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Pablo Picasso
I INTRODUCTION
Pablo Picasso (1881-1973), Spanish painter, who is widely acknowledged to be the most important artist of the 20th century. A long-lived and highly prolific artist, he experimented with a wide range of styles and themes throughout his career. Among Picasso’s many contributions to the history of art, his most important include pioneering the modern art movement called cubism, inventing collage as an artistic technique, and developing assemblage (constructions of various materials) in sculpture.
Picasso was born Pablo Ruiz in Málaga, Spain. He later adopted his mother’s more distinguished maiden name—Picasso—as his own. Though Spanish by birth, Picasso lived most of his life in France.
II FORMATIVE WORK (1893-1900)
Picasso’s father, who was an art teacher, quickly recognized that his child Pablo was a prodigy. Picasso studied art first privately with his father and then at the Academy of Fine Arts in La Coruña, Spain, where his father taught. Picasso’s early drawings, such as Study of a Torso, After a Plaster Cast (1894-1895, Musée Picasso, Paris, France), demonstrate the high level of technical proficiency he had achieved by 14 years of age. In 1895 his family moved to Barcelona, Spain, after his father obtained a teaching post at that city’s Academy of Fine Arts. Picasso was admitted to advanced classes at the academy after he completed in a single day the entrance examination that applicants traditionally were given a month to finish. In 1897 Picasso left Barcelona to study at the Madrid Academy in the Spanish capital. Dissatisfied with the training, he quit and returned to Barcelona.
After Picasso visited Paris in October 1900, he moved back and forth between France and Spain until 1904, when he settled in the French capital. In Paris he encountered, and experimented with, a number of modern artistic styles. Picasso’s painting Le Moulin de la Galette (1900, Guggenheim Museum, New York City) revealed his interest in the subject matter of Parisian nightlife and in the style of French painter Henri de Toulouse-Lautrec, a style that verged on caricature. In addition to café scenes, Picasso painted landscapes, still lifes, and portraits of friends and performers.
III BLUE PERIOD (1901-1903)
From 1901 to 1903 Picasso initiated his first truly original style, which is known as the blue period. Restricting his color scheme to blue, Picasso depicted emaciated and forlorn figures whose body language and clothing bespeak the lowliness of their social status. In The Old Guitarist (1903, Art Institute of Chicago, Illinois), Picasso emphasized the guitarist’s poverty and position as a social outcast, which he reinforced by surrounding the figure with a black outline, as if to cut him off from his environment. The guitarist is compressed within the canvas (no room is left in the painting for the guitarist to raise his lowered head), suggesting his helplessness: The guitarist is trapped within the frame just as he is trapped by his poverty. Although Picasso underscored the squalor of his figures during this period, neither their clothing nor their environment conveys a specific time or place. This lack of specificity suggests that Picasso intended to make a general statement about human alienation rather than a particular statement about the lower class in Paris.
Why blue dominated Picasso’s paintings during this period remains unexplained. Possible influences include photographs with a bluish tinge popular at the time, poetry that stressed the color blue in its imagery, or the paintings of French artists such as Eugène Carrière or Claude Monet, who based many of their works around this time on variations on a single color. Another explanation is that Picasso found blue particularly appropriate for his subject matter because it is a color associated with melancholy.
IV ROSE PERIOD (1904-1905)
In 1904 Picasso’s style shifted, inaugurating the rose period, sometimes referred to as the circus period. Although Picasso still focused on social outcasts—especially circus performers—his color scheme lightened, featuring warmer, reddish hues, and the thick outlines of the blue period disappeared. Picasso maintained his interest in the theme of alienation, however. In Two Acrobats and a Dog (1905, Museum of Modern Art, New York City), he represented two young acrobats before an undefined, barren landscape. Although the acrobats are physically close, they gaze in different directions and do not interact, and the reason for their presence is not made clear. Differences in the acrobats’ height also exaggerate their disconnection from each other and from the empty landscape. The dog was a frequent presence in Picasso’s work and may have been a reference to death as dogs appear at the feet of figures in many Spanish funerary monuments.
Picasso may have felt an especially deep sympathy for circus performers. Like artists, they were paid to entertain society, but their itinerant lifestyle and status as outsiders prevented them from becoming an integral part of the social fabric. It was this situation that made the sad clown an important figure in the popular imagination: Paid to make people laugh, he must keep hidden his real existence and true feelings. Living a life of financial insecurity himself, Picasso no doubt empathized with these performers. During this period Picasso met Fernande Olivier, the first of several women who shared his life and provided inspiration for his art. Olivier’s features appear in many of the female figures in his paintings over the next several years.
V CLASSICAL PERIOD (1905) AND IBERIAN PERIOD (1906)
Experimentation and rapid style changes mark the years from late 1905 on. Picasso’s paintings from late 1905 are more emotionally detached than those of the blue or rose periods. The color scheme lightens—beiges and light browns predominate—and melancholy and alienation give way to a more reasoned approach. Picasso’s increasing interest in form is apparent in his references to classical sculpture. The figure of a seated boy in Two Youths (1905, National Gallery, Washington, D.C.), for example, recalls an ancient Greek sculpture of a boy removing a thorn from his foot.
By 1906 Picasso had become interested in sculptures from the Iberian peninsula dating from about the 6th to the 3rd century bc. Picasso must have found them of particular interest both because they are native to Spain and because they display remarkable simplification of form. The Iberian influence is immediately visible in Self-Portrait (1906, Philadelphia Museum of Art, Pennsylvania), in which Picasso reduced the image of his head to an oval and his eyes to almond shapes, thus revealing his increasing fascination with geometric simplification of form.
VI AFRICAN PERIOD (1907)
Picasso’s predilection for experimentation and for drawing inspiration from outside the accepted artistic sources led to his most radical and revolutionary painting yet in 1907: Les Demoiselles d'Avignon (1907, Museum of Modern Art). The painting’s theme—the female nude—could not be more traditional, but Picasso’s treatment of it is revolutionary. Picasso took even greater liberties here with human anatomy than in his 1906 Self-Portrait . The figures on the left in the painting look flat, as if they have no skeletal or muscular structure. Faces seen from the front have noses in profile. The eyes are asymmetrical and radically simplified. Contour lines are incomplete. Color juxtapositions—between blue and orange, for instance—are intentionally strident and unharmonious. The representation of space is fragmented and discontinuous.
While the left side of the canvas is largely Iberian-influenced, the right side is inspired by African masks, especially in its striped patterns and oval forms. Such borrowings, which led to great simplification, distortion, and visual incongruities, were considered extremely daring in 1907. The head of the figure at the bottom right, for example, turns in an anatomically impossible way. These discrepancies proved so shocking that even Picasso’s fellow painters reacted negatively to Les Demoiselles d'Avignon. French painter Henri Matisse allegedly told Picasso that he was trying to ridicule the modern movement.
VII CUBISM (1908-1917)
For many scholars, Les Demoiselles d'Avignon—with its fragmented planes, flattened figures, and borrowings from African masks—marks the beginning of the new visual language, known as cubism. Other scholars believe that French painter Paul Cézanne provided the primary catalyst for this change in style. Cézanne’s work of the 1890s and early 1900s was noted both for its simplification and flattening of form and for the introduction of what art historians call passage, the interpenetration of one physical object by another. For example, in Mont Sainte-Victoire (1902-1906, Metropolitan Museum of Art, New York City), Cézanne left the outer edge of the mountain open, allowing the blue area of the sky and the gray area of the mountain to merge. This innovation—air and rock interpenetrating—was a crucial precedent for Picasso’s invention of cubism. First, it defied the laws of our physical experience, and second, it indicated that artists were viewing paintings as having a logic of their own that functioned independently of, or even contrary to, the logic of everyday experience.
Scholars generally divide the cubist innovations of Picasso and French painter Georges Braque into two stages. In the first stage, analytical cubism, the artists fragmented three-dimensional shapes into multiple geometric planes. In the second stage, synthetic cubism, they reversed the process, putting abstract planes together to represent human figures, still lifes, and other recognizable shapes.
A Analytical Cubism (1908-1912)
Profoundly influenced by Cézanne's later work, Picasso and Braque initiated a series of landscape paintings in 1908. These paintings approximated Cézanne’s both in their color scheme (dark greens and light browns) and in their drastic simplification of nature to geometric shapes. Upon seeing these paintings, French critic Louis Vauxelles coined the term cubism. In Picasso’s Houses on the Hill, Horta de Ebro (1909, Museum of Modern Art), he gave architectural structures a three-dimensional, cubic quality, but he abandoned conventional three-dimensional perspective: Instead of being depicted one behind the other, buildings appear one on top of the other. Moreover, he simplified every aspect of the painting according to a vocabulary of cubic shapes—not just the houses but the sky as well. By neutralizing differences between earth and sky, Picasso made the canvas appear more unified, but he also introduced ambiguity by not differentiating solid from void. In addition, Picasso often used inconsistent light sources. In some parts of a painting, light appears to come from the left; in other parts, it comes from the right, the top, or even the bottom. Spatial planes intersect in ways that leave the spectator guessing whether angles are concave or convex. Delight in confusing the viewer is a regular feature of cubism.
