° in humans. This means they have a blind spot directly behind them. Cattle have good visual acuity, but compared to humans, their visual accommodation is poor.
Cattle have two kinds of color receptors in the cone cells of their retinas. This means that cattle are dichromatic, as are most other non-primate land mammals. There are two to three rods per cone in the fovea centralis but five to six near the optic papilla. Cattle can distinguish long wavelength colors (yellow, orange and red) much better than the shorter wavelengths (blue, grey and green). Calves are able to discriminate between long (red) and short (blue) or medium (green) wavelengths, but have limited ability to discriminate between the short and medium. They also approach handlers more quickly under red light. Whilst having good color sensitivity, it is not as good as humans or sheep.
A common misconception about cattle (particularly bulls) is that they are enraged by the color red (something provocative is often said to be "like a red flag to a bull"). This is a myth. In bullfighting, it is the movement of the red flag or cape that irritates the bull and incites it to charge.
Taste
Cattle have a well-developed sense of taste and can distinguish the four primary tastes (sweet, salty, bitter and sour). They possess around 20,000 taste buds. The strength of taste perception depends on the individual's current food requirements. They avoid bitter-tasting foods (potentially toxic) and have a marked preference for sweet (high calorific value) and salty foods (electrolyte balance). Their sensitivity to sour-tasting foods helps them to maintain optimal ruminal pH.
Plants have low levels of sodium and cattle have developed the capacity of seeking salt by taste and smell. If cattle become depleted of sodium salts, they show increased locomotion directed to searching for these. To assist in their search, the olfactory and gustatory receptors able to detect minute amounts of sodium salts increase their sensitivity as biochemical disruption develops with sodium salt depletion.
Hearing
Cattle hearing ranges from 23 Hz to 35 kHz. Their frequency of best sensitivity is 8 kHz and they have a lowest threshold of −21 db (re 20 μN/m−2), which means their hearing is more acute than horses (lowest threshold of 7 db). Sound localization acuity thresholds are an average of 30°. This means that cattle are less able to localise sounds compared to goats (18°), dogs (8°) and humans (0.8°). Because cattle have a broad foveal fields of view covering almost the entire horizon, they may not need very accurate locus information from their auditory systems to direct their gaze to a sound source.
Vocalizations are an important mode of communication amongst cattle and can provide information on the age, sex, dominance status and reproductive status of the caller. Calves can recognize their mothers using vocalizations; vocal behaviour may play a role by indicating estrus and competitive display by bulls.
Olfaction and gustation
Cattle have a range of odoriferous glands over their body including interdigital, infraorbital, inguinal and sebaceous glands, indicating that olfaction probably plays a large role in their social life. Both the primary olfactory system using the olfactory bulbs, and the secondary olfactory system using the vomeronasal organ are used. This latter olfactory system is used in the flehmen response. There is evidence that when cattle are stressed, this can be recognised by other cattle and this is communicated by alarm substances in the urine. The odour of dog faeces induces behavioural changes prior to cattle feeding, whereas the odours of urine from either stressed or non-stressed conspecifics and blood have no effect.
In the laboratory, cattle can be trained to recognise conspecific individuals using olfaction only.
In general, cattle use their sense of smell to "expand" on information detected by other sensory modalities. However, in the case of social and reproductive behaviours, olfaction is a key source of information.
Touch
Cattle have tactile sensations detected mainly by mechanoreceptors, thermoreceptors and nociceptors in the skin and muscles. These are used most frequently when cattle explore their environment.
Magnetoreception
There is conflicting evidence for magnetoreception in cattle. One study reported that resting and grazing cattle tend to align their body axes in the geomagnetic north–south direction. In a follow-up study, cattle exposed to various magnetic fields directly beneath or in the vicinity of power lines trending in various magnetic directions exhibited distinct patterns of alignment. However, in 2011, a group of Czech researchers reported their failed attempt to replicate the finding using Google Earth images.
Behavior
Under natural conditions, calves stay with their mother until weaning at 8 to 11 months. Heifer and bull calves are equally attached to their mothers in the first few months of life. Cattle are considered to be "hider" type animals, utilizing secluded areas more in the hours before calving and continued to use it more for the hour after calving. Cows that gave birth for the first time show a higher incidence of abnormal maternal behavior.
In one study, beef-calves reared on the range were observed to suckle an average of 5.0 times every 24 hours with an average total time of 46 min spent suckling. There was a diurnal rhythm in suckling activity with peaks between 05:00–07:00, 10:00–13:00 and 17:00–21:00.
