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Voo Doo Stacy Doll by Julia Murillo . As seen at Black Market Goods Gallery in Albuquerque, New Mexico. USA.
© 2009 2013 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.
Oil on canvas; 100 x 81 cm.
Gino Severini was an Italian painter who synthesized the styles of Futurism and Cubism.
Severini began his painting career in 1900 as a student of Giacomo Balla, an Italian pointillist painter who later became a prominent Futurist. Stimulated by Balla’s account of the new painting in France, Severini moved to Paris in 1906 and met leading members of the French avant-garde, such as the Cubist painters Georges Braque and Pablo Picasso and the writer Guillaume Apollinaire. Severini continued to work in the pointillist manner—an approach that entailed applying dots of contrasting colors according to principles of optical science—until 1910, when he signed the Futurist painters’ manifesto.
The Futurists wanted to revitalize Italian art (and, as a consequence, all of Italian culture) by depicting the speed and dynamism of modern life. Severini shared this artistic interest, but his work did not contain the political overtones typical of Futurism. Whereas Futurists typically painted moving cars or machines, Severini usually portrayed the human figure as the source of energetic motion in his paintings. He was especially fond of painting nightclub scenes in which he evoked the sensations of movement and sound by filling the picture with rhythmic forms and cheerful, flickering colors. In Dynamic Hieroglyph of the Bal Tabarin (1912), he retained the nightlife theme but incorporated the Cubist technique of collage (real sequins are fixed to the dancers’ dresses) and such nonsensical elements as a realistic nude riding a pair of scissors.
Only briefly, in wartime works such as Red Cross Train Passing a Village (1914), did Severini paint subjects that conformed to the Futurist glorification of war and mechanized power. Over the next few years, he turned increasingly to an idiosyncratic form of Cubism that retained decorative elements of pointillism and Futurism, as seen in the abstract painting Spherical Expansion of Light (Centrifugal) (1914).
About 1916 Severini embraced a more rigorous and formal approach to composition; instead of deconstructing forms, he wanted to bring geometric order to his paintings. His works from this period were usually still lifes executed in a Synthetic Cubist manner, which entailed constructing a composition out of fragments of objects. In portraits such as Maternity (1916), he also began to experiment with a Neoclassical figurative style, a conservative approach that he embraced more fully in the 1920s. Severini published a book, Du cubisme au classicisme (1921; “From Cubism to Classicism”), in which he discussed his theories about the rules of composition and proportion. Later in his career he created many decorative panels, frescoes, and mosaics, and he became involved in set and costume design for the theater. The artist’s autobiography, Tutta la vita di un pittore (“The Life of a Painter”), was published in 1946.
Jefferson Memorial
THOMAS JEFFERSON (1743-1826)
•Third President of the United States (1801-1908)
•Second Vice President, serving with John Adams, although they were from different political parties (1797-1801)
•First Secretary of State
•Prolific writer
•Primary author of the Declaration of Independence
•Delegate to the Continental Congress
•Governor of Virginia (1779-1781)
•Founder of the University of Virginia (in Charlottesville)
•Experimental planter who started the wine industry in Virginia
•Musician
•Architect who submitted designs anonymously for both the Capitol and the White House
•Inventor who invented wire coat hangers, swivel chairs and sliding doors
•Cornerstone laid in 1939
•Dedicated by Franklin Delano Roosevelt on April 13, 1943 -- the 200th anniversary of Jefferson's birth
•Original architect, John Russell Pope, envisioned a memorial twice this size; his partners scaled it down after taking over the project on Pope's death
•Classical design, modelled after Jefferson's design of the Rotunda of the University of Virginia, which Jefferson based on the Pantheon in Rome
•The 26 Ionic columns symbolize the 26 states in the Union at the end of Jefferson's terms as president . The addition of the territory provided in the Louisiana Purchase gave rise to the 13 additional states.
•The carving on the tympanum (triangular section of the pediment over the entrance to the memorial) was designed by Adolph Alexander Weinman; it represents the five-man committee assigned by the Continental Congress to draft the Declaration of Independence; the figures from left to right are:
Benjamin Franklin
John Adams
Thomas Jefferson (standing)
Roger Sherman
Robert Livingston
•FDR asked that the memorial be placed so he could see it from the White House and gain inspiration; if you stand with your back to Jefferson, you can see the White House across the Tidal Basin through the trees
The Statue
•Designed by Rudolph Evans
•19 feet tall, made of bronze
•Jefferson is posed as if he were addressing the Continental Congress
•In his left hand he holds a copy of the Declaration of Independence
•He is wearing a coat given to him by Tadeusz Kosciuszko, Polish patriot who fought in the Revolutionary War
•The bronze statue was not installed when the Memorial was dedicated; a war-time limit on civilian use of bronze prohibited its casting; a full-size plaster statue was placed here which the bronze statue replaced in 1948
The Carved Texts
•The texts carved on the interior walls of the memorial are excerpts from various writings of Jefferson
•Behind the statue and to the right is an excerpt from the Declaration of Independence
•Immediately to your right as you enter the rotunda is an excerpt from the Act for Religious Freedom written by Jefferson and passed by the Virginia legislature -- Jefferson considered this act to be one of his three most important accomplishments
•Immediately to your left as you enter the rotunda are six quotations from Jefferson's letters and notes on slavery and education
•Behind the statue and to the left are quotations on government taken from a letter written to Samuel Kercheval in 1816
•The quotation encircling the base of the dome was taken from a letter written to Benjamin Rush in 1800
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The Jefferson Memorial is a monument in Washington, DC to Thomas Jefferson. It combines a low neo-classical saucer dome with a portico.
By 1930, there were monuments in Washington commemorating great United States presidents such as Abraham Lincoln and George Washington. President Franklin Roosevelt thought that Thomas Jefferson also deserved a monument.
In 1934, following his initiative, Congress passed a resolution to create a monument commemorating Jefferson. The memorial was designed by John Russell Pope (1874 - 1937), the architect of the original (west) building of the National Gallery of Art. It reflects characteristics of buildings designed by Jefferson such as Monticello and the Rotunda, which were a result of his fascination with Roman architecture. It bears a close resemblance to the Pantheon of Rome. The cornerstone was laid in 1939 and the monument cost slightly more than $3 million. It was officially dedicated in 1943, after Pope's death. One of the last American public monuments in the Beaux-Arts tradition, it was severely criticized even as it was being built, by those who adhered to the modernist argument that dressing 20th-century buildings like Greek and Roman temples constituted a "tired architectural lie." More than 60 years ago, Pope responded with silence to critics who dismissed him as part of an enervated architectural elite practicing "styles that are safely dead".
The Thomas Jefferson Memorial, modeled after the Pantheon of Rome, is America's foremost memorial to our third president. As an original adaptation of Neoclassical architecture, it is a key landmark in the monumental core of Washington, DC The circular, colonnaded structure in the classic style was introduced to this country by Thomas Jefferson. Architect John Russell Pope used Jefferson's own architectural tastes in the design of the Memorial. His intention was to synthesize Jefferson's contribution as a statesman, architect, President, drafter of the Declaration of Independence, adviser of the Constitution and founder of the University of Virginia. Architects Daniel P. Higgins and Otto R. Eggers took over construction upon the untimely death of Pope in August 1937. The Thomas Jefferson Memorial Commission was created to direct the erection of a memorial to Thomas Jefferson by an Act of Congress approved in June 1934. The present-day location at the Tidal Basin was selected in 1937. The site caused considerable public criticism because it resulted in the removal of Japanese flowering cherry trees from the Tidal Basin. Further controversy surrounded the selection of the design of the Memorial. The Commission of Fine Arts objected to the pantheon design because it would compete with the Lincoln Memorial. The Thomas Jefferson Commission took the design controversy to President Franklin D. Roosevelt who preferred the pantheon design and gave his permission to proceed. On November 15, 1939, a ceremony was held in which President Roosevelt laid the cornerstone of the Memorial.
In 1941, Rudolph Evans was commissioned to sculpt the statue of Thomas Jefferson. The statue of Jefferson looks out from the interior of the Memorial toward the White House. It was intended to represent the Age of Enlightenment and Jefferson as a philosopher and statesman. The bronze statue is 19 feet tall and weighs five tons. Adolph A. Weinman's sculpture of the five members of the Declaration of Independence drafting committee submitting their report to Congress is featured on the triangular pediment. Also noteworthy, and adorning the interior of the Memorial, are five quotations taken from Jefferson's writings that illustrate the principles to which he dedicated his life.
Few major changes have been made to the Memorial since its dedication in 1943. The most important change to note is the replacement of the plaster model statue of Thomas Jefferson by the bronze statue after the World War II restrictions on the use of metals were lifted. Each year the Jefferson Memorial plays host to various ceremonies, including annual Memorial exercises, Easter Sunrise Services and the ever-popular Cherry Blossom Festival. The Jefferson Memorial is administered and maintained by the National Park Service.
•Ground breaking: December 15, 1938.
•Architect: John Russell Pope.
•Cornerstone laid: November 15, 1939.
•Sculpture of Jefferson statue: Rudolph Evans.
•Sculpture of relief above entrance: A.A. Wineman.
•Total cost: $3,192,312.
•Size of grounds: 2.5 acres (1.0117 hectare, 10117.1 square meters).
•Estimated Weight: 32,000 tons.
•Height from road to top of dome: 129 feet, 4 inches (39.42 meters).
•Height from floor to ceiling of dome: 91 feet, 8 inches (27.94 meters).
•Height from floor to top of dome - exterior: 95 feet, 8 inches (29.16 meters).
•Thickness of dome: 4 feet (1.22 meters).
•Weight of memorial: 32,000 tons (29029.9 metric tons).
•Piers to bedrock (maximum depth): 138 feet, 3 inches (42.14 meters).
•Ceiling: Indiana limestone.
•Exterior walls and columns: Danby Imperial Marble (Vermont).
•Interior floor: Tennessee pink marble.
•Interior wall panels: Georgian white marble.
•Pedestal: Missouri gray marble.
•Statue Height: 19 feet (5.79 meters).
•Height of pedestal: 6 feet (1.83 meters).
•Material: Bronze.
•Statue Weight: 10,000 pounds (4535.92 kilograms).