By 1910, it had become evident that cubism no longer had any cubes and that the illusion of three-dimensional space, or volume, was gone. Picasso seemed to have dismantled the very idea of solid form, not only by fragmenting the human figure and other shapes, but also by using Cézanne’s concept of passage to merge figure and environment, solid and void, background and foreground. In this way he created a visually consistent painting, yet the consistency does not conform to the physical consistency of the natural world as we experience it. Picasso’s decision to limit his color scheme to dark browns and grays also suggests that his paintings have initiated a radical departure from nature, rather than attempted to copy it.
The year 1912 marks another major development in the cubist language: the invention of collage. In Still Life with Chair Caning (1912, Musée Picasso), Picasso attached a piece of oilcloth (that depicts woven caning) to his work. With this action Picasso not only violated the integrity of the medium—oil painting on canvas—but also included a material that had no previous connection with high art. Art could now be created, Picasso seems to imply, with scissors and glue as well as with paint and canvas. By including pieces of cloth, newspaper, wallpaper, advertising, and other materials in his work, Picasso opened the door for any object or material, however ordinary, to be included in (or even replace) a work of art. This innovation had important consequences for later 20th-century art. Another innovation was including the letters JOU in the painting, possibly referring to the beginning of the word journal (French for “newspaper”) or to the French word jouer, meaning “to play,” as Picasso is playing with forms. These combinations reveal that cubism includes both visual and verbal references, and merges high art with popular culture.
B Synthetic Cubism (1912-1917)
By inventing collage and by introducing elements from the real world in his canvases, Picasso avoided taking cubism to the level of complete abstraction and remained in the domain of tangible objects. Collage also initiated the synthetic phase of cubism. Whereas analytical cubism fragmented figures into geometric planes, synthetic cubism synthesized (combined) near-abstract shapes to create representational forms, such as a human figure or still life. Synthetic cubism also tended toward multiplicity. In Guitar, Sheet Music, and Wine Glass (1912, McNay Art Museum, San Antonio, Texas), for instance, Picasso combined a drawing of a glass, several spots of color, sheet music, newspaper, a wallpaper pattern, and a cloth that has a wood–grain pattern. Synthetic cubism may also combine different textures, such as wood grain, sand, and printed matter. Sometimes Picasso applied these textures as collage, by gluing textured papers on the canvas. In other cases the artist painted an area to look like wood or wallpaper, fooling the spectator by means of visual puns.
VIII CONSTRUCTION AND AFTER (1912-1920)
In 1912 Picasso instigated another important innovation: construction, or assemblage, in sculpture. Before this innovation, sculpture, at least in the West, was primarily created in one of two ways: by carving a block of stone or wood or by modeling—shaping a form in clay and casting that form in a more durable material, such as bronze. In Guitar (1912, Museum of Modern Art), Picasso used a new additive process. He cut various shapes out of sheet metal and wire, and then reassembled those materials into a cubist construction. In other constructions, Picasso used wood, cardboard, string, and other everyday objects, not only inventing a new technique for sculpture but also expanding the definition of art by blurring the distinction between artistic and nonartistic materials.
From World War I (1914-1918) onward, Picasso moved from style to style. In 1915, for instance, Picasso painted the highly abstract Harlequin (Museum of Modern Art) and drew the highly realistic portrait of Ambroise Vollard (Metropolitan Museum of Art). During and after the war he also worked on stage design and costume design for the Ballets Russes, a modern Russian ballet company launched by the impresario Sergey Diaghilev. Inspired by his direct experience of the theater, Picasso also produced representations of performers, such as French clowns called Pierrot and Harlequin, and scenes of ballerinas.
Picasso separated from Olivier in 1912, after meeting Eva Gouel. Gouel died in 1915, and in 1918 Picasso married Olga Koklova, one of the dancers in Diaghilev’s company. Picasso created a number of portraits of her, and their son, Paulo, appears in works such as Paulo as Harlequin (1924, Musée Picasso).
IX CLASSICAL PERIOD (1920-1925)
After World War I, a strain of conservatism spread through a number of art forms. A motto popular among traditionalists was “the return to order.” For Picasso the years 1920 to 1925 were marked by close attention to three-dimensional form and to classical themes: bathers, centaurs (mythical creatures half-man and half horse), and women in classical drapery. He depicted many of these figures as massive, dense, and weighty, an effect intensified by strong contrasts of light and dark. But even as he moved toward greater realism, Picasso continued to play games with the viewer. In the classical and carefully composed The Pipes of Pan (1923, Musée Picasso), for example, he painted an area of the architectural framework in the foreground (which should be grayish) with the same color as the sea in the background, revealing again his pleasure in ambiguity.
X CUBISM AND SURREALISM (1925-1936)
From 1925 to 1936 Picasso again worked in a number of styles. He composed some paintings of tightly structured geometric shapes, limiting his color scheme to primary colors (red, blue, yellow), as in The Studio (1928, Museum of Modern Art). In other paintings, such as Nude in an Armchair (1929, Musée Picasso), he depicted contorted female figures whose open mouths and menacing teeth reveal a more emotional, less reasoned attitude. Picasso’s marriage broke up during this time, and some of the menacing female figures in his art of this period may represent Koklova.
The same diversity is visible in Picasso’s sculpture during this period. Bather (Metamorphosis II) (1928, Musée Picasso) represents the human body as a massive spherical shape with protruding limbs, whereas Wire Construction (1928, Musée Picasso) depicts it as a rigid, geometric configuration of thin wires. Picasso also experimented with welding in sculpture of this period and explored a variety of themes, including the female head, the sleeping woman, and the Crucifixion. The model for many of his sleeping women was Marie Thérèse Walter, a new love who had entered his life. Their daughter, Maia, was born in 1935.
In the early 1930s Picasso had increasing contact with the members of the surrealist movement (see Surrealism) and became fascinated with the classical myth of the Minotaur. This creature, which has the head of a man and the body of a bull, appears in a study by Picasso for the cover of the surrealist journal Minotaure (1933, Museum of Modern Art). Here Picasso affixed a classical drawing of a Minotaur to a collage of abstracted forms and debris. The Minotaur has numerous incarnations in Picasso’s work, both as an aggressor and a victim, as a violent character and a friendly one. It may represent the artist himself and frequently appears in the context of a bullfight, a typically Spanish scene close to Picasso’s heart.
XI GUERNICA (1937)
In 1937 the Spanish government commissioned Picasso to create a mural for Spain’s pavilion at an international exposition in Paris. Unsure about the subject, Picasso procrastinated. But he set to work almost immediately after hearing that the Spanish town of Guernica had been bombed by Nazi warplanes in support of Spanish general Francisco Franco’s plot to overthrow the Spanish republic. Guernica (1937, Prado, Madrid) was Picasso's response to, and condemnation of, that event. He executed the painting in black and white—in keeping with the seriousness of the subject—and transfigured the event according to his fascination with the bullfight theme.
At the extreme left is a bull, which symbolizes brutality and darkness, according to Picasso. At the center, a horse wounded by a spear most likely represents the Spanish people. At the center on top, an exploding light bulb possibly refers to air warfare or to evil coming from above (and putting out the light of reason). Corpses and dying figures fill the foreground: a woman with a dead child at the left, a dead warrior with a broken sword (from which a flower sprouts) at the center, a weeping woman and a figure falling through a burning building at the right. The distortion of these figures expresses the inhumanity of the event. To suggest the screaming of the horse and of the mother with the dead child, Picasso transformed their tongues into daggers. In the upper center, a tormented female figure holds an oil lamp that sheds light upon the scene, possibly symbolizing the light of truth revealing the brutality of the event to the outside world. In 1936 Picasso met Dora Maar, an artist who photographed Guernica as he painted it. She soon became his companion and the subject of his paintings, although he remained involved with Walter.