Reproductive behavior
Semi-wild Highland cattle heifers first give birth at 2 or 3 years of age, and the timing of birth is synchronized with increases in natural food quality. Average calving interval is 391 days, and calving mortality within the first year of life is 5%.
Dominance and leadership
One study showed that over a 4-year period, dominance relationships within a herd of semi-wild highland cattle were very firm. There were few overt aggressive conflicts and the majority of disputes were settled by agonistic (non-aggressive, competitive) behaviors that involved no physical contact between opponents (e.g. threatening and spontaneous withdrawing). Such agonistic behavior reduces the risk of injury. Dominance status depended on age and sex, with older animals generally being dominant to young ones and males dominant to females. Young bulls gained superior dominance status over adult cows when they reached about 2 years of age.
As with many animal dominance hierarchies, dominance-associated aggressiveness does not correlate with rank position, but is closely related to rank distance between individuals.
Dominance is maintained in several ways. Cattle often engage in mock fights where they test each other's strength in a non-aggressive way. Licking is primarily performed by subordinates and received by dominant animals. Mounting is a playful behavior shown by calves of both sexes and by bulls and sometimes by cows in estrus, however, this is not a dominance related behavior as has been found in other species.
The horns of cattle are "honest signals" used in mate selection. Furthermore, horned cattle attempt to keep greater distances between themselves and have fewer physical interactions than hornless cattle. This leads to more stable social relationships.
In calves, the frequency of agonistic behavior decreases as space allowance increases, but this does not occur for changes in group size. However, in adult cattle, the number of agonistic encounters increases as the group size increases.
Grazing behavior
When grazing, cattle vary several aspects of their bite, i.e. tongue and jaw movements, depending on characteristics of the plant they are eating. Bite area decreases with the density of the plants but increases with their height. Bite area is determined by the sweep of the tongue; in one study observing 750-kilogram (1,650 lb) steers, bite area reached a maximum of approximately 170 cm2 (30 sq in). Bite depth increases with the height of the plants. By adjusting their behavior, cattle obtain heavier bites in swards that are tall and sparse compared with short, dense swards of equal mass/area. Cattle adjust other aspects of their grazing behavior in relation to the available food; foraging velocity decreases and intake rate increases in areas of abundant palatable forage.
Cattle avoid grazing areas contaminated by the faeces of other cattle more strongly than they avoid areas contaminated by sheep, but they do not avoid pasture contaminated by rabbit faeces.
Temperament and emotions
In cattle, temperament can affect production traits such as carcass and meat quality or milk yield as well as affecting the animal's overall health and reproduction. Cattle temperament is defined as "the consistent behavioral and physiological difference observed between individuals in response to a stressor or environmental challenge and is used to describe the relatively stable difference in the behavioral predisposition of an animal, which can be related to psychobiological mechanisms". Generally, cattle temperament is assumed to be multidimensional. Five underlying categories of temperament traits have been proposed:
shyness–boldness
exploration–avoidance
activity
aggressiveness
sociability
In a study on Holstein–Friesian heifers learning to press a panel to open a gate for access to a food reward, the researchers also recorded the heart rate and behavior of the heifers when moving along the race towards the food. When the heifers made clear improvements in learning, they had higher heart rates and tended to move more vigorously along the race. The researchers concluded this was an indication that cattle may react emotionally to their own learning improvement.
Negative emotional states are associated with a bias toward negative responses towards ambiguous cues in judgement tasks. After separation from their mothers, Holstein calves showed such a cognitive bias indicative of low mood. A similar study showed that after hot-iron disbudding (dehorning), calves had a similar negative bias indicating that post-operative pain following this routine procedure results in a negative change in emotional state.
In studies of visual discrimination, the position of the ears has been used as an indicator of emotional state. When cattle are stressed other cattle can tell by the chemicals released in their urine.
Cattle are very gregarious and even short-term isolation is considered to cause severe psychological stress. When Aubrac and Friesian heifers are isolated, they increase their vocalizations and experience increased heart rate and plasma cortisol concentrations. These physiological changes are greater in Aubracs. When visual contact is re-instated, vocalizations rapidly decline, regardless of the familiarity of the returning cattle, however, heart rate decreases are greater if the returning cattle are familiar to the previously isolated individual. Mirrors have been used to reduce stress in isolated cattle.