Ella Watkins is a Dean’s Honored Graduate from the Department of Molecular Biosciences. She is graduating with a Bachelor of Science in Biology with a specialization in Cell and Molecular Biology. She is being recognized for her diverse academic achievements and her outstanding research in the area of molecular and synthetic biology.
Ella began her research career in Dr. Jeffrey Barrick’s lab with the 2014 iGEM team. She and the team spent the summer building a system for testing the fidelity and efficiency of non-canonical amino acid synthetase/tRNA pairs. The team won a Gold Medal at the international Genetically Engineered Machines (iGEM) conference for their work. In the fall of 2014, she joined the research lab of Dr. Andrew Ellington to work on a project in protein engineering and directed evolution. Her main focus was to adapt emulsionbased directed evolution methods, compartmentalized selfreplication and compartmentalized partnered replication, to a eukaryotic organism. Recently she has been using this method to evolve DNA polymerases that may be able to synthesize and sequence very long pieces of DNA, potentially enabling the construction and decoding of new organisms.
Her work has been recognized with a Fall Undergraduate Research Forum Presentation Award. During her studies she came to realize that the best way to learn something was to teach it to someone else. This led her to become a personal tutor for Microbiology, Molecular Biology, Cell Biology, and Microbial Genetics. Next year, Ella will enter the Ph.D. Program in Bioengineering at the California Institute of Technology.
Trachybasalt in the Pleistocene of California, USA.
Famous localities for seeing excellent columnar jointing include Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA). Columnar jointing forms as a lava flow cools and contracts, resulting in the development of shrinkage cracks. As shrinkage cracks grow, they branch at ~120º angles (as seen in plan view). Crack networks merge with other networks to form columns having a polygonal cross-section shape. Most columns are hexagonal or pentagonal in shape. A few are 3-sided, 4-sided, or 7-sided.
Devils Postpile is a trachybasalt (or basaltic trachyandesite) lava flow with well-developed columnar jointing. Erosion has toppled many of the columns into a large pile at the base of the flow. The flow represents part of the activity of the Long Valley Volcano, which is now a large caldera in the eastern Sierra Nevada Mountains of California. The Devils Postpile lava flow erupted outside the southwestern margin of the Long Valley Caldera.
Stratigraphy: Postpile Flow, Upper Pleistocene, 82 ka
Locality: Devils Postpile National Monument, west of town of Mammoth Lakes, eastern California, USA
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Info. synthesized from:
Huber et al. (2001) - The Story of Devils Postpile, a Land of Volcanic Fire, Glacial Ice and an Ancient River, Updated from the Original Edition.
Bailey (2004) - United States Geological Survey Professional Paper 1692.
Mahood et al. (2010) - Geological Society of America Bulletin 122: 396-407.
© 2011 2018 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.
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The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is an historic mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built from 1609 to 1616, during the rule of Ahmed I. Its Külliye contains a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.
The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design 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, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
(Wikipedia)
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Kind of fabulous and magical place this mosque is, no matter how big the visiting crowds are.
Trachybasalt in the Pleistocene of California, USA.
Famous localities for seeing excellent columnar jointing include Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA). Columnar jointing forms as a lava flow cools and contracts, resulting in the development of shrinkage cracks. As shrinkage cracks grow, they branch at ~120º angles (as seen in plan view). Crack networks merge with other networks to form columns having a polygonal cross-section shape. Most columns are hexagonal or pentagonal in shape. A few are 3-sided, 4-sided, or 7-sided.
Devils Postpile is a trachybasalt (or basaltic trachyandesite) lava flow with well-developed columnar jointing. Erosion has toppled many of the columns into a large pile at the base of the flow. The flow represents part of the activity of the Long Valley Volcano, which is now a large caldera in the eastern Sierra Nevada Mountains of California. The Devils Postpile lava flow erupted outside the southwestern margin of the Long Valley Caldera.
Stratigraphy: Postpile Flow, Upper Pleistocene, 82 ka
Locality: Devils Postpile National Monument, west of town of Mammoth Lakes, eastern California, USA
---------------
Info. synthesized from:
Huber et al. (2001) - The Story of Devils Postpile, a Land of Volcanic Fire, Glacial Ice and an Ancient River, Updated from the Original Edition.
Bailey (2004) - United States Geological Survey Professional Paper 1692.
Mahood et al. (2010) - Geological Society of America Bulletin 122: 396-407.
Bob Farese Jr. has always lived between identities. Trained as both a physician and a scientist, he’s someone who listens as intently as he investigates. You can sense it when he speaks—quiet, deliberate, with a kind of inward momentum that doesn’t announce itself but builds as he connects ideas.
His laboratory work focuses on lipid metabolism and its role in disease. That phrase might not catch the average ear, but it describes a world of hidden choreography inside our cells. The way fats are synthesized, stored, mobilized, and burned can determine whether we thrive or falter. Bob’s research has helped illuminate this hidden world, especially the biology of energy storage in lipid droplets—organelles once overlooked but now recognized as central to metabolic health and even neurodegeneration. His discoveries have changed how scientists understand fat-related disorders, from liver disease to dementia.
But the story doesn’t begin at the lab bench. He grew up the child of a prominent endocrinologist, moving frequently—but settling in Florida. Science was in the air, but so was music, drawing and painting. In school, he studied chemistry, then medicine. Even then, clinical work wasn’t enough. He wanted to understand the root causes of illness, not just treat symptoms. That curiosity led him to basic research, and eventually, to a life where he’s as comfortable with a pipette as he is with a Leica.
Bob’s scientific path crystallized when he joined forces with his scientific partner, Tobias Walther. The two now co-lead a lab—first at Harvard, now at Sloan Kettering—and are known as a rare scientific duo, leading a lab guided by rigor and collaboration. Their partnership has shaped a lab culture that values openness, creativity, and humor—qualities that continue to attract a steady stream of talented students and postdocs.
Alongside the science, Bob has always made room for the arts. Photography, in particular, is more than a hobby. His images often capture quiet, observational moments—a play of light through a window, a worn hand resting on a table, a curve of architecture that might otherwise go unnoticed. There’s a kind of stillness in his photographs that mirrors the clarity he brings to his research.
He speaks often about balance. Not in a performative way, but with genuine thoughtfulness—the balance between work and life, between ambition and humility, between the urgent pace of science and the slower rhythm of understanding. His home reflects this equilibrium. It is gracious and warm, filled with books and framed prints, personal but not curated. It’s easy to imagine it as a place where conversations run late and the espresso machine gets more use than the television.
On May 4, 2025, he was photographed in that very home. The light was low, almost theatrical, with sharp contrasts that carved out the details of his face. He sat calmly, his hands folded, eyes alert. It was the kind of portrait that reveals more the longer you look.
Bob has a rare gift for moving between worlds—the clinical and the molecular, the technical and the human, the scientific and the artistic. He is not driven by fame or academic gamesmanship. What he seems to care about most is clarity. In thought, in method, in expression. Whether he’s mentoring a student, studying lipid droplets under a microscope, or stopping to photograph the tremendous variation of patterns in water, that search for essence is always present.
At this point in his career, he could coast if he wanted to. But that’s not his nature. There are still puzzles to solve, still connections to make. And in the quiet spaces between experiments and images, he continues to listen for them.
Model Aliice Black Arrives at BMG.
Location Black Market Goods Gallery, Albuquerque, New Mexico. USA
© 2010 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.
Who knows what befell this beautiful Eastern Lubber Grasshopper, but he will not be hopping anytime soon. Poor fellow lost his left rear jumper leg before our very eyes. Really quite sad how brutal nature can be. The Lubber, Romalea Microptera, is often used in biology class for dissecting. Romalea, also unable to fly, sequesters and synthesizes chemicals from the plants it eats, turning them into toxic secretions that predators learn quickly to avoid. A Shrike (Shrike the Impaler) might take this lovely Romalea and impale him on a thorn, leaving him to dry for a few days by which time the toxins will have vanished making for a well deserved meal.
Charcoal on paper; 65.5 54 cm.
Gino Severini was an Italian painter who synthesized the styles of Futurism and Cubism.
Severini began his painting career in 1900 as a student of Giacomo Balla, an Italian pointillist painter who later became a prominent Futurist. Stimulated by Balla’s account of the new painting in France, Severini moved to Paris in 1906 and met leading members of the French avant-garde, such as the Cubist painters Georges Braque and Pablo Picasso and the writer Guillaume Apollinaire. Severini continued to work in the pointillist manner—an approach that entailed applying dots of contrasting colors according to principles of optical science—until 1910, when he signed the Futurist painters’ manifesto.
The Futurists wanted to revitalize Italian art (and, as a consequence, all of Italian culture) by depicting the speed and dynamism of modern life. Severini shared this artistic interest, but his work did not contain the political overtones typical of Futurism. Whereas Futurists typically painted moving cars or machines, Severini usually portrayed the human figure as the source of energetic motion in his paintings. He was especially fond of painting nightclub scenes in which he evoked the sensations of movement and sound by filling the picture with rhythmic forms and cheerful, flickering colors. In Dynamic Hieroglyph of the Bal Tabarin (1912), he retained the nightlife theme but incorporated the Cubist technique of collage (real sequins are fixed to the dancers’ dresses) and such nonsensical elements as a realistic nude riding a pair of scissors.
Only briefly, in wartime works such as Red Cross Train Passing a Village (1914), did Severini paint subjects that conformed to the Futurist glorification of war and mechanized power. Over the next few years, he turned increasingly to an idiosyncratic form of Cubism that retained decorative elements of pointillism and Futurism, as seen in the abstract painting Spherical Expansion of Light (Centrifugal) (1914).
About 1916 Severini embraced a more rigorous and formal approach to composition; instead of deconstructing forms, he wanted to bring geometric order to his paintings. His works from this period were usually still lifes executed in a Synthetic Cubist manner, which entailed constructing a composition out of fragments of objects. In portraits such as Maternity (1916), he also began to experiment with a Neoclassical figurative style, a conservative approach that he embraced more fully in the 1920s. Severini published a book, Du cubisme au classicisme (1921; “From Cubism to Classicism”), in which he discussed his theories about the rules of composition and proportion. Later in his career he created many decorative panels, frescoes, and mosaics, and he became involved in set and costume design for the theater. The artist’s autobiography, Tutta la vita di un pittore (“The Life of a Painter”), was published in 1946.