XII WORLD WAR II (1939-1945)
Picasso, unlike many artists, stayed in Paris during the German occupation of World War II. Some of his paintings from this time reveal the anxiety of the war years, as does the menacing Still Life with Steer's Skull (1942, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany). Other works, such as his sculpture Head of a Bull (1943, Musée Picasso), are more playful and whimsical. In this sculpture Picasso combined a bicycle seat and handlebars to represent the bull’s head. Upon receiving news of the Nazi death camps, Picasso also painted, although he did not finish, an homage to the victims of the Holocaust (mass murder of European Jews during the war). In this painting, called The Charnel House (1945, Museum of Modern Art), he restricted the color scheme to black and white (as in Guernica) and depicted an accumulation of distorted, mangled bodies. During the war Picasso joined the Communist Party, and after the war he attended several peace conferences.
XIII LATE WORK (1945-1973)
Picasso remained a prolific artist until late in his life, although this later period has not received universal acclaim from historians or critics. He made variations on motifs that had fascinated him throughout his career, such as the bullfight and the painter and his model, the latter a theme that celebrated creativity. And he continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates, and jugs, and he thereby blurred an existing distinction between fine art and craft.
Picasso’s emotional life became more complicated after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.
Another new direction in Picasso’s work came from variations on well-known works by older artists that he recast in his own style. Among these works are Women on the Banks of the Seine, after Courbet (1950, Kunstmuseum, Basel, Switzerland) and Le Déjeuner sur l’Herbe after Manet (1960, Musée Picasso). What makes these works particularly significant is that they run counter to a basic premise of modern art, Picasso’s included: namely, originality. Although many modern painters were influenced by earlier artists, they rarely made such direct and obvious references to each other’s work because they deemed such references unoriginal. In the postmodern period, which began in the 1970s, artists and critics began to question the modernist directive to be original. In acts of deliberate defiance, many postmodern artists have appropriated (taken for their own use) well-known images from their predecessors or contemporaries. Seen against this context, Picasso’s later variations on paintings by earlier masters hardly seem out of place; on the contrary, they anticipate a key aspect of art in the 1980s.
One of Picasso’s late works, Head of a Woman (1967), was a gift to the city of Chicago. This sculpture of welded steel, 15 m (50 ft) tall, stands in front of Chicago’s Civic Center. Although its semiabstract form proved controversial at first, the sculpture soon became a city landmark.
Because of his many innovations, Picasso is widely considered to be the most influential artist of the 20th century. The cubist movement, which he and Braque inspired, had a number of followers. Its innovations gave rise to a host of other 20th-century art movements, including futurism in Italy, suprematism and constructivism in Russia, de Stijl in the Netherlands, and vorticism in England. Cubism also influenced German expressionism, dada, and other movements as well as early work of the surrealists (see Surrealism) and abstract expressionists (see Abstract Expressionism). In addition, collage and construction became key aspects of 20th-century art.
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The summit (background right) rises to 3,839 meters.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Full-spectrum camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
Although this might look like one of those digital synthesized images, it is just the window shades in my office on a bright summer day... no manipulation at all.
This HDR image was synthesized from three auto-bracketed JPEG files with "Photomatix Pro 5". Original images were taken with a SIGMA 60mm DN.
© 2013 2018 Lloyd Thrap Photography for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
The grandeur of magnificently golden light shimmers off the sparkles of the microscopic, synthesized molecules from the fresh coat of paint on what is just ordinary wood paneling. The essence of this beauty is captured by my mechanical life-moment freezing machine expressively represented in an altered form and function as a mirrored-image tessellation that renders the viewer's mind speechless as if they are under the influence of a psychedelic or mind manifesting narcotic. Enjoy!
I art therefore I am.
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Within human experience, time and space are inextricably entangled.
Together they form the basis of our everyday life, and moreover, link
it to the very beginning of life and thus existence itself, that is to the
origin of the evolution of the universe from a singularity, the big
bang. It is this interdependence of the two concepts and their initial
genesis that I focus on in my artistic practice.
The expansive installation Perception of the Stendhal Syndrome rep-
resents my conception to approach existential questions through the
means of aesthetic experience. By means of developing a specific set
of techniques, I aim to overcome the limits of the medium of painting
and to expand it by the category of time.
With this work, I hope to engage the visitor on all levels,
instantaneously: Perception of the Stendhal Syndrome comprises one
of my large-scale white-on-black paintings from the series
Gene&Ethics – Master Prism (1,80 x 2,80 m) and a custom-made,
sculptural magnifying glass, measuring 1,58 m in height, which is
hung from the ceiling at distance to the canvas. Each visitor will
perceive a completely unique series of images when approaching the
work, as every slightest move generates an entirely new impression.
The installation thus aims to provide an experience of my work that
simultaneously allows for a macro perspective and micro perspective
of the painting, thereby revealing my different painting techniques,
which are the result of a long-term synthesizing process of
conceptual practices and technical-chemical explorations.
I have been experimenting with the constitutive elements of painting,
that is the quality of the paint, its support, as well as a range of
unconventional painting techniques, to attain this effect. Through the
interplay between the medium, the timing and my body, physically
moving around a canvas on the floor, I seek to derive a specific fluid
and organic quality in my paintings.
The literally puzzling and elusive nature of the experience of
approaching Gene&Ethics – Master Prism while looking through a
magnifying glass, lies at the center of my interest: each beholder is
forced to reverberate his/her own position in regard to the work and
within the actual space, instinctively. At the beginning of every
philosophical reflection stands the question of the point of view. With
this installation, I would like to take an explicit stance towards this
issue, as it is each individual human being that stands at the center
of the art: My work only exists when being experienced!
However, it not only deals with perception, on the contrary, with the
strategy of providing sensual experiences, I seek to sharpen the
senses for societal and environmental issues. I have drawn inspiration
from sculptors, such as Anish Kapoor and Tony Cragg, but also the
architect Frank Gehry, who are all known for providing unique spatial
experiences that trigger reflections about one’s existence.
The installation thus literally reaches out, in order to encompass the
viewer on a bodily, psychological and self-reflexive level. By way of
providing this engaging experience, I try to raise the viewers’
awareness of space-time, opening up the possibility to relate this
perception to the ‘bigger picture’ of our existence.
continued from the post in the first comment, as promised.
1st (and only) O'Keefe: But who's driving the Tardis?
13th Doctor: Yes.
1st (and only) O'Keefe: Why are you holding a spear of asparagus?
13th Doctor: It's a long story. Have you got time?
1st (and only) O'Keefe: I believe there is some in the garden.
13th Doctor: Not thyme, thime — time, I mean. Never mind. It all started on the planet Heart — much like this one, so it took me some time to twig my error. You see, the H was at the beginning instead of the end and it is hard to keep track.
1st (and only) O'Keefe: Oh, I see — HEART is an anagoram of EARTH.
13th Doctor: Yeah, that's anagram, though. I was hungry so I thought I'd drop in on my friend Julia Child. She always has something tasty on the go.
1st (and only) O'Keefe: And she gave you the asparagus?
13th Doctor: No, because it wasn't 20th century Earth, so she wasn't where she would have been if it had been. I found myself in a huge asparagus patch in Macaronesia — much bigger than Julia's.
1st (and only) O'Keefe: Is that where they make macaroni? That would be good with asparagus.
13th Doctor: It does sound like macaroni, but Macaronesia is from the Greek words meaning 'islands of the fortunate' It's an archipelago on the tectonic plate off the coast of what would be Africa on Earth.
1st (and only) O'Keefe: See, macaroni sitting on a plate with a side of asparagus. You are getting to the asparagus, I take it.
13th Doctor: Patience. It takes time to grow asparagus and time to tell my tale. Asparagus grows from a crown of roots that produces the lovely spears in the spring and early summer. Then it grows into a canopy of ferns which feeds the underground rhizomes with energy synthesized from the sun. This dies off for the winter when the whole process starts again in the spring. In this archipelago the conditions were perfect for this botanical drifter that came in on the wind. The canopy of ferns was magnificent and looked like it never died off, allowing year round harvest. The Tardis landed underneath and the sun shown through it with a golden glow. I didn't see anybody around so I snapped off one of the spears and ate it raw. It was crunchy and more delicious than any I had tasted. I decided to have another but this time I hit it with my sonic gizmo.
1st (and only) O'Keefe: Isn't it a sonic screwdriver?
13th Doctor: Oh, but it is so much more. In this case it was a microwave steamer. The asparagus yelled, "Ouch"
1st (and only) O'Keefe: OMG! The asparagus could talk?
13th Doctor: I shouldn't have been surprised to see a sentient plant, but on closer examination, the creature was not a plant at all, though he bore a striking resemblance to the plants he was raising.
1st (and only) O'Keefe: A little green man? Are you kidding?
13th Doctor: Hey, it's a cliché for sure, but they do exist. Funny thing was, he seemed to be strangely attracted to the sonic. He blushed and stammered.