Sleep
Further information: Sleep in non-human animals and Cow tipping
The average sleep time of a domestic cow is about 4 hours a day. Cattle do have a stay apparatus, but do not sleep standing up; they lie down to sleep deeply. In spite of the urban legend, cows cannot be tipped over by people pushing on them.
Genetics
Further information: Bovine genome
On 24 April 2009, edition of the journal Science, a team of researchers led by the National Institutes of Health and the US Department of Agriculture reported having mapped the bovine genome. The scientists found cattle have about 22,000 genes, and 80% of their genes are shared with humans, and they share about 1000 genes with dogs and rodents, but are not found in humans. Using this bovine "HapMap", researchers can track the differences between the breeds that affect the quality of meat and milk yields.
Behavioral traits of cattle can be as heritable as some production traits, and often, the two can be related. The heritability of fear varies markedly in cattle from low (0.1) to high (0.53); such high variation is also found in pigs and sheep, probably due to differences in the methods used. The heritability of temperament (response to isolation during handling) has been calculated as 0.36 and 0.46 for habituation to handling. Rangeland assessments show that the heritability of aggressiveness in cattle is around 0.36.
Quantitative trait loci (QTLs) have been found for a range of production and behavioral characteristics for both dairy and beef cattle.
Domestication and husbandry
Cattle occupy a unique role in human history, having been domesticated since at least the early neolithic age.
Archaeozoological and genetic data indicate that cattle were first domesticated from wild aurochs (Bos primigenius) approximately 10,500 years ago. There were two major areas of domestication: one in the Near East (specifically central Anatolia, the Levant and Western Iran), giving rise to the taurine line, and a second in the area that is now Pakistan, resulting in the indicine line. Modern mitochondrial DNA variation indicates the taurine line may have arisen from as few as 80 aurochs tamed in the upper reaches of Mesopotamia near the villages of Çayönü Tepesi in what is now southeastern Turkey and Dja'de el-Mughara in what is now northern Syria.
Although European cattle are largely descended from the taurine lineage, gene flow from African cattle (partially of indicine origin) contributed substantial genomic components to both southern European cattle breeds and their New World descendants. A study on 134 breeds showed that modern taurine cattle originated from Africa, Asia, North and South America, Australia, and Europe. Some researchers have suggested that African taurine cattle are derived from a third independent domestication from North African aurochsen.
Usage as money
As early as 9000 BC both grain and cattle were used as money or as barter (the first grain remains found, considered to be evidence of pre-agricultural practice date to 17,000 BC). Some evidence also exists to suggest that other animals, such as camels and goats, may have been used as currency in some parts of the world. One of the advantages of using cattle as currency is that it allows the seller to set a fixed price. It even created the standard pricing. For example, two chickens were traded for one cow as cows were deemed to be more valuable than chickens.
Modern husbandry
Further information: Animal husbandry
Cattle are often raised by allowing herds to graze on the grasses of large tracts of rangeland. Raising cattle in this manner allows the use of land that might be unsuitable for growing crops. The most common interactions with cattle involve daily feeding, cleaning and milking. Many routine husbandry practices involve ear tagging, dehorning, loading, medical operations, artificial insemination, vaccinations and hoof care, as well as training for agricultural shows and preparations. Also, some cultural differences occur in working with cattle; the cattle husbandry of Fulani men rests on behavioural techniques, whereas in Europe, cattle are controlled primarily by physical means, such as fences. Breeders use cattle husbandry to reduce M. bovis infection susceptibility by selective breeding and maintaining herd health to avoid concurrent disease.
Cattle are farmed for beef, veal, dairy, and leather. They are less commonly used for conservation grazing, or to maintain grassland for wildlife, such as in Epping Forest, England. They are often used in some of the most wild places for livestock. Depending on the breed, cattle can survive on hill grazing, heaths, marshes, moors and semidesert. Modern cattle are more commercial than older breeds and, having become more specialized, are less versatile. For this reason, many smaller farmers still favor old breeds, such as the Jersey dairy breed. In Portugal, Spain, southern France and some Latin American countries, bulls are used in the activity of bullfighting; In many other countries bullfighting is illegal. Other activities such as bull riding are seen as part of a rodeo, especially in North America. Bull-leaping, a central ritual in Bronze Age Minoan culture, still exists in southwestern France. In modern times, cattle are also entered into agricultural competitions. These competitions can involve live cattle or cattle carcases in hoof and hook events.