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"There is a point, and it is reached more easily than is supposed, where interference with freedom of the arts and literature becomes an attack on the life of society." ~ Rebecca West
Lloyd-Thrap-Creative-Photography
© 2011 2013 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.
best viewed large :-)
from the wikipedia - The Hippopotamus (Hippopotamus amphibius also known as river-horse, dual), from the Greek ‘ιπποπόταμος (hippopotamos, hippos meaning "horse" and potamos meaning "river"), is a large, plant-eating African mammal, one of only two extant, and three or four recently extinct, species in the family Hippopotamidae.
Hippos average 3.5 metres (11 ft) long, 1.5 meters (5 ft) tall at the shoulder, and weigh from 1,500 kg to 3,200 kg (3,300 to 7,000 lb). They are approximately the same size as the White Rhinoceros, and experts are split on which is the next largest land animal after the elephant. Male hippos appear to continue growing throughout their lives, whereas the females reach a maximum weight at around the age of 25. Females are smaller than their male counterparts, and normally weigh no more than 1,500 kg. The value given above of 3,200 kg is often quoted as being the upper limit of weight for a male hippo. However, larger specimens than this have been documented, including one of which weighed almost 5000 kg. Even though they are a bulky animal, hippopotamuses can run faster than a human on land. There are estimates of its actual running speed varying from 30 km/h (18 mph) to 40 km/h (25 mph), or even 48 km/h (30 mph). The hippo can maintain these higher estimates for only a few hundred yards.
The eyes, ears, and nostrils of the hippo are placed high on the roof of the skull. This allows them to spend most of the day with the majority of their body submerged in the waters of tropical rivers to stay cool and prevent sunburn. For additional protection from the sun, their skin secretes a natural sunscreen substance which is red colored. This secretion is sometimes referred to as "blood sweat," but it is not actually blood, nor sweat. This secretion starts out colorless, turns red-orange within minutes, eventually becoming brown.
There are two distinct pigments that have been identified in the secretions, red and orange. The two pigments are highly acidic compounds. They are known as red pigment hipposudoric acid and orange one norhipposudoric acid. The red pigment was found to inhibit the growth of disease-causing bacteria, lending credence to the theory that the secretion has an antibiotic effect. The light absorption of both pigments peaks in the ultraviolet range, creating a sunscreen effect. Hippos all over the world secrete the pigments so it does not appear that food is the source of the pigments. Instead, the animals may synthesize the pigments from precursors such as the amino acid tyrosine.
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is an historical mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior. It was built from 1609 to 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.
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. It has one main dome, six minarets, and other eight secondary domes.
- Wikipedia -
Breccia in hydrothermal vein rock from Bohemia.
The town of Joachimsthal in Bohemia became rich and famous starting in the early 1500s from the discovery of silver-bearing veins in the surrounding hills. A silver mining boom followed - the silver was used to make coins named after the town - Joachimsthalers, or "thalers" for short (see: www.flickr.com/photos/vitenskapsmuseet/19962171845 ). This is the origin of the word "dollar".
The Joachimsthal area has a complex mix of metamorphic and igneous rocks. The most productive set of veins is oriented ~north-south. Other veins sets in the area are oriented east-west and northwest-southeast. A few are oriented northeast-southwest.
Vein mineralization occurred in multiple phases over long periods of geologic time. The most important phase was the so-called five-element mineralization, which involved the crystallization of silver, bismuth, cobalt, nickel, and arsenic minerals (plus uranium minerals). This five-element mineralization has occurred elsewhere, for example the Great Bear Lake area (Northwest Territories, Canada); the Cobalt, Ontario area; the Zimmer Lake area (Saskatchewan, Canada); and the Karuizawa Mine area (Japan).
In this sample, native silver occurs as clumps of tarnished, twisted wires (see nearby pictures in this photostream). This photo shows breccia, a mix of large angular fragments surrounded by finer-grained material.
The age(s) of polymetallic mineralization in the Joachimsthal area is not well constrained, but apparently occurred at Cretaceous-Tertiary boundary times.
Locality: unrecorded/undisclosed mine near the town of Joachimsthal (Jáchymov; Jachymov), Bohemia, northwestern Czech Republic
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Geologic info. mostly synthesized from:
Ondrus et al. (2003) - Geology and hydrothermal vein system of the Jáchymov (Joachimsthal) ore district. Journal of the Czech Geological Society 48: 3-18.
Photo taken by Linden Hudson (amateur photographer) in Brussels Belgium in 2010.
Who is Linden Hudson?
CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)
(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden's career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It's just deeply fucked up.)
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Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: youtu.be/2QZ8WUTaS18
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Read Linden's story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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Follow this Wikipedia link and find Linden's name throughout the article & read the album songwriter credits about halfway down at: en.wikipedia.org/wiki/Eliminator_%28album%29
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LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP'S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
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MUSICRADAR DOT COM (2013 interview with ZZ Top's guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top's sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
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TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
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CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people's tempo" as it came to be known.
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP by David Blayney: (page 227): "...the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He's mentioned in at least 7 ZZ Top related Wikipedia pages.)
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP By David Blayney: "Linden found himself in the position of being Billy's (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
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FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
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FROM THE BOOK: ZZ TOP - BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn't even like to rehearse much. Their studio absence wasn't really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
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FROM THE BOOK: "SHARP DRESSED MEN - ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top's rehearsal hall theoretician, producer, and engineer." (end quote)
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FROM THE BOOK: "ZZ TOP - BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building Eliminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
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FROM THE BOOK: "TRES HOMBRES - THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard's house (ZZ's drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
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FROM THE BOOK: "SHARP DRESS MEN - ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80's. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top's very first show).
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FROM THE BOOK: "SHARP DRESSED MEN - ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank's (ZZ Top drummer) place as ZZ's live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family... as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
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FROM THE BOOK "ZZ TOP - BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "... SHARP DRESSED MAN which employed Hudson's 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
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THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
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ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for EL LOCO ... ... Hudson helped construct ZZ Top drummer Frank Beard's home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983's ELIMINATOR.
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FIREDOGLAKE DOT COM: "I like Billy Gibbons' guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
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EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly's #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney's book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn't realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles... I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that's all. You have reached ZZ Top's biggest fan and I can let others know. Bummer. Cheers and good luck. James."
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VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
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INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
The ABC's of Bauhaus traces the origins and impact of the Bauhaus in relation to design, graphic design, and typography. The book, designed by the authors, invokes the Bauhaus ideal of synthesizing editorial concept, typography, and format. The essays address such issues as modernist design theory in relation to the nineteenth-century kindergarden movement and Bauhaus graphic design in relation to the idea of a universal "language" of vision. Additional essays address psychoanalysis, fractal geometry, and Weimar culture. This book includes two essays by Mike Mills.
Upper Nob Hill District. Albuquerque New Mexico .USA
© 2012 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.
One of the side shots taken during the cover photo shoot for the Fall/Winter Zipper ABQ with actress Melanie Armijo. The Zipper ABQ a "Walk+Ride+Bike+Shop Local"guide.
Lloyd-Thrap-Creative-Photography
© 2010 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.
In advance of the Dia de la Muertos annual event coming up, I updated the processing on this photo. I"ll be shooting the event again this year.
This shot may be published in:
level magazine (latin pop culture)
I'll post a link when I get it.
“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.
Maize (/meɪz/ MAYZ; Zea mays subsp. mays, from Spanish: maíz after Taino: mahiz), also known as corn (North American and Australian English), is a cereal grain first domesticated by indigenous peoples in southern Mexico about 10,000 years ago. The leafy stalk of the plant produces pollen inflorescences and separate ovuliferous inflorescences called ears that yield kernels or seeds, which are fruits.
Maize has become a staple food in many parts of the world, with the total production of maize surpassing that of wheat or rice. In addition to being consumed directly by humans (often in the form of masa), maize is also used for corn ethanol, animal feed and other maize products, such as corn starch and corn syrup. The six major types of maize are dent corn, flint corn, pod corn, popcorn, flour corn, and sweet corn.[5] Sugar-rich varieties called sweet corn are usually grown for human consumption as kernels, while field corn varieties are used for animal feed, various corn-based human food uses (including grinding into cornmeal or masa, pressing into corn oil, and fermentation and distillation into alcoholic beverages like bourbon whiskey), and as chemical feedstocks. Maize is also used in making ethanol and other biofuels.
Maize is widely cultivated throughout the world, and a greater weight of maize is produced each year than any other grain. In 2014, total world production was 1.04 billion tonnes. Maize is the most widely grown grain crop throughout the Americas, with 361 million metric tons grown in the United States alone in 2014. Genetically modified maize made up 85% of the maize planted in the United States in 2009. Subsidies in the United States help to account for its high level of cultivation of maize and its position as the largest producer in the world.
HISTORY
PRE-COLUMBIAN DEVELOPMENT
Maize is a cultigen; human intervention is required for it to propagate. Whether or not the kernels fall off the cob on their own is a key piece of evidence used in archaeology to distinguish domesticated maize from its naturally-propagating teosinte ancestor. Genetic evidence can also be used to determine when various lineages split.
Most historians believe maize was domesticated in the Tehuacán Valley of Mexico. Recent research in the early 21st century has modified this view somewhat; scholars now indicate the adjacent Balsas River Valley of south-central Mexico as the center of domestication.
An influential 2002 study by Matsuoka et al. has demonstrated that, rather than the multiple independent domestications model, all maize arose from a single domestication in southern Mexico about 9,000 years ago. The study also demonstrated that the oldest surviving maize types are those of the Mexican highlands. Later, maize spread from this region over the Americas along two major paths. This is consistent with a model based on the archaeological record suggesting that maize diversified in the highlands of Mexico before spreading to the lowlands.
Archaeologist Dolores Piperno has said:
A large corpus of data indicates that [maize] was dispersed into lower Central America by 7600 BP [5600 BC] and had moved into the inter-Andean valleys of Colombia between 7000 and 6000 BP [5000–4000 BC].