Helmut: Hello. I am Helmut. Welcome. Are you and your friend hungry?
13th Doctor: I told him I was hungry and very sorry I tried to cook him. He brought a plate of cooked spears and put them between me and the sonic. After stuffing myself I reached out to pick up the gizmo and received a shock. I dropped it. When I tried again, I got a bigger shock and it started buzzing — no, more like humming. A jolly little tune. Helmut snuggled up to her.
Helmut: I don't think she wants to leave, I can generate a replacement for you if she wants to stay. He then put his forehead to hers and both of them started to glow. Between them appeared a new sonic that looked exactly like a spear of asparagus. I took it with me and left Helmut and his new friend behind in the golden glow of Heart.
1st (and only) O'Keefe: Awww. Now let's go see if Jefa has anything to eat.
Model: Jessica.
© 2009 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
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“Rabelais and Jarry are my gods,” Marcel Duchamp once stated. Jarry’s engagements with machines, science, alter egos, wordplay, and the letter r certainly resonate in Duchamp’s works. His friend Mary Reynolds (1891–1950) was one of the few Surrealist devotees of Jarry to express herself through the art of bookbinding. She created unique bindings for all of Jarry’s major works. Her first project, shown at left in the case, realized Duchamp’s design for an edition of Ubu roi. The U-shaped covers synthesize the work in one letterform—a gesture Jarry himself made in reference to the second letter r in the play’s first word, “merdre.” It also suggests a pun in English (you are Ubu).
Reynolds’s extraordinary binding design for Docteur Faustroll, shown at right, suggests an assimilation of Jarry and Duchamp. The perforated copper sheets on the covers, which allude to Faustroll’s sieve-bottomed boat, are framed like the windowpanes in versions of Duchamp’s miniature readymades. Inside the book’s covers, Reynolds chose the color green for the silk endpapers, reflecting both Ubu’s signature expletive (“By my green candle!”) and the green silk lining of Duchamp’s The Green Box (1934).
At left in case: Mary Reynolds (1891–1950) and Marcel Duchamp (1887–1968), bookbinding, ca. 1934–35, goatskin, gilt, silk, and glassine, on Alfred Jarry (1873–1907), Ubu roi (Paris: Librarie Charpentier et Fasquelle, 1921). The Art Institute of Chicago, Ryerson and Burnham Libraries. At right in case: Mary Reynolds (1891–1950), bookbinding, ca. 1940, calf and other leathers, copper, gilt, and glassine, on Alfred Jarry (1873–1907), Gestes et opinions du Docteur Faustroll, pataphysicien (Paris: Librairie Stock, 1923). The Art Institute of Chicago, Ryerson and Burnham Libraries.
“Mars Global Surveyor's Mars Orbiter Camera obtained its last SPO-2 images of Mars on September 12, 1998. SPO-2, or "Science Phasing Orbit-2," took place between early June and mid-September 1998. Shown above are MOC wide angle (red and blue band) images of the martian north polar region obtained around 3:15 a.m. PDT on September 12, 1998. This color composite was made using red and blue wide angle MOC images 55001 and 55002--these were the last pictures taken of the planet until the camera resumes its work in late-March 1999.
The north polar layered deposits, a terrain believed composed of ice and dust deposited over millions of years, dominates this view. The swirled pattern in the images above are channels eroded into this deposit. The pattern is accentuated by the illumination and seasonal frost differences that arise on sun-facing slopes during the summer. The permanent portion of the north polar cap covers most of the region with a layer of ice of unknown thickness.
At the time this picture was obtained, the martian northern hemisphere was in the midst of the early Spring season. The margin of the seasonal carbon dioxide frost cap was at about 67° N, so the ground throughout this image is covered by frost. The frost appears pink rather than white; this may result from textural changes in the frost as it sublimes or because the frost is contaminated by a small amount of reddish martian dust. Please note that these pictures have not been "calibrated" and so the colors are not necessarily accurately portrayed.
In addition to the north polar cap, the pictures also show some clouds (bluish-white wisps). Some of the clouds on the right side of the images are long, linear features that cast similar long, dark shadows on the ground beneath them.
When the MOC resumes imaging of Mars in March 1999, summer will have arrived in the north polar regions and the area surrounding the permanent polar cap will appear much darker than it does here. The dark features surrounding the cap are sand dunes, and these are expected to darken over the next several months as seasonal ice sublimes and is removed from the surface.
Malin Space Science Systems and the California Institute of Technology built the MOC using spare hardware from the Mars Observer mission. MSSS operates the camera from its facilities in San Diego, CA. The Jet Propulsion Laboratory's Mars Surveyor Operations Project operates the Mars Global Surveyor spacecraft with its industrial partner, Lockheed Martin Astronautics, from facilities in Pasadena, CA and Denver, CO.”
Above, and image, at:
photojournal.jpl.nasa.gov/catalog/PIA01471
And/or:
“MGS MOC view of the north polar region of Mars obtained on September 12, 1998. The swirled pattern at the top center of the picture is an area of polar layered deposits covered in part by the permanent north polar ice cap. This color composite does not represent the "true" color of Mars. To make the composite, MOC images 55001 (red-band) and 55002 (blue-band) were combined with a green-band synthesized by averaging the red and blue bands. The images have been reprojected to simulate the view that a person would have if the person was located about 1200 kilometers (740 miles) above the planet at 65°N, 275° W.”
At:
mars.nasa.gov/mgs/msss/camera/images/9_19_98_endSPO2_rel/...
Credit: Malin Space Science System (MSSS) website
3.875” x 8.5”. I’m not familiar with time period/range of the particular Kodak photographic paper used, so I’m assuming it’s contemporary to 1998.
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
Porphyritic metadacite to porphyritic meta-andesite from the Precambrian of Egypt. (cut & polished surface; ~13.2 centimeters across along the base)
“Imperial Porphyry” is a beautiful, important, historically-valuable decorative stone. It was initially quarried during the Egyptian Ptolemaic Dynasty and was also used in the Roman Empire. In later centuries, it was reused in southern and southeastern Europe.
This rock type comes from quarries at Mons Porphyrites in eastern Egypt. The locality name is the basis for the petrologic term “porphyritic”, which refers to a mix of large and small crystals in an igneous rock. Imperial Porphyry rocks are dark reddish to dark purplish with light-colored feldspar phenocrysts. The red-purple colors are the result of alteration of the original rock, which is dark gray-colored. These rocks are part of the Dokhan Volcanics, a greater-than-1 kilometer thick succession of late Precambrian-aged, terrestrial, intermediate to felsic volcanic rocks (= lava flows, volcanic tuffs, and volcanic agglomerates) - they are about 600 million years old. The nature, age, mineralogy, geochemistry, and paleotectonic setting of the Dokhan Volcanics indicate that Imperial Porphyry rocks are lava flows that accompanied subduction zone volcanism during the Pan-African Orogeny. Subduction was followed by a collision event along the Mozambique Belt in the late Precambrian, during which the ancient small supercontinent Gondwana formed (en.wikipedia.org/wiki/Gondwana). Gondwana was part of a larger supercontinent called Pannotia, which rifted apart in the latest Precambrian (upload.wikimedia.org/wikipedia/commons/d/d7/Pannotia.svg).
Geochemical analysis of Imperial Porphyry rocks shows that they are 62.2 to 64.4% silica, which makes them porphyritic quartz andesites and porphyritic dacites. A detailed mineral analysis of Imperial Porphyry is given in Makovicky et al. (2016). The mineralogy shows that the rocks have been subjected to fluid alteration and greenschist-facies metamorphism, possibly related to the Pan-African Orogeny and/or burial metamorphism and/or Red Sea rifting orogenesis. The reddish to purplish coloration is from partial hematitization of mafic minerals. Because the rocks are slightly metamorphosed, they are better referred to as "meta-andesites" and "metadacites".
Stratigraphy: upper Dokhan Volcanics, Ediacaran, upper Neoproterozoic, ~593-602 Ma
Locality: old Roman quarry at Mons Porphyrites, above Wadi Abu Maamel, Red Sea Mountains, Eastern Desert, eastern Egypt
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Geologic info. mostly synthesized from:
Makovicky et al. (2016) - Imperial Porphyry from Gebel Abu Dokhan, the Red Sea Mountains, Egypt, part I. mineralogy, petrology and occurrence. Neues Jahrbuch für Mineralogie Abhandlungen [Journal of Mineralogy and Geochemistry] 193: 1-27.
location : Tofuku-ji Komyo-in temple ,Kyoto city,Kyoto prefecture,Japan
Hashin-tei garden 波心庭
created by Mirei SHIGEMORI重森三玲
京都 東福寺 光明院 波心庭
This temple was founded by Kinzan Myosho in 1391 and the garden was designed by modern landscape architect Mirei Shigemori in 1939 and called "the garden of Hashin"
The significant feature of the garden is its strong stone foundation and modern style allotment of land by moss ,especially the placement of stones attracts attention and has some meanings
We can see the triad stone arrangement at the rear of the garden ,in which the central stone symbolizes Buddhist Mount Meru,
It is so- called "Sanzon-seki "三尊石 in Japanese and in this case selectively placed on artificial moss hill and regarded as a kind of the light source from which the lights are radiating.