In terms of food intake by humans, consumption of cattle is less efficient than of grain or vegetables with regard to land use, and hence cattle grazing consumes more area than such other agricultural production when raised on grains. Nonetheless, cattle and other forms of domesticated animals can sometimes help to use plant resources in areas not easily amenable to other forms of agriculture.
Feral cattle
Feral cattle are defined as being 'cattle that are not domesticated or cultivated'. Populations of feral cattle are known to come from and exist in: Australia, United States of America, Colombia, Argentina, Spain, France and many islands, including New Guinea, Hawaii (see Hawaiian wild cattle), Galapagos, Juan Fernández Islands, Hispaniola (Dominican Republic and Haiti), Tristan da Cunha and Île Amsterdam (see Amsterdam Island cattle), two islands of Kuchinoshima and Kazura Island next to Naru Island in Japan. Chillingham cattle is sometimes regarded as a feral breed. Aleutian wild cattles can be found on the Aleutian Islands. The "Kinmen cattle" which are predominantly found on Kinmen Island, Taiwan is mostly domesticated while smaller portion of the population is believed to live in the wild due to accidental releases.
Other notable examples include cattle in the vicinity of Hong Kong (in the Shing Mun Country Park, among Sai Kung District and Lantau Island and on Grass Island), and semi-feral animals in Yangmingshan, Taiwan.
Economy
The meat of adult cattle is known as beef, and that of calves is veal. Other animal parts are also used as food products, including blood, liver, kidney, heart and oxtail. Cattle also produce milk, and dairy cattle are specifically bred to produce the large quantities of milk processed and sold for human consumption. Cattle today are the basis of a multibillion-dollar industry worldwide. The international trade in beef for 2000 was over $30 billion and represented only 23% of world beef production. Approximately 300 million cattle, including dairy cattle, are slaughtered each year for food. The production of milk, which is also made into cheese, butter, yogurt, and other dairy products, is comparable in economic size to beef production, and provides an important part of the food supply for many of the world's people. Cattle hides, used for leather to make shoes, couches and clothing, are another widespread product. Cattle remain broadly used as draft animals in many developing countries, such as India. Cattle are also used in some sporting games, including rodeo and bullfighting.
Meat production
Cattle meat production (kt)
Country2008200920102011
Argentina3132337826302497
Australia2132212426302420
Brazil9024939591159030
China5841606062446182
Germany1199119012051170
Japan520517515500
US12163118911204611988
Source: Helgi Library, World Bank, FAOSTAT
About a quarter of the world's meat comes from cattle.
Dairy
Main articles: Dairy cattle, Dairy farming, and Dairy
Certain breeds of cattle, such as the Holstein-Friesian, are used to produce milk, which can be processed into dairy products such as milk, cheese or yogurt. Dairy cattle are usually kept on specialized dairy farms designed for milk production. Most cows are milked twice per day, with milk processed at a dairy, which may be onsite at the farm or the milk may be shipped to a dairy plant for eventual sale of a dairy product. Lactation is induced in heifers and spayed cows by a combination of physical and psychological stimulation, by drugs, or by a combination of those methods. For mother cows to continue producing milk, they give birth to one calf per year. If the calf is male, it generally is slaughtered at a young age to produce veal. They will continue to produce milk until three weeks before birth. Over the last fifty years, dairy farming has become more intensive to increase the yield of milk produced by each cow. The Holstein-Friesian is the breed of dairy cow most common in the UK, Europe and the United States. It has been bred selectively to produce the highest yields of milk of any cow. Around 22 litres per day is average in the UK.
Hides
Most cattle are not kept solely for hides, which are usually a by-product of beef production. Hides are most commonly used for leather, which can be made into a variety of products, including shoes. In 2012 India was the world's largest producer of cattle hides.
Oxen
Main article: Ox
Oxen (singular ox) are cattle trained as draft animals. Often they are adult, castrated males of larger breeds, although females and bulls are also used in some areas. Usually, an ox is over four years old due to the need for training and to allow it to grow to full size. Oxen are used for plowing, transport, hauling cargo, grain-grinding by trampling or by powering machines, irrigation by powering pumps, and wagon drawing. Oxen were commonly used to skid logs in forests, and sometimes still are, in low-impact, select-cut logging. Oxen are most often used in teams of two, paired, for light work such as carting, with additional pairs added when more power is required, sometimes up to a total of 20 or more. Oxen can be trained to respond to a teamster's signals. These signals are given by verbal commands or by noise (whip cracks). Verbal commands vary according to dialect and local tradition. Oxen can pull harder and longer than horses. Though not as fast as horses, they are less prone to injury because they are more sure-footed.