— Dolores Piperno, The Origins of Plant Cultivation and Domestication in the New World Tropics: Patterns, Process, and New Developments
Since then, even earlier dates have been published.
According to a genetic study by Embrapa, corn cultivation was introduced in South America from Mexico, in two great waves: the first, more than 6000 years ago, spread through the Andes. Evidence of cultivation in Peru has been found dating to about 6700 years ago. The second wave, about 2000 years ago, through the lowlands of South America.
The earliest maize plants grew only small, 25-millimetre-long (1 in) corn cobs, and only one per plant. In Jackson Spielvogel's view, many centuries of artificial selection (rather than the current view that maize was exploited by interplanting with teosinte) by the indigenous people of the Americas resulted in the development of maize plants capable of growing several cobs per plant, which were usually several centimetres/inches long each. The Olmec and Maya cultivated maize in numerous varieties throughout Mesoamerica; they cooked, ground and processed it through nixtamalization. It was believed that beginning about 2500 BC, the crop spread through much of the Americas. Research of the 21st century has established even earlier dates. The region developed a trade network based on surplus and varieties of maize crops.
Mapuches of south-central Chile cultivated maize along with quinoa and potatoes in pre-Hispanic times; however, potato was the staple food of most Mapuches, "specially in the southern and coastal [Mapuche] territories where maize did not reach maturity". Before the expansion of the Inca Empire maize was traded and transported as far south as 40°19' S in Melinquina, Lácar Department. In that location maize remains were found inside pottery dated to 730 ± 80 BP and 920 ± 60 BP. Probably this maize was brought across the Andes from Chile. The presence of maize in Guaitecas Archipelago (43°55' S), the southernmost outpost of pre-Hispanic agriculture, is reported by early Spanish explorers. However the Spanish may have misidentified the plant.
COLUMBIAN EXCHANGE
After the arrival of Europeans in 1492, Spanish settlers consumed maize, and explorers and traders carried it back to Europe and introduced it to other countries. Spanish settlers far preferred wheat bread to maize, cassava, or potatoes. Maize flour could not be substituted for wheat for communion bread, since in Christian belief only wheat could undergo transubstantiation and be transformed into the body of Christ. Some Spaniards worried that by eating indigenous foods, which they did not consider nutritious, they would weaken and risk turning into Indians. "In the view of Europeans, it was the food they ate, even more than the environment in which they lived, that gave Amerindians and Spaniards both their distinctive physical characteristics and their characteristic personalities." Despite these worries, Spaniards did consume maize. Archeological evidence from Florida sites indicate they cultivated it as well.
Maize spread to the rest of the world because of its ability to grow in diverse climates. It was cultivated in Spain just a few decades after Columbus's voyages and then spread to Italy, West Africa and elsewhere. Widespread cultivation most likely began in southern Spain in 1525, after which it quickly spread to the rest of the Spanish Empire including its territories in Italy (and, from there, to other Italian states). Maize had many advantages over wheat and barley; it yielded two and a half times the food energy per unit cultivated area, could be harvested in successive years from the same plot of land, and grew in wildly varying altitudes and climates, from relatively dry regions with only 250 mm (10 in) of annual rainfall to damp regions with over 5,000 mm (200 in). By the 17th century it was a common peasant food in Southwestern Europe, including Portugal, Spain, southern France, and Italy. By the 18th century, it was the chief food of the southern French and Italian peasantry, especially in the form of polenta in Italy.
Names
The word maize derives from the Spanish form of the indigenous Taíno word for the plant, mahiz. It is known by other names around the world.
The word "corn" outside the US, Canada, Australia, and New Zealand refers to any cereal crop, its meaning understood to vary geographically to refer to the local staple. In the United States,[30] Canada, Australia, and New Zealand, corn primarily means maize; this usage started as a shortening of "Indian corn". "Indian corn" primarily means maize (the staple grain of indigenous Americans), but can refer more specifically to multicolored "flint corn" used for decoration.
In places outside the US, Canada, Australia, and New Zealand, corn often refers to maize in culinary contexts. The narrower meaning is usually indicated by some additional word, as in sweet corn, sweetcorn, corn on the cob, baby corn, the puffed confection known as popcorn and the breakfast cereal known as corn flakes.
In Southern Africa, maize is commonly called mielie (Afrikaans) or mealie (English), words derived from the Portuguese word for maize, milho.
Maize is preferred in formal, scientific, and international usage because it refers specifically to this one grain, unlike corn, which has a complex variety of meanings that vary by context and geographic region. Maize is used by agricultural bodies and research institutes such as the FAO and CSIRO. National agricultural and industry associations often include the word maize in their name even in English-speaking countries where the local, informal word is something other than maize; for example, the Maize Association of Australia, the Indian Maize Development Association, the Kenya Maize Consortium and Maize Breeders Network, the National Maize Association of Nigeria, the Zimbabwe Seed Maize Association.
STRUCTURE AND PHYSIOLOGY
The maize plant is often 3 m (10 ft) in height, though some natural strains can grow 13 m (43 ft). The stem is commonly composed of 20 internodes of 18 cm (7 in) length. The leaves arise from the nodes, alternately on opposite sides on the stalk. A leaf, which grows from each node, is generally 9 cm (3+1⁄2 in) in width and 120 cm (3 ft 11 in) in length.
Ears develop above a few of the leaves in the midsection of the plant, between the stem and leaf sheath, elongating by around 3 mm (1⁄8 in) per day, to a length of 18 cm (7 in) with 60 cm (24 in) being the maximum alleged in the subspecies. They are female inflorescences, tightly enveloped by several layers of ear leaves commonly called husks. Certain varieties of maize have been bred to produce many additional developed ears. These are the source of the "baby corn" used as a vegetable in Asian cuisine.
The apex of the stem ends in the tassel, an inflorescence of male flowers. When the tassel is mature and conditions are suitably warm and dry, anthers on the tassel dehisce and release pollen. Maize pollen is anemophilous (dispersed by wind), and because of its large settling velocity, most pollen falls within a few meters of the tassel.
Elongated stigmas, called silks, emerge from the whorl of husk leaves at the end of the ear. They are often pale yellow and 18 cm (7 in) in length, like tufts of hair in appearance. At the end of each is a carpel, which may develop into a "kernel" if fertilized by a pollen grain. The pericarp of the fruit is fused with the seed coat referred to as "caryopsis", typical of the grasses, and the entire kernel is often referred to as the "seed". The cob is close to a multiple fruit in structure, except that the individual fruits (the kernels) never fuse into a single mass. The grains are about the size of peas, and adhere in regular rows around a white, pithy substance, which forms the ear. The maximum size of kernels is reputedly 2.5 cm (1 in). An ear commonly holds 600 kernels. They are of various colors: blackish, bluish-gray, purple, green, red, white and yellow. When ground into flour, maize yields more flour with much less bran than wheat does. It lacks the protein gluten of wheat and, therefore, makes baked goods with poor rising capability. A genetic variant that accumulates more sugar and less starch in the ear is consumed as a vegetable and is called sweet corn. Young ears can be consumed raw, with the cob and silk, but as the plant matures (usually during the summer months), the cob becomes tougher and the silk dries to inedibility. By the end of the growing season, the kernels dry out and become difficult to chew without cooking them tender first in boiling water.
Planting density affects multiple aspects of maize. Modern farming techniques in developed countries usually rely on dense planting, which produces one ear per stalk. Stands of silage maize are yet denser,[citation needed] and achieve a lower percentage of ears and more plant matter.
Maize is a facultative short-day plant and flowers in a certain number of growing degree days > 10 °C (50 °F) in the environment to which it is adapted. The magnitude of the influence that long nights have on the number of days that must pass before maize flowers is genetically prescribed and regulated by the phytochrome system.
Photoperiodicity can be eccentric in tropical cultivars such that the long days characteristic of higher latitudes allow the plants to grow so tall that they do not have enough time to produce seed before being killed by frost. These attributes, however, may prove useful in using tropical maize for biofuels.
Immature maize shoots accumulate a powerful antibiotic substance, 2,4-dihydroxy-7-methoxy-1,4-benzoxazin-3-one (DIMBOA). DIMBOA is a member of a group of hydroxamic acids (also known as benzoxazinoids) that serve as a natural defense against a wide range of pests, including insects, pathogenic fungi and bacteria. DIMBOA is also found in related grasses, particularly wheat. A maize mutant (bx) lacking DIMBOA is highly susceptible to attack by aphids and fungi. DIMBOA is also responsible for the relative resistance of immature maize to the European corn borer (family Crambidae). As maize matures, DIMBOA levels and resistance to the corn borer decline.
Because of its shallow roots, maize is susceptible to droughts, intolerant of nutrient-deficient soils, and prone to be uprooted by severe winds.
While yellow maizes derive their color from lutein and zeaxanthin, in red-colored maizes, the kernel coloration is due to anthocyanins and phlobaphenes. These latter substances are synthesized in the flavonoids synthetic pathway from polymerization of flavan-4-ols by the expression of maize pericarp color1 (p1) gene which encodes an R2R3 myb-like transcriptional activator of the A1 gene encoding for the dihydroflavonol 4-reductase (reducing dihydroflavonols into flavan-4-ols) while another gene (Suppressor of Pericarp Pigmentation 1 or SPP1) acts as a suppressor. The p1 gene encodes an Myb-homologous transcriptional activator of genes required for biosynthesis of red phlobaphene pigments, while the P1-wr allele specifies colorless kernel pericarp and red cobs, and unstable factor for orange1 (Ufo1) modifies P1-wr expression to confer pigmentation in kernel pericarp, as well as vegetative tissues, which normally do not accumulate significant amounts of phlobaphene pigments. The maize P gene encodes a Myb homolog that recognizes the sequence CCT/AACC, in sharp contrast with the C/TAACGG bound by vertebrate Myb proteins.
The ear leaf is the leaf most closely associated with a particular developing ear. This leaf and above contribute 70%[57] to 75% to 90% of grain fill. Therefore fungicide application is most important in that region in most disease environments.
ABNORMAL FLOWERS
Maize flowers may sometimes exhibit mutations that lead to the formation of female flowers in the tassel. These mutations, ts4 and Ts6, prohibit the development of the stamen while simultaneously promoting pistil development. This may cause inflorescences containing both male and female flowers, or hermaphrodite flowers.