And the other stones represent the radiated lights itself from the Sanzon-seki stones.
So in other words ,the garden depicts the lights source and lights beams by using 75 stones, that is based on the Buddhist thought and connected with the name of the temple "Komyo" 光明[Kou or Ko 光 means the lights ,Myo 明 means bright.
Thank you for your interest and seeing my photo.
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Mirei Shigemori (重森三玲 Shigemori Mirei, 1896–1975) was a notable modern Japanese landscape architect and historian of Japanese gardens.
Mirei Shigemori was a garden designer who actively participated in many areas of Japanese art and design. Shigemori was born in Kayō, Jōbō District, Okayama Prefecture, and in his youth was exposed to lessons in traditional tea ceremony and flower arrangement, as well as landscape ink and wash painting. In 1917, he entered the Tokyo Fine Arts School to study nihonga, or Japanese painting, and later completed a graduate degree from the Department of Research. In the early 1920s, he tried extensively to found a school of Japanese Culture, Bunka Daigakuin to synthesize the teaching of culture, but was foiled by the 1923 Great Kantō earthquake, which forced him to move back to his hometown near Kyoto.
He also intended to create a new style of ikebana,or flower arrangement, and produced art criticism and history writings, including the Complete Works of Japanese Flower Arrangement Art published in 1930, and the New Ikebana Declaration written with Sofu Teshigahara and Bunpo Nakayama in 1933. Throughout his later gardening career, he maintained a voice in avant garde criticism of ikebana through publishing Ikebana Geijutsu magazine beginning in 1950, and through the founding of an ikebana study group called Byakutosha in 1949.
At the same time, he cultivated an interest and knowledge in traditional Japanese gardens. He co-founded the Kyoto Rinsen Kyokai with others in 1932. After the destruction caused by the Muroto typhoon in 1934, he began a survey of significant gardens in Japan. In 1938, he finished publishing the 26-volume Illustrated Book on the History of the Japanese Garden, an unprecedented and meticulous documentation of major gardens in the country which he revised in 1971, shortly before his death.
He began practicing as a garden designer in 1914 with a garden and tea room on his family’s property. His first major work was a design for the garden at Tofuku-ji Temple in 1939. He designed 240 gardens, and worked mostly in karesansui, or dry landscape gardens. Many of his gardens are on existing religious sites, but a few of his works are in cultural or commercial settings. He also collaborated with Isamu Noguchi in choosing stones for the UNESCO Garden in Paris.
- wikipedia
Canon EOS M5/EF-M22mm f/2 STM/ƒ/4.0 22.0 mm 1/125sec ISO500 / all manual
Burlesque Noir was originally started by Holly Rebelle in 2005 as a supplement to goth and fetish shows in Albuquerque, NM. Known for their humor, group choreography, and creativity,Burlesque Noir earned the title of Best Local Performance Troupe from the local alternative newspaper, The Alibi.
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Model: Holly Rebelle
Location: modelshopstudio
Albuquerque, New Mexico. USA
© 2013 2018 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
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Déformation professionnelle (French: [defɔʁmasjɔ̃ pʁɔfɛsjɔnɛl]) is a tendency to look at things from the point of view of one's own profession rather than from a broader perspective. It is often translated as "professional deformation" or job conditioning though French déformation can also be translated as "distortion". The implication is that professional training, and its related socialization, often result in a distortion of the way one views the world.1. Introduction
There is no unanimous understanding of professional deformation within Russian or any other school of
psychological thought. The term is generally used in connection with situations of destructive changes in one’s
professional performance, changes in the existing structure of one’s personality adversely affecting labor
efficiency and co-worker interaction, adverse effects of practicing the same profession for a long period of time
such as low productivity, emergence of undesirable professional qualities, changes in professional conduct and
behavior, as well as changes in mental structure and personality traits caused by execution of professional duties.
2. Method
The aim of the present study is to perform theoretical analysis, to synthesize and compile definitions of
professional deformation used in works of Russian and other psychologists in their studies of professional
activities’ influence on personality.
3. Results and discussion
In her studies A.K. Markova identified six risk factors that hinder professional development:
1) Changes caused by, and associated with, aging;
2) Long-term psychological stress caused by poor working conditions.
3) Crisis of professional development;
4) Monotony of work, resulting in boredom, loss of interest in work, low productivity, getting easily irritated,
reduction in mental capacity and cognitive activity, short attention span, and constant fatigue syndrome.
5) Professional fatigue - a temporary reduction in one’s physical and cognitive productivity as a result of
exhaustion of one’s internal resources and of the mismatch in the systems guiding activities;
6) Professional deformation
Summarizing results of scientific works of Russian and foreign psychologists, E.F. Zeer indicates that the
psychology of labor extensively covers problems of labor efficiency and reliability, issues of aging, and stress
caused by poor working conditions. However, he writes, "To a lesser degree professional deformation is studied
from the standpoint of a person, despite the fact that S.G. Gellershteyn wrote: "... the essence of professional
work lies not only in the performance of an employee, in a set of active and reactive actions, but also in the
adaptation of the organism to the specific characteristics of a profession, that requires such acts. There is a
constant interaction between the working environment and the body of the worker. It often affects not only the
body (curvature of the spine, short-sightedness of office workers) but also the mind and behavior
(obsequiousness of clerks, flattery of waiters) of people of various professions" Zeer [2 p.197-200].
Professional deformation of the personality is a sum of changes in cognitive structures, personality traits,
behavior, methods of communication, stereotypes of perception, one’s nature, values, and such caused by the
execution of one’s professional duties.
Describing changes in personality occurring during professional development, E.F. Zeer emphasizes that:
1) “Professional development is as much loosing as acquiring, and becoming a professional in some line of
work is not only about improving, but also about loosing some qualities" . Professional failure thus can be viewed as complete or partial non-compliance with special requirements for cognitive capacities and personality traits to perform specific professional activities . (There is an understanding of professional degradation as a backward movement – de-adaptation, decline in professional development, loss of required professional qualities and skills);
2) "Throughout their professional careers (as understood by the author (O. P.) – from the choice of a
profession to decision to leave it, people of many occupations are going through stages of professional destruction (destruction as in disturbance of the normal structure of something) [2, p. 197-200].
Therefore, according to the concept of cumulative reasons, researchers study the interactions between a number
of different personal qualities, often difficult to diagnose, external influences, including indirect ones, which
combined cause a particular mental phenomena, namely the professional deformation. While the mind has the
ability to sort and process situations, there is a certain cumulative, or “stockpile” effect when factors, each of
which taken separately may not cause certain mental conditions, combined result in a particular outcome
(B.F. Lomov). At this, according to the concept of cumulative-factorial causes, the combination of various
stimuli and influences can cause certain cognitive phenomena when a main factor (s) interacts (s) cumulatively
with (a) minor ones which initiates mental phenomena and affects one’s behavior.
3) Professional deformation – a "destructive personality changes accompanying execution of professional
duties" [2, p. 49-51] (may be a so-called professional disharmony - a mental state characterized by a mismatch of
certain mental functions, personality traits, special features of behavior, both between themselves and in relation
to the higher-level system, with respect to professional situations); "changes in the existing structure and
activities of an individual, negatively affecting productivity of their labor and interaction with other participants
of the working process" [2, p. 197-200]. (and, as a consequence of possible social deprivation, which can lead to
the loss of social and psychological orientation); "destruction resulting from practicing the same profession for a
long time that adversely affects efficiency of work, produces qualities detrimental to profession, changes
professional conduct" [2, p.200-201]; "disruption of habitual ways of life, loss of acquired competencies, the
emergence of cliché’s in professional behavior and difficulties embracing new technologies, professions or
occupation, changes in personality structure during the transition from one stage to another in professional
development" [2, p.200-201].
The term “mental burnout” was introduced in western psychology in the late 1970’s, and today this problem
is widely studied within the context of occupational stress.
Burnout, in a broad sense, is a "long lasting stressful reaction occurring as a result of prolonged occupational
stress of medium intensity" [10, p.443-463].