Many oxen are used worldwide, especially in developing countries. About 11.3 million draft oxen are used in sub-Saharan Africa. In India, the number of draft cattle in 1998 was estimated at 65.7 million head. About half the world's crop production is thought to depend on land preparation (such as plowing) made possible by animal traction.
Climate change and economics of cattle rearing
See also: Economic impacts of climate change
Climate change increases heat stress, and even mild heat stress can reduce the yield of cow milk. Some researchers suggest that the already recorded stagnation of dairy production in both China and West Africa can attributed to persistent increases in heat stress.: 747 In China, daily milk production per cow is already lower than the average by between 0.7 and 4 kg in July (the hottest month of the year), and by 2070, it may decline by up to 50% (or 7.2 kg) due to climate change. In male cattle, severe heat can affect both spermatogenesis and the stored spermatozoa, and it may take up to eight weeks for sperm to become viable again. In females, heat stress negatively affects conception rates as it impairs corpus luteum and thus ovarian function and oocyte quality. Even after conception, a pregnancy is less likely to be carried to term due to reduced endometrial function and uterine blood flow, leading to increased embryonic mortality and early fetal loss. Calves born to heat-stressed cows typically have a below-average weight, and their weight and height remains below average even by the time they reach their first year, due to permanent changes in their metabolism. Heat stress can also be outright lethal, which is already seen during some heatwaves: in July 1995, over 4000 cattle perished in the mid-central United States heatwave, and in 1999, over 5000 cattle died during a heatwave in northeastern Nebraska.
By 2017, it was already reported that farmers in Nepal kept fewer cattle due to the losses imposed by a longer hot season.: 747 As of 2022, it has been suggested that every additional millimeter of annual precipitation increases beef production by 2.1% in the tropical countries and reduces it by 1.9% in temperate ones, yet the effects of warming are much larger. Under SSP3-7.0, a scenario of significant warming and very low adaptation, every additional 1 °C (1.8 °F) would decrease global beef production by 9.7%, mainly because of its impact on tropical and poor countries. In the countries which can afford adaptation measures, production would fall by around 4%, but by 27% in those which can't. Only a few exceptions have been identified to date: for instance, east and south of Argentina may become more suitable to cattle ranching due to climate-driven shifts in rainfall, but a shift to Zebu breeds would likely be needed to minimize the impact of warming. Other studies suggest that Brahman cattle and its cross-breeds are more resistant to heat stress than the regular bos taurus breeds, but on a global scale, it is considered unlikely that even more heat-resistant cattle can be bred at a sufficient rate to keep up with the expected warming.
Population
The cattle population of Britain rose from 9.8 million in 1878 to 11.7 million in 1908, but beef consumption rose much faster. Britain became the "stud farm of the world" exporting livestock to countries where there were no indigenous cattle. In 1929 80% of the meat trade of the world was products of what were originally English breeds. There were nearly 70 million cattle in the US by the early 1930s.
For 2013, the FAO estimated global cattle numbers at 1.47 billion. Regionally, the FAO estimate for 2013 includes: Asia 497 million; South America 350 million; Africa 307 million; Europe 122 million; North America 102 million; Central America 47 million; Oceania 40 million; and Caribbean 9 million.
As per FAS/USDA 2021 data, India had the largest cattle population in the world in 2021 followed by Brazil and China
India's cattle's population was reported at 305.5 million head in 2021, accounting for roughly 30% of the world's population. India, Brazil and China accounted for roughly 65% of the world's cattle population in 2021.
It has been estimated that out of all animal species on Earth, Bos taurus has the largest biomass at roughly 400 million tonnes, followed closely by Euphausia superba (Antarctic krill) at 379 million tonnes, and Homo sapiens (humans) at 373 million tonnes.
Cattle population
Environmental impact
See also: Environmental effects of meat production, Milk § Environmental impact, Deforestation of the Amazon rainforest, Beef § Environmental impact, and Greenhouse gas emissions from agriculture § Livestock
Meat from cattle has the highest emissions intensity of any agricultural commodity.