GENETICS
Maize is an annual grass in the family Gramineae, which includes such plants as wheat, rye, barley, rice, sorghum, and sugarcane. There are two major species of the genus Zea (out of six total): Zea mays (maize) and Zea diploperennis, which is a perennial type of teosinte. The annual teosinte variety called Zea mays mexicana is the closest botanical relative to maize. It still grows in the wild as an annual in Mexico and Guatemala.
Many forms of maize are used for food, sometimes classified as various subspecies related to the amount of starch each has:
Flour corn: Zea mays var. amylacea
Popcorn: Zea mays var. everta
Dent corn : Zea mays var. indentata
Flint corn: Zea mays var. indurata
Sweet corn: Zea mays var. saccharata and Zea mays var. rugosa
Waxy corn: Zea mays var. ceratina
Amylomaize: Zea mays
Pod corn: Zea mays var. tunicata Larrañaga ex A. St. Hil.
Striped maize: Zea mays var. japonica
This system has been replaced (though not entirely displaced) over the last 60 years by multivariable classifications based on ever more data. Agronomic data were supplemented by botanical traits for a robust initial classification, then genetic, cytological, protein and DNA evidence was added. Now, the categories are forms (little used), races, racial complexes, and recently branches.
Maize is a diploid with 20 chromosomes (n=10). The combined length of the chromosomes is 1500 cM. Some of the maize chromosomes have what are known as "chromosomal knobs": highly repetitive heterochromatic domains that stain darkly. Individual knobs are polymorphic among strains of both maize and teosinte.
Barbara McClintock used these knob markers to validate her transposon theory of "jumping genes", for which she won the 1983 Nobel Prize in Physiology or Medicine. Maize is still an important model organism for genetics and developmental biology today.
The centromeres have two types of structural components, both of which are found only in the centromeres: Large arrays of CentC, a short satellite DNA; and a few of a family of retrotransposons. The B chromosome, unlike the others, contains an additional repeat which extends into neighboring areas of the chromosome. Centromeres can accidentally shrink during division and still function, although it is thought this will fail if it shrinks below a few hundred kilobase. Kinetochores contain RNA originating from centromeres. Centromere regions can become inactive, and can continue in that state if the chromosome still has another active one.
The Maize Genetics Cooperation Stock Center, funded by the USDA Agricultural Research Service and located in the Department of Crop Sciences at the University of Illinois at Urbana-Champaign, is a stock center of maize mutants. The total collection has nearly 80,000 samples. The bulk of the collection consists of several hundred named genes, plus additional gene combinations and other heritable variants. There are about 1000 chromosomal aberrations (e.g., translocations and inversions) and stocks with abnormal chromosome numbers (e.g., tetraploids). Genetic data describing the maize mutant stocks as well as myriad other data about maize genetics can be accessed at MaizeGDB, the Maize Genetics and Genomics Database.
In 2005, the US National Science Foundation (NSF), Department of Agriculture (USDA) and the Department of Energy (DOE) formed a consortium to sequence the B73 maize genome. The resulting DNA sequence data was deposited immediately into GenBank, a public repository for genome-sequence data. Sequences and genome annotations have also been made available throughout the project's lifetime at the project's official site.
Primary sequencing of the maize genome was completed in 2008. On November 20, 2009, the consortium published results of its sequencing effort in Science. The genome, 85% of which is composed of transposons, was found to contain 32,540 genes (By comparison, the human genome contains about 2.9 billion bases and 26,000 genes). Much of the maize genome has been duplicated and reshuffled by helitrons—group of rolling circle transposons.
In Z. mays and various other angiosperms the MADS-box motif is involved in floral development. Early study in several angiosperm models including Z. mays was the beginning of research into the molecular evolution of floral structure in general, as well as their role in nonflowering plants.
EVOLUTION
As with many plants and animals, Z. mays has a positive correlation between effective population size and the magnitude of selection pressure. Z. m. having an EPS of ~650,000, it clusters with others of about the same EPS, and has 79% of its amino acid sites under selection.
Recombination is a significant source of diversity in Z. mays. (Note that this finding supersedes previous studies which showed no such correlation.)
This recombination/diversity effect is seen throughout plants but is also found to not occur – or not as strongly – in regions of high gene density. This is likely the reason that domesticated Z. mays has not seen as much of an increase in diversity within areas of higher density as in regions of lower density, although there is more evidence in other plants.
Some lines of maize have undergone ancient polyploidy events, starting 11m years ago. Over that time ~72% of polyploid duplicated genes have been retained, which is higher than other plants with older polyploidy events. Thus maize may be due to lose more duplicate genes as time goes along, similar to the course followed by the genomes of other plants. If so - if gene loss has merely not occurred yet - that could explain the lack of observed positive selection and lower negative selection which are observed in otherwise similar plants, i.e. also naturally outcrossing and with similar effective population sizes.
Ploidy does not appear to influence EPS or magnitude of selection effect in maize.
BREEDING
Maize reproduces sexually each year. This randomly selects half the genes from a given plant to propagate to the next generation, meaning that desirable traits found in the crop (like high yield or good nutrition) can be lost in subsequent generations unless certain techniques are used.
Maize breeding in prehistory resulted in large plants producing large ears. Modern breeding began with individuals who selected highly productive varieties in their fields and then sold seed to other farmers. James L. Reid was one of the earliest and most successful developing Reid's Yellow Dent in the 1860s. These early efforts were based on mass selection. Later breeding efforts included ear to row selection (C. G. Hopkins c. 1896), hybrids made from selected inbred lines (G. H. Shull, 1909), and the highly successful double cross hybrids using four inbred lines (D. F. Jones c. 1918, 1922). University supported breeding programs were especially important in developing and introducing modern hybrids. By the 1930s, companies such as Pioneer devoted to production of hybrid maize had begun to influence long-term development. Internationally important seed banks such as the International Maize and Wheat Improvement Center (CIMMYT) and the US bank at the Maize Genetics Cooperation Stock Center University of Illinois at Urbana-Champaign maintain germplasm important for future crop development.
Since the 1940s the best strains of maize have been first-generation hybrids made from inbred strains that have been optimized for specific traits, such as yield, nutrition, drought, pest and disease tolerance. Both conventional cross-breeding and genetic modification have succeeded in increasing output and reducing the need for cropland, pesticides, water and fertilizer. There is conflicting evidence to support the hypothesis that maize yield potential has increased over the past few decades. This suggests that changes in yield potential are associated with leaf angle, lodging resistance, tolerance of high plant density, disease/pest tolerance, and other agronomic traits rather than increase of yield potential per individual plant.
Tropical landraces remain an important and underutilized source of resistance alleles for for disease and for herbivores. Notable discoveries of rare alleles for this purpose were made by Dao et al 2014 and Sood et al 2014.
GLOBAL PROGRAM
CIMMYT operates a conventional breeding program to provide optimized strains. The program began in the 1980s. Hybrid seeds are distributed in Africa by the Drought Tolerant Maize for Africa project.
GENETIC MODIFICATION
Genetically modified (GM) maize was one of the 26 GM crops grown commercially in 2016. The vast majority of this is Bt maize. Grown since 1997 in the United States and Canada, 92% of the US maize crop was genetically modified in 2016 and 33% of the worldwide maize crop was GM in 2016. As of 2011, Herbicide-tolerant maize varieties were grown in Argentina, Australia, Brazil, Canada, China, Colombia, El Salvador, the European Union, Honduras, Japan, Korea, Malaysia, Mexico, New Zealand, Philippines, the Russian Federation, Singapore, South Africa, Taiwan, Thailand, and the United States. Insect-resistant maize was grown in Argentina, Australia, Brazil, Canada, Chile, China, Colombia, Egypt, the European Union, Honduras, Japan, Korea, Malaysia, Mexico, New Zealand, Philippines, South Africa, Switzerland, Taiwan, the United States, and Uruguay.
In September 2000, up to $50 million worth of food products were recalled due to the presence of Starlink genetically modified corn, which had been approved only for animal consumption and had not been approved for human consumption, and was subsequently withdrawn from the market.
ORIGIN
Maize is the domesticated variant of teosinte. The two plants have dissimilar appearance, maize having a single tall stalk with multiple leaves and teosinte being a short, bushy plant. The difference between the two is largely controlled by differences in just two genes, called grassy tillers-1 (gt1, A0A317YEZ1) and teosinte branched-1 (tb1, Q93WI2).
Several theories had been proposed about the specific origin of maize in Mesoamerica:
It is a direct domestication of a Mexican annual teosinte, Zea mays ssp. parviglumis, native to the Balsas River valley in south-eastern Mexico, with up to 12% of its genetic material obtained from Zea mays ssp. mexicana through introgression.
It has been derived from hybridization between a small domesticated maize (a slightly changed form of a wild maize) and a teosinte of section Luxuriantes, either Z. luxurians or Z. diploperennis.
It has undergone two or more domestications either of a wild maize or of a teosinte. (The term "teosinte" describes all species and subspecies in the genus Zea, excluding Zea mays ssp. mays.)
It has evolved from a hybridization of Z. diploperennis by Tripsacum dactyloides.
In the late 1930s, Paul Mangelsdorf suggested that domesticated maize was the result of a hybridization event between an unknown wild maize and a species of Tripsacum, a related genus. This theory about the origin of maize has been refuted by modern genetic testing, which refutes Mangelsdorf's model and the fourth listed above.
The teosinte origin theory was proposed by the Russian botanist Nikolai Ivanovich Vavilov in 1931 and the later American Nobel Prize-winner George Beadle in 1932.: 10 It is supported experimentally and by recent studies of the plants' genomes. Teosinte and maize can cross-breed and produce fertile offspring. A number of questions remain concerning the species, among them:
how the immense diversity of the species of sect. Zea originated,
how the tiny archaeological specimens of 3500–2700 BC could have been selected from a teosinte, and
how domestication could have proceeded without leaving remains of teosinte or maize with teosintoid traits earlier than the earliest known until recently, dating from ca. 1100 BC.