Originally the term mental burnout was understood as a state of exhaustion with a feeling of worthlessness.
Only in 1974, when the term burnout was introduced for the first time by an American psychiatrist
H.J. Freundenberger, it got its definition - a “characteristic of the psychological state of healthy people who are
in an intense and close contact with customers in an emotionally laden, saturated atmosphere at giving them
professional help” .
N.E. Vodopiyanova writes: "Researchers are increasingly associating burnout syndrome with psychosomatic
well-being, relating it to the state of pre-disease" [10, p.443-463].
In 1981, American psychologists C. Maslach and S. Jackson noted that mental burnout is common only to
professions connected with person-to-person communication , which partially resolves the dispute
about the nature of the phenomenon (for professions involving direct person-to-person interaction [10], [15].
C. Maslach and W. Schaufeli stressed that syndrome of emotional burnout should be viewed within a larger
concept of personal deformation caused by occupational stress [16].
N.E. Vodopiyanova and E.S. Starchenkova note that the burnout syndrome is caused by personal emotional
difficulties or tensions one faces in daily interpersonal professional communication, that have negative impact on
professional activity, and therefore burnout syndrome could be directly related to the defense mechanism of
preservation of mental health and stability, ensuring execution of professional skills in the long run
Analyzing the works of Russian and foreign psychologists, N.E. Vodopiyanova and E.S. Starchenkova also note
that the difficulties in studying the syndrome lie in the uncertainty, multiple factors, their descriptive
characteristics and the lack of adequate measuring tools. Currently, about 100 researchers identify mental burnout
in terms of such symptoms as aggressive behavior, depression, insomnia, alcohol abuse, negative attitude, guilt,
various addictions, psychosomatic manifestations, and other .
282 Olga Polyakova / Procedia - Social and Behavioral Sciences 146 ( 2014 ) 279 – 282
The category of "professional deformation", in our opinion, calls for the use of scientific language, while
terms built on metaphors such as "burn" are more suitable in descriptions of emotional and/or physical
exhaustion, as defined in works of H. Selye .
4. Conclusion
The category of professional deformation includes phenomena of destructive changes in person’s
performance, cognitive structure and activities that negatively affect productivity of labor and the interpersonal
communication in the workplace; adverse effects resulting from practicing the same profession for a very long
time that affect efficiency and produce professionally undesirable qualities; changes in professional conduct,
one’s mental structure, personality traits influenced by execution of professional duties.
ac.els-cdn.com/S1877042814047831/1-s2.0-S1877042814047831...
These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).
"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."
Image licensed under Creative Commons by *Blunight 72*: www.flickr.com/photos/blunight72/164070593/
From Wikipedia: en.wikipedia.org/wiki/Sultan_Ahmed_Mosque
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is a historical mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is one of several mosques known as the Blue Mosque for the blue tiles adorning the walls of its interior. It was built between 1609 and 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. The Sultan Ahmed Mosque has become one of the greatest tourist attractions of Istanbul.
After the humiliating Peace of Zsitvatorok and the unfavourable result of the wars with Persia, Sultan Ahmed I decided to build a large mosque in Istanbul to placate Allah. This would be the first imperial mosque in more than forty years. Whereas his predecessors had paid for their mosques with their war booty, Sultan Ahmed I had to withdraw the funds from the treasury, because he had not won any notable victories. This provoked the anger of the ulema, the Muslim legal scholars.
The mosque was to be built on the site of the palace of the Byzantine emperors, facing the Hagia Sophia (at that time the most venerated mosque in Istanbul) and the hippodrome, a site of great symbolic significance. Large parts of the southern side of the mosque rest on the foundations, the vaults and the undercrofts of the Great Palace. Several palaces, already built on the same spot, had to be bought (at considerable price) and pulled down, especially the palace of Sokollu Mehmet Paşa, and large parts of the Sphendone (curved tribune with U-shaped structure of the hippodrome).
Construction of the mosque started in August 1609 when the sultan himself came to break the first sod. It was his intention that this would become the first mosque of his empire. He appointed his royal architect Sedefhar Mehmet Ağa, a pupil and senior assistant of the famous architect Sinan as the architect in charge of the construction. The organization of the work was described in meticulous detail in eight volumes, now in the library of the Topkapı Palace. The opening ceremonies were held in 1617 (although the gate of the mosque records 1616) and the sultan was able to pray in the royal box (hünkâr mahfil). But the building wasn't finished yet in this last year of his reign, as the last accounts were signed by his successor Mustafa I.
The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour, but the interior lacks his creative thinking.
Model: Cari Cain
Location: model shop studio. Albuquerque, New Mexico. USA
© 2009 Photo by Lloyd Thrap Photography for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Oil on canvas; 68 x 54 cm.
Born in Guangdong Province in 1900, Guan Liang was the first generation Chinese Modern art pioneer. He studied Art in Tokyo from 1917 to 1922 where he was introduced to western oil painting technique. While receiving the basic realistic sketch training in school, he was also devoted in Impressionism and Post-impressionism art. Works by Monet, Renoir,Cézanne, Matisse had left him a deep impressionand the works by Van Gogh and Gauguin had become the model he worshiped and studied. From then onwards, Guan Liang was determined to pursue the vitality in art, art must surpass the beauty of stillness, art had to be rich in meaning.
Guan Liang’s paintings can be classified into oil paintings, water color paintings, sketches, and Chinese ink paintings. The former incorporated diversified themes while the latter mainly based on Chinese opera characters. Guan’s oil paintings were mostly painted freely unlike the works of artists in the same generation which seemed rigid and tedious. In landscape paintings, Guan was good at simplify the enormous space, complex color relationship and structure to bring about the landscape’s momentum. His figures were often small and crude, but with a high spirit that served to enlighten the landscape. The advent of Guan’s Chinese ink opera figures paintings was a new page for the Chinese art history in the 20th century. His interest and cultivation in Chinese opera not only served as a motivation for his art creation, but was also the concept of his painting. For Guan Liang, those legendry figures were not the main subject of his painting, instead, what he depicted were the characters and scenes he had seen on stage. Guan had a special intimate relationship with Chinese opera. While he drew the performance of characters, he was also drawing his emotions and understandings of this particular scene, this particular episode. Just like Xu-Hong said: “His Chinese ink opera figures paintings attempted to transform the long-term fixed format of Chinese ink paintings. He synthesized the folklore interest with the lyricism of Chinese ink painting. He had thus used the rich stage performance format to expand the expression of Chinese ink, Guan had left the 20th century Chinese art a heritage of free and child-like water ink expression.”
Reference from
Guan Liang—A Wanderer in the Art Realm, Shui Zhong-Tien
A leafhopper, Cuerna striata, often goes by the common name "sharpshooter". They feed on xylem sap, which lacks some essentials for a balanced diet. Sharpshooters have incorporated two species of bacteria as symbionts. One synthesizes vitamins, the other synthesizes essential amino acids lacking in xylem sap. Genetic data reveals that sharpshooters have carried the symbionts for many millions of years.
Model: Sarah.
Location" The Hotel Albuquerque at old town. Albuquerque , New Mexico. USA
© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
It takes ten minutes to navigate Gotham and make it to the county fairground. This is for you Jason. I pick up the GCPD radio frequency on my scanner. They’ve spotted Joker as well, to be expected. They always have officers on watch during the county fair so it was only a matter of time before they spotted him.
“So what should we do Commissioner?”
“Keep your watch on him. SWAT is on their way, but for the love of god keep the ones in uniform away from him. The last thing we need is for him to know that we’ve spotted him. I know someone who’ll be very keen to get their hands on him.”
“Yeah won’t be long now till the Bat has this wacko back in Arkham.”
“That may be sooner than you think Ramierez.”
“What do you mean Bard?”
“It’s the Bat commissioner. He’s here.”
“What?”
“Well I don’t know anyone else who drives a sports car and armoured car hybrid other than him.”
“He’s there?”
“Affirmative sir. Looks like he’s going straight for Joker. Christ he just drove through the hook a duck.”
“Any injuries?”
“Negative, the stall was empty. But I’ve never seen him do something so destructive. Should I pursue him?”
“Stand down Bard. Just keep the public clear. I’m on my way now.”
“Crap, the clown’s men have a hostage. WOAH!”
“What’s going on there Bard?”
“He just put took the guy down and nearly took the hostage with him.”
“What about the clown?”
“He’s running into the funhouse. Jesus, he just put one of those batshaped things into the other gunman’s eye!”
“What?”
“He’s going into the funhouse now sir. Orders?”
“Seal the building off, and get the paramedics on scene ready.”
“I don’t think he’ll need them sir.”