Gut flora in cattle include methanogens that produce methane as a byproduct of enteric fermentation, which cattle belch out. The same volume of atmospheric methane has a 72x higher (over 20 years) global warming potential than atmospheric carbon dioxide. Methane belching from cattle can be reduced with genetic selection, immunization against the many methanogens, rumen defaunation (killing the bacteria-killing protozoa), diet modification (e.g. seaweed fortification), decreased antibiotic use, and grazing management, among others.
A 2013 report from the Food and Agriculture Organization (FAO) based on 2005 data states that the livestock sector is responsible for 14.5% of greenhouse gas emissions, 65% of which is due to cattle. The IPCC estimates that cattle and other livestock emit about 80 to 93 Megatonnes of methane per year, accounting for an estimated 37% of anthropogenic methane emissions, and additional methane is produced by anaerobic fermentation of manure in manure lagoons and other manure storage structures. Another estimate is 12% of global GHG. While cattle fed forage actually produce more methane than grain-fed cattle, the increase may be offset by the increased carbon recapture of pastures, which recapture three times the CO2 of cropland used for grain.
Mean greenhouse gas emissions for different food types.
Food TypesGreenhouse Gas Emissions (g CO2-Ceq per gram protein)
Ruminant Meat
62
Recirculating Aquaculture
30
Trawling Fishery
26
Non-recirculating Aquaculture
12
Pork
10
Poultry
10
Dairy
9.1
Non-trawling Fishery
8.6
Eggs
6.8
Starchy Roots
1.7
Wheat
1.2
Maize
1.2
Legumes
0.25
Mean land use of different foods
Food TypesLand Use (m2·year per 100 g protein)
Lamb and Mutton
185
Beef
164
Cheese
41
Pork
11
Poultry
7.1
Eggs
5.7
Farmed Fish
3.7
Peanuts
3.5
Peas
3.4
Tofu
2.2
One of the cited changes suggested to reduce greenhouse gas emissions is intensification of the livestock industry, since intensification leads to less land for a given level of production. This assertion is supported by studies of the US beef production system, suggesting practices prevailing in 2007 involved 8.6% less fossil fuel use, 16.3% less greenhouse gas emissions, 12.1% less water use, and 33.0% less land use, per unit mass of beef produced, than those used in 1977. The analysis took into account not only practices in feedlots, but also feed production (with less feed needed in more intensive production systems), forage-based cow-calf operations and back-grounding before cattle enter a feedlot (with more beef produced per head of cattle from those sources, in more intensive systems), and beef from animals derived from the dairy industry. A more controversial suggestion, advocated by George Monbiot in the documentary "Apocalypse Cow", is to stop farming cattle completely, however farmers often have political power so might be able to resist such a big change.
Estimated virtual water requirements for various foods (m³ water/ton
Hoekstra & Hung
(2003)
Chapagain & Hoekstra (2003)Zimmer & Renault
(2003)
Oki et al. (2003)Average
Beef15,97713,50020,70016,730
Pork5,9064,6005,9005,470
Cheese5,2885,290
Poultry2,8284,1004,5003,810
Eggs4,6572,7003,2003,520
Rice2,6561,4003,6002,550
Soybeans2,3002,7502,5002,520
Wheat1,1501,1602,0001,440
Maize4507101,9001,020
Milk865790560740
Potatoes160105130
Significant numbers of dairy, as well as beef cattle, are confined in concentrated animal feeding operations (CAFOs), defined as "new and existing operations which stable or confine and feed or maintain for a total of 45 days or more in any 12-month period more than the number of animals specified" where "[c]rops, vegetation, forage growth, or post-harvest residues are not sustained in the normal growing season over any portion of the lot or facility." They may be designated as small, medium and large. Such designation of cattle CAFOs is according to cattle type (mature dairy cows, veal calves or other) and cattle numbers, but medium CAFOs are so designated only if they meet certain discharge criteria, and small CAFOs are designated only on a case-by-case basis.