The domestication of maize is of particular interest to researchers—archaeologists, geneticists, ethnobotanists, geographers, etc. The process is thought by some to have started 7,500 to 12,000 years ago. Research from the 1950s to 1970s originally focused on the hypothesis that maize domestication occurred in the highlands between the states of Oaxaca and Jalisco, because the oldest archaeological remains of maize known at the time were found there.
Connection with 'parviglumis' subspecies
Genetic studies, published in 2004 by John Doebley, identified Zea mays ssp. parviglumis, native to the Balsas River valley in Mexico's southwestern highlands, and also known as Balsas teosinte, as being the crop wild relative that is genetically most similar to modern maize. This was confirmed by further studies, which refined this hypothesis somewhat. Archaeobotanical studies, published in 2009, point to the middle part of the Balsas River valley as the likely location of early domestication; this river is not very long, so these locations are not very distant. Stone milling tools with maize residue have been found in an 8,700 year old layer of deposits in a cave not far from Iguala, Guerrero.
Doebley was part of the team that first published, in 2002, that maize had been domesticated only once, about 9,000 years ago, and then spread throughout the Americas.
A primitive corn was being grown in southern Mexico, Central America, and northern South America 7,000 years ago. Archaeological remains of early maize ears, found at Guila Naquitz Cave in the Oaxaca Valley, date back roughly 6,250 years; the oldest ears from caves near Tehuacan, Puebla, 5,450 B.P.
Maize pollen dated to 7,300 B.P. from San Andres, Tabasco, on the Caribbean coast has also been recovered.
As maize was introduced to new cultures, new uses were developed and new varieties selected to better serve in those preparations. Maize was the staple food, or a major staple – along with squash, Andean region potato, quinoa, beans, and amaranth – of most pre-Columbian North American, Mesoamerican, South American, and Caribbean cultures. The Mesoamerican civilization, in particular, was deeply interrelated with maize. Its traditions and rituals involved all aspects of maize cultivation – from the planting to the food preparation. Maize formed the Mesoamerican people's identity.
It is unknown what precipitated its domestication, because the edible portion of the wild variety is too small, and hard to obtain, to be eaten directly, as each kernel is enclosed in a very hard bivalve shell.
In 1939, George Beadle demonstrated that the kernels of teosinte are readily "popped" for human consumption, like modern popcorn.[91] Some have argued it would have taken too many generations of selective breeding to produce large, compressed ears for efficient cultivation. However, studies of the hybrids readily made by intercrossing teosinte and modern maize suggest this objection is not well founded.
SPREADING TO THE NORTH
Around 4,500 ago, maize began to spread to the north; it was first cultivated in what is now the United States at several sites in New Mexico and Arizona, about 4,100 ago.
During the first millennium AD, maize cultivation spread more widely in the areas north. In particular, the large-scale adoption of maize agriculture and consumption in eastern North America took place about A.D. 900. Native Americans cleared large forest and grassland areas for the new crop.
In 2005, research by the USDA Forest Service suggested that the rise in maize cultivation 500 to 1,000 years ago in what is now the southeastern United States corresponded with a decline of freshwater mussels, which are very sensitive to environmental changes.
CULTIVATION
PLANTING
Because it is cold-intolerant, in the temperate zones maize must be planted in the spring. Its root system is generally shallow, so the plant is dependent on soil moisture. As a plant that uses C4 carbon fixation, maize is a considerably more water-efficient crop than plants that use C3 carbon fixation such as alfalfa and soybeans. Maize is most sensitive to drought at the time of silk emergence, when the flowers are ready for pollination. In the United States, a good harvest was traditionally predicted if the maize was "knee-high by the Fourth of July", although modern hybrids generally exceed this growth rate. Maize used for silage is harvested while the plant is green and the fruit immature. Sweet corn is harvested in the "milk stage", after pollination but before starch has formed, between late summer and early to mid-autumn. Field maize is left in the field until very late in the autumn to thoroughly dry the grain, and may, in fact, sometimes not be harvested until winter or even early spring. The importance of sufficient soil moisture is shown in many parts of Africa, where periodic drought regularly causes maize crop failure and consequent famine. Although it is grown mainly in wet, hot climates, it has been said to thrive in cold, hot, dry or wet conditions, meaning that it is an extremely versatile crop.
Maize was planted by the Native Americans in hills, in a complex system known to some as the Three Sisters. Maize provided support for beans, and the beans provided nitrogen derived from nitrogen-fixing rhizobia bacteria which live on the roots of beans and other legumes; and squashes provided ground cover to stop weeds and inhibit evaporation by providing shade over the soil. This method was replaced by single species hill planting where each hill 60–120 cm (2 ft 0 in–3 ft 11 in) apart was planted with three or four seeds, a method still used by home gardeners. A later technique was "checked maize", where hills were placed
1 m (40 in) apart in each direction, allowing cultivators to run through the field in two directions. In more arid lands, this was altered and seeds were planted in the bottom of 10–12 cm (4–4+1⁄2 in) deep furrows to collect water. Modern technique plants maize in rows which allows for cultivation while the plant is young, although the hill technique is still used in the maize fields of some Native American reservations. When maize is planted in rows, it also allows for planting of other crops between these rows to make more efficient use of land space.
In most regions today, maize grown in residential gardens is still often planted manually with a hoe, whereas maize grown commercially is no longer planted manually but rather is planted with a planter. In North America, fields are often planted in a two-crop rotation with a nitrogen-fixing crop, often alfalfa in cooler climates and soybeans in regions with longer summers. Sometimes a third crop, winter wheat, is added to the rotation.
Many of the maize varieties grown in the United States and Canada are hybrids. Often the varieties have been genetically modified to tolerate glyphosate or to provide protection against natural pests. Glyphosate is an herbicide which kills all plants except those with genetic tolerance. This genetic tolerance is very rarely found in nature.
In the midwestern United States, low-till or no-till farming techniques are usually used. In low-till, fields are covered once, maybe twice, with a tillage implement either ahead of crop planting or after the previous harvest. The fields are planted and fertilized. Weeds are controlled through the use of herbicides, and no cultivation tillage is done during the growing season. This technique reduces moisture evaporation from the soil, and thus provides more moisture for the crop. The technologies mentioned in the previous paragraph enable low-till and no-till farming. Weeds compete with the crop for moisture and nutrients, making them undesirable.
HARVESTING
Before the 20th century, all maize harvesting was by manual labour, by grazing, or by some combination of those. Whether the ears were hand-picked and the stover was grazed, or the whole plant was cut, gathered, and shocked, people and livestock did all the work. Between the 1890s and the 1970s, the technology of maize harvesting expanded greatly. Today, all such technologies, from entirely manual harvesting to entirely mechanized, are still in use to some degree, as appropriate to each farm's needs, although the thoroughly mechanized versions predominate, as they offer the lowest unit costs when scaled to large farm operations. For small farms, their unit cost can be too high, as their higher fixed cost cannot be amortized over as many units.[citation needed]
Before World War II, most maize in North America was harvested by hand. This involved a large number of workers and associated social events (husking or shucking bees). From the 1890s onward, some machinery became available to partially mechanize the processes, such as one- and two-row mechanical pickers (picking the ear, leaving the stover) and corn binders, which are reaper-binders designed specifically for maize (for example, Video on YouTube). The latter produce sheaves that can be shocked. By hand or mechanical picker, the entire ear is harvested, which then requires a separate operation of a maize sheller to remove the kernels from the ear. Whole ears of maize were often stored in corn cribs, and these whole ears are a sufficient form for some livestock feeding use. Today corn cribs with whole ears, and corn binders, are less common because most modern farms harvest the grain from the field with a combine and store it in bins. The combine with a corn head (with points and snap rolls instead of a reel) does not cut the stalk; it simply pulls the stalk down. The stalk continues downward and is crumpled into a mangled pile on the ground, where it usually is left to become organic matter for the soil. The ear of maize is too large to pass between slots in a plate as the snap rolls pull the stalk away, leaving only the ear and husk to enter the machinery. The combine separates the husk and the cob, keeping only the kernels.
When maize is a silage crop, the entire plant is usually chopped at once with a forage harvester (chopper) and ensiled in silos or polymer wrappers. Ensiling of sheaves cut by a corn binder was formerly common in some regions but has become uncommon. For storing grain in bins, the moisture of the grain must be sufficiently low to avoid spoiling. If the moisture content of the harvested grain is too high, grain dryers are used to reduce the moisture content by blowing heated air through the grain. This can require large amounts of energy in the form of combustible gases (propane or natural gas) and electricity to power the blowers.
PRODUCTION
Maize is widely cultivated throughout the world, and a greater weight of maize is produced each year than any other grain. In 2018, total world production was 1.15 billion tonnes, led by the United States with 34.2% of the total (table). China produced 22.4% of the global total.
UNITED STATES
In 2016, maize production was forecast to be over 380 million metric tons (15 billion bushels), an increase of 11% over 2014 American production. Based on conditions as of August 2016, the expected yield would be the highest ever for the United States. The area of harvested maize was forecast to be 35 million hectares (87 million acres), an increase of 7% over 2015. Maize is especially popular in Midwestern states such as Indiana, Iowa, and Illinois; in the latter, it was named the state's official grain in 2017.
STORAGE
Drying is vital to prevent or at least reduce mycotoxin contamination. Aspergillus and Fusarium spp. are the most common mycotoxin sources, but there are others. Altogether maize contaminants are so common, and this crop is so economically important, that maize mycotoxins are among the most important in agriculture in general.
USES
HUMAN FOOD
Maize and cornmeal (ground dried maize) constitute a staple food in many regions of the world. Maize is used to produce cornstarch, a common ingredient in home cooking and many industrialized food products. Maize starch can be hydrolyzed and enzymatically treated to produce syrups, particularly high fructose corn syrup, a sweetener; and also fermented and distilled to produce grain alcohol. Grain alcohol from maize is traditionally the source of Bourbon whiskey. Corn flour is used to make cornbread and other baked products.
In prehistoric times Mesoamerican women used a metate to process maize into ground cornmeal, allowing the preparation of foods that were more calorie dense than popcorn. After ceramic vessels were invented the Olmec people began to cook maize together with beans, improving the nutritional value of the staple meal. Although maize naturally contains niacin, an important nutrient, it was not bioavailable without the process of nixtamalization. The Maya used nixtamal meal to make varieties of porridges and tamales. The process was later used in the cuisine of the American South to prepare corn for grits and hominy.