“They’re not for the Bat. They’re for anyone who gets in his way. I’m fifteen minutes out. No-one goes in until I get there. Got it?”
“Got it sir.”
The clown was selling balloons filled with his own ‘laughing gas’ as he calls it. A simple chemical to synthesize I should know. I’ve made it in an attempt to find a way to combat the effects of it, but to no avail. As far as I know the damn things incurable. But I imagine Fox would be able to find a way to combat its effects, but running a company really does take away his time. The chemical though simple to make has some interesting effects on the body. Tenses all the muscles in the body and forces the facial muscles to form a smile on the victims face. He always wants people to go out on a smile, and this sure does guarantee it. The body is slowly dying due to lack of oxygen thanks to the heart’s muscles not beating, but you’d never know as the victim just smiles as they die. A pleasant death for the family at least. The appearance that they died happy.
I had arrived at the fair and charged straight at him. He had two men supporting him. I recognize one as Klaus, he’s wearing a balaclava but the voice in unmistakable.. A goon I’ve not seen before backs him up, and he takes a hostage. I respond before he has a chance to put his gun to her head. I smash him down on the ground rendering him unconscious. Klaus tries to take a shot at me, but I throw a batarang at his face to disable him. It goes into his eye. Unexpected, but he deserves far worse. Fortunately for him, I’m not after him tonight. I’m after the one who pulls his reigns. Joker fled into the funhouse pretty much as soon as I arrived on the scene. Clearly he wants to come after him. Normally I would come in from above to avoid detection. But tonight I want him to see me. I want him to beg for his life as he made Jason do.
The door’s old and wooden. Odd for most funhouses, but this one has been around as long as I have. Hell I remember the fun I had when my parents brought me here when I was seven. How times change. I walk into the next room of the funhouse. He’s had an inflatable castle brought in here. Why? I inspect it to hear his dreaded voice.
“Careful now! Jumping on that might ruin your ability to scowl! Hell, you’d actually be smiling for once!”
“This ends tonight.”
“Wow, you sound so serious! Well….more than usual that is! Hehehe.”
I walk towards him unresponsive. I don’t want to give him the satisfaction of a conversation. As I close in on him he spots something on my belt.
“Oooooh you got my calling card and you brought it with you! My my I’d have thought you would have cleaned it first though. What would boy wonder say if he knew that you tried to use the crowbar against me? You naughty boy!”
At first I thought he was simply trying to throw me off my game. Make me lose my focus. But then I feel it hit against my leg. When the hell did I grab that? I must have taken it out of the Batmobile without knowing. How the hell could I have done that? I remove the crowbar from my belt and inspect it. What is it doing there?
Before I can properly work out how I took it with me, without my knowledge Joker tries to stab me with his knife. I dodge the blade and take a swing with the crowbar. The force of impact knocks him to the ground in just one hit. I’m in full shock of what I’ve just done but my shock is quickly dissipated when I hear his laughter.
“I swear to god…arhhh…when he gets here you’ll be sorry! Hahahahaha”
Did he just say what I think he said?
“You’re delusional Napier. Heeeheeeheee.”
He’s reciting what Jason said to him that night. That son of a bitch. I kick him hard. He laughs more.
“You’re insane! Just like me Batsy! Hahahahahaa.”
He’s mocking me. Worst still he’s mocking Jason whilst doing it. Dishonoring his name and legacy all for his own pleasure. Time to end this. I grab the collar of his jacket and pull his face in close. There’s only one way to shut this monster up, and that’s to kill the Joker, and restore Jack Napier. I begin to rub off the makeup on his face, but after removing it all his face is still white. What the hell has he done to himself?
I look at his face in horror and he clearly sees this.
“Funny thing skin. Easy to peel. Easy to cut. Easy to change. All it took was a little visit to Ace Chemicals to steal some Methylamine and wham. One dip in a chemical bath and hey ho, it’s Joker tv 24/7 baby!”
“You…destroyed your own face?”
“I destroyed nothing. I improved it! Gone are the days of Jack the sad and depraved. Now it’s smiles all day long with Joker and his beautiful face! Now I do believe this is the part where Miss Crowbar takes a swing…”
Before I can react he hits me with the crowbar. Amateur mistake, I allowed myself to drop it on the floor when I went to pick him up. The impact doesn’t knock me to the ground, my suit takes the brunt of the hit so I stay standing but it’s enough to disorientate me. As I regain my footing I see him running past construction signs into the Tunnel of love, crowbar in hand.
His face is a mess from where I’ve wiped his makeup, but even with it so badly smudged he manages to give his sadistic grin.
“Come now honey, we really need to sit down and discuss what we’re going to do to that horrible man that killed our boy! He needs to be punished! Hahahaah”
He keeps mocking me. But unfortunately for him I’m far more physically capable than him.
The tunnel of love has been under repair for the last two years since part of it collapsed during a minor earthquake. Since then the fairground management staff decided to completely renew the entire tunnel, so the water has been drained and there’s paint all over the spot. Joker’s been in here for at least a week since he broke out of Arkham and he’s managed to get the lights working in here in the hopes he’ll spot me coming.
He won’t. I follow behind him and he begins to monologue. He sure does love the sound of his own voice.
“You know Batsy. I’m going to miss you when I’m gone. Nobody else manages to put a smile on my face quite like you can my dear. I have no idea why! I guess madness just attracts madness eh?”
“…”
“Come on I know you’re here somewhere. Why not come out and play. I promise I’ll play nicely. Honest.”
His grip on the crowbar tightens as his grin broadens. I know far better than to trust this monster. But I want to see what else he has up his sleeve. He always likes to have an ace in the waiting should be need it. I wait two minutes. He stands there looking around trying to spot me to no avail.
“*Sigh* Come on Batsy. I know you want to beat me with good old crowy crowbar. Come on. Come out and play.”
I give him no response.
“*Sigh* Well if you won’t play, let’s see about everyone else who’s come for the fair!”
He pulls out a trigger. What the hell has he got planned now? I scan the frequency of his trigger and it’s connected to a set of balloons scattered around the fairground. Christ, how many of these things has he got?
Before I can pounce on him he presses one of the bottoms on the trigger, detonating a quarter of his balloons. All I see are several child suddenly collapsing on the ground as the balloons detonate next to them. That bastard. Taking Jason isn’t enough for him. It just isn’t. I can’t let this go on anymore. No more.
“Nothing? Well there’s always round two!”
I grab him from behind before he can press the next button. I throw him into the support pillar next to him and he drops the crowbar as soon as he collides with the pillar.
Before he can react I jump on him and pin him to the floor.
“NO MORE!”
Brant Lake, Adirondacks, NY. We are searching. The air is close, the forest dark. I need light, and here it is, risen eastward and looking on it's own. Through the rising, humid air, thick with sweat, over and through the trees busy synthesizing oxygen, it probes to illuminate the dark spaces, like me. It will be broken and shattered in the woods, every foot of space lit up, a little bit at a time, all day. But out here the brilliance spreads, like a soft blanket over everything, on which I can sit and watch the search, for a while. I wil look at whatever is revealed, but I still am not sure what I am looking for...
© 2012 2025 Lloyd Thrap Photography for Halo Media Group
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Taken from Shinjima Island. Synthesized from seven AE bracket shots by Photomatix.
新島（しんじま）という錦江湾内の小さな島から撮影した桜島です．上半分は厚い雲に覆われていました．Photomatixで７枚のブラケットショットから合成しました．
Lauren Pearlman - Photography by: Alex Gonzalez of VPXSPORTS.COM
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
Model: Brittany Madrid
Location: UNM "Duck" Pond.
© 2010 2025 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
48 Hour Film Festival, World Premier screening of the film is next Saturday June 11 6:30PM. KIMO theater downtown ABQ.
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© 2011 2018 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Under the direction of Game of Thrones mastermind, Santa Fean George RR Martin, the newly revamped Jean Cocteau Cinema is set to open Friday, Aug. 9—one week ahead of schedule.
Cinema manager Jon Bowman tells SFR movies will be free at the single-screen theater for its first seven days.
www.sfreporter.com/santafe/blog-4666-jean-cocteau-cinema-...
Come "LIKE" my fanpage please =)
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Por favor, dale un "ME GUSTA" a mi página de fans
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© 2013 2020 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap Creative Photographyl With Destiny Dickinson - Actress. Rita Louise, Mo Vigil, #PhotoShoot on location at Fans Of Film Cinema Cafe & Coffee House Vintage Photo Model roaring20s — feeling blessed. — with Destiny Dickinson - Actress at Fans Of Film Cinema Cafe & Coffee House.