Mean eutrophying emissions (water pollution) of different foods per 100 g of protein
Food TypesEutrophying Emissions (g PO43-eq per 100 g protein)
Beef
365.3
Farmed Fish
235.1
Farmed Crustaceans
227.2
Cheese
98.4
Lamb and Mutton
97.1
Pork
76.4
Poultry
48.7
Eggs
21.8
Peanuts
14.1
Peas
7.5
Tofu
6.2
Mean acidifying emissions (air pollution) of different foods per 100 g of protein
Food TypesAcidifying Emissions (g SO2eq per 100 g protein)
Beef
343.6
Cheese
165.5
Pork
142.7
Lamb and Mutton
139.0
Farmed Crustaceans
133.1
Poultry
102.4
Farmed Fish
65.9
Eggs
53.7
Peanuts
22.6
Peas
8.5
Tofu
6.7
A CAFO that discharges pollutants is required to obtain a permit, which requires a plan to manage nutrient runoff, manure, chemicals, contaminants, and other wastewater pursuant to the US Clean Water Act. The regulations involving CAFO permitting have been extensively litigated.
Commonly, CAFO wastewater and manure nutrients are applied to land at agronomic rates for use by forages or crops, and it is often assumed that various constituents of wastewater and manure, e.g. organic contaminants and pathogens, will be retained, inactivated or degraded on the land with application at such rates; however, additional evidence is needed to test reliability of such assumptions . Concerns raised by opponents of CAFOs have included risks of contaminated water due to feedlot runoff, soil erosion, human and animal exposure to toxic chemicals, development of antibiotic resistant bacteria and an increase in E. coli contamination. While research suggests some of these impacts can be mitigated by developing wastewater treatment systems and planting cover crops in larger setback zones, the Union of Concerned Scientists released a report in 2008 concluding that CAFOs are generally unsustainable and externalize costs.
Another concern is manure, which if not well-managed, can lead to adverse environmental consequences. However, manure also is a valuable source of nutrients and organic matter when used as a fertilizer. Manure was used as a fertilizer on about 6,400,000 hectares (15.8 million acres) of US cropland in 2006, with manure from cattle accounting for nearly 70% of manure applications to soybeans and about 80% or more of manure applications to corn, wheat, barley, oats and sorghum. Substitution of manure for synthetic fertilizers in crop production can be environmentally significant, as between 43 and 88 megajoules of fossil fuel energy would be used per kg of nitrogen in manufacture of synthetic nitrogenous fertilizers.
Grazing by cattle at low intensities can create a favourable environment for native herbs and forbs by mimicking the native grazers who they displaced; in many world regions, though, cattle are reducing biodiversity due to overgrazing. A survey of refuge managers on 123 National Wildlife Refuges in the US tallied 86 species of wildlife considered positively affected and 82 considered negatively affected by refuge cattle grazing or haying. Proper management of pastures, notably managed intensive rotational grazing and grazing at low intensities can lead to less use of fossil fuel energy, increased recapture of carbon dioxide, fewer ammonia emissions into the atmosphere, reduced soil erosion, better air quality, and less water pollution.
Health
The veterinary discipline dealing with cattle and cattle diseases (bovine veterinary) is called buiatrics. Veterinarians and professionals working on cattle health issues are pooled in the World Association for Buiatrics, founded in 1960. National associations and affiliates also exist.
Digital dermatitis is caused by the bacteria from the genus Treponema. It differs from foot rot and can appear under unsanitary conditions such as poor hygiene or inadequate hoof trimming, among other causes. It primarily affects dairy cattle and has been known to lower the quantity of milk produced, however the milk quality remains unaffected. Cattle are also susceptible to ringworm caused by the fungus, Trichophyton verrucosum, a contagious skin disease which may be transferred to humans exposed to infected cows.
Public health
Cattle diseases were in the center of attention in the 1980s and 1990s when the Bovine spongiform encephalopathy (BSE), also known as mad cow disease, was of concern. Cattle might catch and develop various other diseases, like blackleg, bluetongue, foot rot too.
In most states, as cattle health is not only a veterinarian issue, but also a public health issue, public health and food safety standards and farming regulations directly affect the daily work of farmers who keep cattle. However, said rules change frequently and are often debated. For instance, in the UK, it was proposed in 2011 that milk from tuberculosis-infected cattle should be allowed to enter the food chain. Internal food safety regulations might affect a country's trade policy as well. For example, the United States has just reviewed its beef import rules according to the "mad cow standards"; while Mexico forbids the entry of cattle who are older than 30 months.
Medicinal uses
Cow urine is commonly used in India for internal medical purposes. It is distilled and then consumed by patients seeking treatment for a wide variety of illnesses. At present, no conclusive medical evidence shows this has any effect. However, an Indian medicine containing cow urine has already obtained U.S. patents.