Maize is a staple of Mexican cuisine. Masa (cornmeal treated with limewater) is the main ingredient for tortillas, atole and many other dishes of Central American food. It is the main ingredient of corn tortilla, tamales, pozole, atole and all the dishes based on them, like tacos, quesadillas, chilaquiles, enchiladas, tostadas and many more. In Mexico the fungus of maize, known as huitlacoche, is considered a delicacy.
Coarse maize meal is made into a thick porridge in many cultures: from the polenta of Italy, the angu of Brazil, the mămăligă of Romania, to cornmeal mush in the US (or hominy grits in the South) or the food called mieliepap in South Africa and sadza, nshima, ugali and other names in other parts of Africa. Introduced into Africa by the Portuguese in the 16th century, maize has become Africa's most important staple food crop. These are commonly eaten in the Southeastern United States, foods handed down from Native Americans, who called the dish sagamite.
Maize can also be harvested and consumed in the unripe state, when the kernels are fully grown but still soft. Unripe maize must usually be cooked to become palatable; this may be done by simply boiling or roasting the whole ears and eating the kernels right off the cob. Sweet corn, a genetic variety that is high in sugars and low in starch, is usually consumed in the unripe state. Such corn on the cob is a common dish in the United States, Canada, United Kingdom, Cyprus, some parts of South America, and the Balkans, but virtually unheard of in some European countries. Corn on the cob was hawked on the streets of early 19th-century New York City by poor, barefoot "Hot Corn Girls", who were thus the precursors of hot dog carts, churro wagons, and fruit stands seen on the streets of big cities today.
Within the United States, the usage of maize for human consumption constitutes only around 1/40th of the amount grown in the country. In the United States and Canada, maize is mostly grown to feed livestock, as forage, silage (made by fermentation of chopped green cornstalks), or grain. Maize meal is also a significant ingredient of some commercial animal food products.
NUTRITIONAL VALUE
Raw, yellow, sweet maize kernels are composed of 76% water, 19% carbohydrates, 3% protein, and 1% fat (table). In a 100-gram serving, maize kernels provide 86 calories and are a good source (10–19% of the Daily Value) of the B vitamins, thiamin, niacin (but see Pellagra warning below), pantothenic acid (B5) and folate (right table for raw, uncooked kernels, USDA Nutrient Database). In moderate amounts, they also supply dietary fiber and the essential minerals, magnesium and phosphorus whereas other nutrients are in low amounts (table).
Maize has suboptimal amounts of the essential amino acids tryptophan and lysine, which accounts for its lower status as a protein source. However, the proteins of beans and legumes complement those of maize.
FEED AND FODDER FOR LIVESTOCK
Maize is a major source of both grain feed and fodder for livestock. It is fed to the livestock in various ways. When it is used as a grain crop, the dried kernels are used as feed. They are often kept on the cob for storage in a corn crib, or they may be shelled off for storage in a grain bin. The farm that consumes the feed may produce it, purchase it on the market, or some of both. When the grain is used for feed, the rest of the plant (the corn stover) can be used later as fodder, bedding (litter), or soil amendment. When the whole maize plant (grain plus stalks and leaves) is used for fodder, it is usually chopped all at once and ensilaged, as digestibility and palatability are higher in the ensilaged form than in the dried form. Maize silage is one of the most valuable forages for ruminants. Before the advent of widespread ensilaging, it was traditional to gather the corn into shocks after harvesting, where it dried further. With or without a subsequent move to the cover of a barn, it was then stored for weeks to several months until fed to the livestock. Today ensilaging can occur not only in siloes but also in silage wrappers. However, in the tropics, maize can be harvested year-round and fed as green forage to the animals.
CHEMICALS
Starch from maize can also be made into plastics, fabrics, adhesives, and many other chemical products.
The corn steep liquor, a plentiful watery byproduct of maize wet milling process, is widely used in the biochemical industry and research as a culture medium to grow many kinds of microorganisms.
Chrysanthemin is found in purple corn and is used as a food coloring.
BIO-FUEL
"Feed maize" is being used increasingly for heating; specialized corn stoves (similar to wood stoves) are available and use either feed maize or wood pellets to generate heat. Maize cobs are also used as a biomass fuel source. Maize is relatively cheap and home-heating furnaces have been developed which use maize kernels as a fuel. They feature a large hopper that feeds the uniformly sized maize kernels (or wood pellets or cherry pits) into the fire.[citation needed]
Maize is increasingly used as a feedstock for the production of ethanol fuel.[120] When considering where to construct an ethanol plant, one of the site selection criteria is to ensure there is locally available feedstock. Ethanol is mixed with gasoline to decrease the amount of pollutants emitted when used to fuel motor vehicles. High fuel prices in mid-2007 led to higher demand for ethanol, which in turn led to higher prices paid to farmers for maize. This led to the 2007 harvest being one of the most profitable maize crops in modern history for farmers. Because of the relationship between fuel and maize, prices paid for the crop now tend to track the price of oil.
The price of food is affected to a certain degree by the use of maize for biofuel production. The cost of transportation, production, and marketing are a large portion (80%) of the price of food in the United States. Higher energy costs affect these costs, especially transportation. The increase in food prices the consumer has been seeing is mainly due to the higher energy cost. The effect of biofuel production on other food crop prices is indirect. Use of maize for biofuel production increases the demand, and therefore price of maize. This, in turn, results in farm acreage being diverted from other food crops to maize production. This reduces the supply of the other food crops and increases their prices.
Maize is widely used in Germany as a feedstock for biogas plants. Here the maize is harvested, shredded then placed in silage clamps from which it is fed into the biogas plants. This process makes use of the whole plant rather than simply using the kernels as in the production of fuel ethanol.
A biomass gasification power plant in Strem near Güssing, Burgenland, Austria, began in 2005. Research is being done to make diesel out of the biogas by the Fischer Tropsch method.
Increasingly, ethanol is being used at low concentrations (10% or less) as an additive in gasoline (gasohol) for motor fuels to increase the octane rating, lower pollutants, and reduce petroleum use (what is nowadays also known as "biofuels" and has been generating an intense debate regarding the human beings' necessity of new sources of energy, on the one hand, and the need to maintain, in regions such as Latin America, the food habits and culture which has been the essence of civilizations such as the one originated in Mesoamerica; the entry, January 2008, of maize among the commercial agreements of NAFTA has increased this debate, considering the bad labor conditions of workers in the fields, and mainly the fact that NAFTA "opened the doors to the import of maize from the United States, where the farmers who grow it receive multimillion-dollar subsidies and other government supports. ... According to OXFAM UK, after NAFTA went into effect, the price of maize in Mexico fell 70% between 1994 and 2001. The number of farm jobs dropped as well: from 8.1 million in 1993 to 6.8 million in 2002. Many of those who found themselves without work were small-scale maize growers."). However, introduction in the northern latitudes of the US of tropical maize for biofuels, and not for human or animal consumption, may potentially alleviate this.
COMMODITY
Maize is bought and sold by investors and price speculators as a tradable commodity using corn futures contracts. These "futures" are traded on the Chicago Board of Trade (CBOT) under ticker symbol C. They are delivered every year in March, May, July, September, and December.
Ornamental and other uses
Some forms of the plant are occasionally grown for ornamental use in the garden. For this purpose, variegated and colored leaf forms as well as those with colorful ears are used.
Corncobs can be hollowed out and treated to make inexpensive smoking pipes, first manufactured in the United States in 1869.
An unusual use for maize is to create a "corn maze" (or "maize maze") as a tourist attraction. The idea of a maize maze was introduced by the American Maze Company who created a maze in Pennsylvania in 1993. Traditional mazes are most commonly grown using yew hedges, but these take several years to mature. The rapid growth of a field of maize allows a maze to be laid out using GPS at the start of a growing season and for the maize to grow tall enough to obstruct a visitor's line of sight by the start of the summer. In Canada and the US, these are popular in many farming communities.
Maize kernels can be used in place of sand in a sandboxlike enclosure for children's play.
Stigmas from female maize flowers, popularly called corn silk, are sold as herbal supplements.
Maize is used as a fish bait, called "dough balls". It is particularly popular in Europe for coarse fishing.
Additionally, feed corn is sometimes used by hunters to bait animals such as deer or wild hogs.
UNITED STATES USAGE BREAKDOWN
The breakdown of usage of the 12.1-billion-bushel (307-million-tonne) 2008 US maize crop was as follows, according to the World Agricultural Supply and Demand Estimates Report by the USDA.In the US since 2009/2010, maize feedstock use for ethanol production has somewhat exceeded direct use for livestock feed; maize use for fuel ethanol was 5,130 million bushels (130 million tonnes) in the 2013/2014 marketing year.A fraction of the maize feedstock dry matter used for ethanol production is usefully recovered as DDGS (dried distillers grains with solubles). In the 2010/2011 marketing year, about 29.1 million tonnes of DDGS were fed to US livestock and poultry. Because starch utilization in fermentation for ethanol production leaves other grain constituents more concentrated in the residue, the feed value per kg of DDGS, with regard to ruminant-metabolizable energy and protein, exceeds that of the grain. Feed value for monogastric animals, such as swine and poultry, is somewhat lower than for ruminants.
HAZARDS
PELLAGRA
When maize was first introduced into farming systems other than those used by traditional native-American peoples, it was generally welcomed with enthusiasm for its productivity. However, a widespread problem of malnutrition soon arose wherever maize was introduced as a staple food. This was a mystery, since these types of malnutrition were not normally seen among the indigenous Americans, for whom maize was the principal staple food.
It was eventually discovered that the indigenous Americans had learned to soak maize in alkali — water (the process now known as nixtamalization) — made with ashes and lime (calcium oxide) since at least 1200–1500 BC by Mesoamericans. They did this to liberate the corn hulls, but (unbeknownst to natives or colonists) it coincidentally liberates the B-vitamin niacin, the lack of which was the underlying cause of the condition known as pellagra.