Come "LIKE" my fanpage please =)
Per favore premere "LIKE" mio fanpage
Por favor, dale un "ME GUSTA" a mi página de fans
Si us plau fes clic al "M'AGRADA" a la meva pàgina de fans
「いいね！」/ 「LIKE」ボタンを押してね！
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© 2013 2025 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Albuquerque photographers and artists
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Lloyd Thrap modelshopstudio™.
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Synthesized color image of 486958 Arrokoth (formerly 2014 MU69) in space, made from LORRI images captured by New Horizons on Jan. 1, 2019. The distance to Arrokoth here is about 182,700 km (113,525 miles) and original resolution is about 140m/pixel, although I digitally upscaled it from there. Color is approximated using lower-resolution MVIS data. The angle of the contact binary is as captured by NH but I expanded the view to the right using two exposures, thereby centering the object. I left background bright spots; whether they're noise or stars they look nice.
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© 2012 2015 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
We were at the visitor centre of Dead Horse State Park just Northwest of Moab, Utah, getting organized to tour the park when a group of motorcyclists pulled into the empty parking spots beside us. All were riding dirt bikes of various types and dressed for some serious off-road bike action but one rider stood out. I wandered over to the group and started chatting with them but gradually focused on the gentleman seen here. I simply could not let him away without getting a portrait of him with his helmet and long, red beard. He graciously acceded to my request and this is the result. - JW
Date Taken: 2017-05-11
Tech Details:
Taken using a hand-held Nikon D7100 fitted with a Nikkor 18-105mm VR lense set to 34mm, ISO100, Auto WB, Aperture priority mode, f/7.1, 1/400 sec. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: scale image to 6000x9000, set exposure to 2/3 stop above as-shot (brighter), slightly increase contrast and Chromaticity in L-A-B mode, crop some off the top and right sides to better balance the motorcyclist in the frame, enable shadows-highlights and do a moderate amount of highlight recovery as well as some shadow recovery to bring out detail below the visor, very slightly increase vibrance, sharpen, save. PP in free Open Source GIMP: slightly brighten overall using the tone curve tool, duplicate the image to a new top layer and add a black/transparent layer mask and in the layer mask use the blend tool to fill in a white to black gradient from the bottom (white) to top (actually mid way up – black) to synthesize a graduated neutral density tool and in the image area of this layer use to tone curve tool to darken the bottom of the frame (i.e. I wanted his shirt up to his beard to darken gradually blending in the overall upper frame exposure by darkening the layer below as needed, create a new working layer from the visible result, sharpen slightly, save, scale image to 4000 x6000 (portrait orientation), sharpen slightly, save, add fine black and white frame, add bar and text on left, save, scale image to 1800 high for posting, sharpen slightly, save.
The museum -located in the neighborhood of San Ángel of the Álvaro Obregón delegation on an area of 380 square meters- is made up of three buildings: two studio-houses and a photographic laboratory; designed by Mexican architect and artist Juan O'Gorman. The construction began in 1931 and ended the following year, but Diego Rivera and Frida Kahlo inhabited it after 1934. Architect: Juan O'Gorman
His work was a watershed in modern architecture. The houses built by Juan O'Gorman for Diego and Frida Kahlo are an example of their functionalism architecture, in them the architect plays in an innovative way with double heights, volumes and materials that imprint a particular stamp on the way of inhabiting the space; "The minimum of expense and effort for maximum utility." Is the premise that synthesizes his already classic work within the history of architecture.
El museo —ubicado en el barrio de San Ángel de la delegación Álvaro Obregón sobre una superficie de 380 metros cuadrados— está conformado por tres inmuebles: dos casas-estudios y un laboratorio fotográfico; diseñados por el arquitecto y artista mexicano Juan O'Gorman. La construcción se inició en 1931 y concluyó al año siguiente, pero Diego Rivera y Frida Kahlo la habitaron a partir de 1934.Arquitecto: Juan O'Gorman
Su obra fue un parteaguas en la arquitectura moderna. Las casas construidas por Juan O’Gorman para Diego y Frida Kahlo son un ejemplo de su arquitectura funcionalismo, en ellas el arquitecto juega de manera innovadora con dobles alturas, volúmenes y materiales que imprimen un sello particular en la manera de habitar el espacio; “El mínimo de gasto y esfuerzo por el máximo de utilidad.”, es la premisa que sintetiza su obra ya clásica dentro de la historia de la arquitectura.
Robby the Robot. Anne Francis
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.
Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
First synthesized by the chemist Wallace Carothers and introduced in the 1939 World's Fair by DuPont, #ストッキングの日 celebrates when the first nylon stocking went on sale on May 15, 1940!
“Life is a great surprise. I do not see why death should not be an even greater one.”
Vladimir Nabokov
history of event
Dia de los Muertos at Hollywood Forever cemetery was originally envisioned for the purpose of providing an authentic venue, in which this ancient tradition could be genuinely observed, celebrated and preserved. Tyler Cassity and Deisy Marquez conceived this festival of life as a platform which would synthesize creativity for the means of remembering the departed spirits of our lives. This event has provided a gateway for those who wish to re-acquaint themselves with their deeply rooted traditions and profoundly engage with one of the most devotional celebrations for the continuous cycle of life.
At the heart of this sacred event are the meticulously individually crafted altars and spiritual shrines. These dazzling private tributes and offerings which provide a linkage between ancient traditions and modern customs chronicle the perpetual relation between faith, family and history. Representing and understanding the vitality of this ancient custom, Celine Mares conceptualized the necessity of incorporating this enigmatic mystical custom to thrive within the realms of the Forever cemetery.
Interwoven into this effective visionary ensemble lies the creative commitments of dedicated program directors, who have continuously maintained and strengthened the core foundation of this uniquely inspired event through providing a linkage and emerging bond with the many culturally mindful artisans from our diverse community.
In the spirit of the goddess Mictecacihuatl, known as the “Lady of the Dead,” and Samhain, the Celtic day feast of the dead, Hollywood Forever has engrained and developed a much desired and appreciated emotionally driven chord with its surrounding community. On the eve of the 8 th year anniversary of this benevolent observance Tyler, Daisy, Celine and the program directors continue along with countless committed volunteers and artisans to call upon the living to engage and summons the spirits of our lives who shaped, inspired and left their prints engraved in our souls. By providing our community with a genuine setting to learn the importance and significance of this celebration, the original objectives of the founders have been realized and internationally recognized by “tens” of thousands of new and returning faithful visitors who have been continuously welcomed as guests and interactive participants to this annual and growing community based festivity.
Tremella mesenterica (common names include yellow brain, golden jelly fungus, yellow trembler, and witches' butter) is a common jelly fungus in the Tremellaceae family of the Agaricomycotina. It is most frequently found on dead but attached and on recently fallen branches, especially of angiosperms, as a parasite of wood decay fungi in the genus Peniophora. The gelatinous, orange-yellow fruit body of the fungus, which can grow up to 7.5 cm (3.0 in) diameter, has a convoluted or lobed surface that is greasy or slimy when damp. It grows in crevices in bark, appearing during rainy weather. Within a few days after rain it dries into a thin film or shriveled mass capable of reviving after subsequent rain. This fungus occurs widely in deciduous and mixed forests and is widely distributed in temperate and tropical regions that include Africa, Asia, Australia, Europe, North and South America. Although considered bland and flavorless, the fungus is edible. Tremella mesenterica produces carbohydrates that are attracting research interest because of their various biological activities.
According to European legend is that if yellow brain fungus appeared on the gate or on the door of the house it meant that a witch had cast a spell on the family living there. The only way the spell could be removed is by piercing the fungus several times until it went away. This is why yellow brain also has the common name of witches’ butter.
Some Tremella species produce polysaccharides that are of interest to the medical field, because of their biological activity; several patents have been filed in China pertaining to the use of these compounds for cancer prevention or immune system enhancement. In 1966, Slodki reported discovering an acidic polysaccharide from haploid cells of T. mesenterica that closely resembled those produced by the species Cryptococcus laurentii. The structural similarity of the polysaccharides from the two species suggested a phylogenetic relationship between them. Subsequently, researchers chemically synthesized the polysaccharide, and determined the chemical identities of the component sugar units. The polysaccharide, known as glucuronoxylomannan—produced by fruit bodies and in pure culture conditions—has been shown to consist of a mannan backbone that is glycosylated with xylan chains in a regular repeating structure. Laboratory tests have associated a number of biological activities with T. mesenterica glucuronoxylomannan, including immunostimulatory,antidiabetic, anti-inflammatory, hypocholesterolemic, hepatoprotective, and antiallergic effects.
For more information, please visit en.wikipedia.org/wiki/Tremella_mesenterica
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