Effect of high stocking density
Stocking density refers to the number of animals within a specified area. When stocking density reaches high levels, the behavioural needs of the animals may not be met. This can negatively influence health, welfare and production performance.
The effect of overstocking in cows can have a negative effect on milk production and reproduction rates which are two very important traits for dairy farmers. Overcrowding of cows in barns has been found to reduced feeding, resting and rumination. Although they consume the same amount of dry matter within the span of a day, they consume the food at a much more rapid rate, and this behaviour in cows can lead to further complications. The feeding behaviour of cows during their post-milking period is very important as it has been proven that the longer animals can eat after milking, the longer they will be standing up and therefore causing less contamination to the teat ends. This is necessary to reduce the risk of mastitis as infection has been shown to increase the chances of embryonic loss. Sufficient rest is important for dairy cows because it is during this period that their resting blood flow increases up to 50%, this is directly proportionate to milk production. Each additional hour of rest can be seen to translate to 2 to 3.5 more pounds of milk per cow daily. Stocking densities of anything over 120% have been shown to decrease the amount of time cows spend lying down.
Cortisol is an important stress hormone; its plasma concentrations increase greatly when subjected to high levels of stress. Increased concentration levels of cortisol have been associated with significant increases in gonadotrophin levels and lowered progestin levels. Reduction of stress is important in the reproductive state of cows as an increase in gonadotrophin and lowered progesterone levels may impinge on the ovulatory and lutenization process and to reduce the chances of successful implantation. A high cortisol level will also stimulate the degradation of fats and proteins which may make it difficult for the animal to sustain
Goudstert speg
(Campethera abingoni)
Goudstertspeg
(Campehtera abigoni)
The golden-tailed woodpecker (Campethera abingoni) is a species of bird in the family Picidae. Its specific name commemorates the 5th Earl of Abingdon. It belongs to a species complex that includes the Knysna woodpecker to the south of its range, and the mostly allopatric Mombasa woodpecker to the northeast, with which it perhaps hybridizes.
The combination of barred, greenish upper part plumage, and streaked underparts is distinctive. Their golden-olive tails do not differ markedly from those of several related or sympatric woodpecker species, but their single, strident call-note is characteristic.
It measures 20[3] to 21 cm from bill tip to tail tip. The southern races weigh about 70 g, but the northern race C. a. chrysura, only about 55 g. Males are on average larger and heavier than females. The sexes are best distinguished by their head markings, as the red and brown fore-crowns of males differ unmistakably from those of females that are black and spotted white. The malar stripes of males are red and that of females mottled black and white. The iris is usually dark red but variable, the mandibles slate grey, and the legs and feet greenish-olive. Juveniles are heavily streaked on the throat and breast and barred on the belly. They and have mottled malar stripes, and a brown to brownish-grey iris.
There are 6 to 7 accepted races. C. a. chrysura (Swainson, 1837) occurs from Senegambia to western Uganda. It is quite green above, has streaked ear coverts and is smaller in size than either C. a. suahelica or C. a. abingoni, without overlap. The tropical race C. a. kavirondensis van Someren, 1926 is olive-green above and more broadly barred, with thinner streaking below. C. a. suahelica (Reichenow, 1902) which occurs from the Kilimanjaro region to northern Swaziland, is similar to the former but has a yellower toned upper parts. The nominate race is widespread in arid and mesic woodlands of southern Africa, and has denser throat streaking than C. a. suahelica. C. a. anderssoni (Roberts, 1936) occurs from southwestern Angola to northwestern South Africa. It has very dense throat and breast streaking, locally verging on solid black. C. a. constricta Clancey, 1965 which occurs from southern Mozambique to KwaZulu-Natal, is smaller than the nominate race, and has the upper part plumage greener and under part plumage more yellowish.
Wikipedia
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Candid shot captured during "Asylum", the first immersive, site-specific, interactive theatrical play in the style of Punch Drunk’s "Sleep No More", taking place in Phoenix Arizona. The show is produced by Vessel, co-directed by Rachel Bowditch and Eileen Standley, designed by a team of six designers featuring 5 dancers, 4 actors, and an aerialist.
Location: The Ice House
A small species of succulent flowering perennial plant noted for its streaks of white on sculptured geometrical leaves. It is found in the Chihuahuan Desert in Mexico. The specific epithet "victoriae-reginae" honors Queen Victoria (1819-1901), Queen of the United Kingdom of Great Britain and Ireland (1837–1901).