Maize was introduced into the diet of non-indigenous Americans without the necessary cultural knowledge acquired over thousands of years in the Americas. In the late 19th century, pellagra reached epidemic proportions in parts of the southern US, as medical researchers debated two theories for its origin: the deficiency theory (which was eventually shown to be true) said that pellagra was due to a deficiency of some nutrient, and the germ theory said that pellagra was caused by a germ transmitted by stable flies. A third theory, promoted by the eugenicist Charles Davenport, held that people only contracted pellagra if they were susceptible to it due to certain "constitutional, inheritable" traits of the affected individual.
Once alkali processing and dietary variety were understood and applied, pellagra disappeared in the developed world. The development of high lysine maize and the promotion of a more balanced diet have also contributed to its demise. Pellagra still exists today in food-poor areas and refugee camps where people survive on donated maize.
ALLERGY
Maize contains lipid transfer protein, an indigestible protein that survives cooking. This protein has been linked to a rare and understudied allergy to maize in humans. The allergic reaction can cause skin rash, swelling or itching of mucous membranes, diarrhea, vomiting, asthma and, in severe cases, anaphylaxis. It is unclear how common this allergy is in the general population.
MYCOTOXINS
Fungicide application does not reduce fungal growth or mycotoxin dramatically, although it can be a part of a successful reduction strategy. Among the most common toxins are those produced by Aspergillus and Fusarium spp. The most common toxins are aflatoxins, fumonisins, zearalenone, and ochratoxin A. Bt maize discourages insect vectors and by so doing it dramatically reduces concentrations of fumonisins, significantly reduces aflatoxins, but only mildly reduces others.
ART
Maize has been an essential crop in the Andes since the pre-Columbian era. The Moche culture from Northern Peru made ceramics from earth, water, and fire. This pottery was a sacred substance, formed in significant shapes and used to represent important themes. Maize was represented anthropomorphically as well as naturally.
In the United States, maize ears along with tobacco leaves are carved into the capitals of columns in the United States Capitol building. Maize itself is sometimes used for temporary architectural detailing when the intent is to celebrate the fall season, local agricultural productivity and culture. Bundles of dried maize stalks are often displayed along with pumpkins, gourds and straw in autumnal displays outside homes and businesses. A well-known example of architectural use is the Corn Palace in Mitchell, South Dakota, which uses cobs and ears of colored maize to implement a mural design that is recycled annually. Another well-known example is the Field of Corn sculpture in Dublin, Ohio, where hundreds of concrete ears of corn stand in a grassy field.
A maize stalk with two ripe ears is depicted on the reverse of the Croatian 1 lipa coin, minted since 1993.
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Location: Downtown, Albuquerque
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Discovered in a neighbor's sidewalk Little Library Take and Read box. I remember being scared off trying LSD when a research fellow in graduate school made the mistake of outlining on his carrel chalkboard his intention to synthesize a hallucinogen without our major professor's knowledge or permission--his plan was eventually discovered, resulting in his being stripped of his fellowship and being expelled from our research group.
While I doubt Mr. Pollan's book would dissuade me of my long-held prejudice against use of psychedelic drugs, I'm open to hearing him out about changing my mind. Many of us, I suspect, find ourselves in search of strategies to escape from the depression induced by the relentless barrage of democracy-threatening actions of our narcissistic man-child of a President and his GOP cronies--e.g., two of our dearest friends are emigrating to Greece early in 2026. The promise of coping with depression and with attaining transcendence does seem awfully enticing.
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!
Ludwig Mies van der Rohe (born Maria Ludwig Michael Mies; March 27, 1886 – August 17, 1969) was a German-American architect. He is commonly referred to and was addressed as Mies, his surname. Along with Le Corbusier and Frank Lloyd Wright, he is widely regarded as one of the pioneering masters of modern architecture.
Mies, like many of his post-World War I contemporaries, sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created an influential twentieth-century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings "skin and bones" architecture. He sought a rational approach that would guide the creative process of architectural design, but he was always concerned with expressing the spirit of the modern era. He is often associated with his quotation of the aphorisms, "less is more" and "God is in the details".
Mies was born in Aachen, Germany. He worked in his father's stone-carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Walter Gropius and Le Corbusier, who were later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.
His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", rather than the German form "von" which was legally restricted to those of genuine aristocratic lineage.
He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early nineteenth-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the twentieth century as irrelevant to the modern times.
In 1913, Mies married Adele Auguste (Ada) Bruhn (1885-1951), the daughter of a wealthy industrialist. The couple separated in 1918, but had three daughters: Dorothea (1914-2008), an actress and dancer who was known as Georgia, Marianne (1915-2003), and Waltraut (1917-1959),[5] who was a research scholar and curator at the Art Institute of Chicago. During his military service in 1917, Mies fathered a son out of wedlock.[6] In 1925 Mies began a relationship with designer Lilly Reich that ended when he moved to the United States; from 1940 until his death, artist Lora Marx (1900-1989) was his primary companion. Mies carried on a romantic relationship with sculptor and art collector Mary Callery for whom he designed an artist's studio in Huntington, Long Island, New York. He also was rumored to have a brief relationship with Edith Farnsworth, who commissioned his work for the Farnsworth House.[8][9] Marianne's son Dirk Lohan (b. 1938) studied under, and later worked for, Mies.
After World War I, Mies began, while still designing traditional neoclassical homes, a parallel experimental effort. He joined his avant-garde peers in the long-running search for a new style that would be suitable for the modern industrial age. The weak points of traditional styles had been under attack by progressive theorists since the mid-nineteenth century, primarily for the contradictions of hiding modern construction technology with a facade of ornamented traditional styles.
The mounting criticism of the historical styles gained substantial cultural credibility after World War I, a disaster widely seen as a failure of the old world order of imperial leadership of Europe. The aristocratic classical revival styles were particularly reviled by many as the architectural symbol of a now-discredited and outmoded social system. Progressive thinkers called for a completely new architectural design process guided by rational problem-solving and an exterior expression of modern materials and structure rather than, what they considered, the superficial application of classical facades.
While continuing his traditional neoclassical design practice Mies began to develop visionary projects that, though mostly unbuilt, rocketed him to fame as an architect capable of giving form that was in harmony with the spirit of the emerging modern society. Boldly abandoning ornament altogether, Mies made a dramatic modernist debut with his stunning competition proposal for the faceted all-glass Friedrichstraße skyscraper in 1921, followed by a taller curved version in 1922 named the Glass Skyscraper.
He continued with a series of pioneering projects, culminating in his two European masterworks: the temporary German Pavilion for the Barcelona exposition (often called the Barcelona Pavilion) in 1929[11] (a 1986 reconstruction is now built on the original site) and the elegant Villa Tugendhat in Brno, Czech Republic, completed in 1930.
He joined the German avant-garde, working with the progressive design magazine G which started in July 1923. He developed prominence as architectural director of the Werkbund, organizing the influential Weissenhof Estate prototype modernist housing exhibition. He was also one of the founders of the architectural association Der Ring. He joined the avant-garde Bauhaus design school as their director of architecture, adopting and developing their functionalist application of simple geometric forms in the design of useful objects. He served as its last director.
Like many other avant-garde architects of the day, Mies based his architectural mission and principles on his understanding and interpretation of ideas developed by theorists and critics who pondered the declining relevance of the traditional design styles. He selectively adopted theoretical ideas such as the aesthetic credos of Russian Constructivism with their ideology of "efficient" sculptural assembly of modern industrial materials. Mies found appeal in the use of simple rectilinear and planar forms, clean lines, pure use of color, and the extension of space around and beyond interior walls expounded by the Dutch De Stijl group. In particular, the layering of functional sub-spaces within an overall space and the distinct articulation of parts as expressed by Gerrit Rietveld appealed to Mies.
The design theories of Adolf Loos found resonance with Mies, particularly the ideas of replacing elaborate applied artistic ornament with the straightforward display of innate visual qualities of materials and forms. Loos had proposed that art and crafts should be entirely independent of architecture, that the architect should no longer control those cultural elements as the Beaux Arts principles had dictated. Mies also admired his ideas about the nobility that could be found in the anonymity of modern life.
The bold work of American architects was greatly admired by European architects. Like other architects who viewed the exhibitions of Frank Lloyd Wright's Wasmuth Portfolio, Mies was enthralled with the free-flowing spaces of inter-connected rooms which encompass their outdoor surroundings as demonstrated by the open floor plans of the Wright's American Prairie Style. American engineering structures were also held up to be exemplary of the beauty possible in functional construction, and its skyscrapers were greatly admired.
Mies pursued an ambitious lifelong mission to create a new architectural language that could be used to represent the new era of technology and production. He saw a need for an architecture expressive of and in harmony with his epoch, just as Gothic architecture was for an era of spiritualism. He applied a disciplined design process using rational thought to achieve his spiritual goals. He believed that the configuration and arrangement of every architectural element, particularly including the character of enclosed space, must contribute to a unified expression. One notable way that Mies connected his buildings with nature was by extending outdoor plaza tiles into the floor of a lobby, synthesizing the exterior and interior spaces of the site. The device accentuated the effortless flow between natural conditions and artificial structures. This characteristic is often found in his large building projects such as the Seagram Building.
The self-educated Mies painstakingly studied the great philosophers and thinkers, past and present, to enhance his own understanding of the character and essential qualities of the technological times he lived in. More than perhaps any other practising pioneer of modernism, Mies mined the writings of philosophers and thinkers for ideas that were relevant to his architectural mission. Mies' architecture was guided by principles at a high level of abstraction, and his own generalized descriptions of those principles intentionally leave much room for interpretation. Yet his buildings are executed as objects of beauty and craftsmanship, and seem very direct and simple when viewed in person.
Every aspect of his architecture, from overall concept to the smallest detail, supports his effort to express the modern age. The depth of meaning conveyed by his work, beyond its aesthetic qualities, has drawn many contemporary philosophers and theoretical thinkers to continue to further explore and speculate about his architecture.
Commission opportunities dwindled with the worldwide depression after 1929. Starting in 1930, Mies served as the last director of the faltering Bauhaus, at the request of his colleague and competitor Walter Gropius. In 1932, Nazi political pressure forced the state-supported school to leave its campus in Dessau, and Mies moved it to an abandoned telephone factory in Berlin. By 1933, however, the continued operation of the school was untenable (it was raided by the Gestapo in April), and in July of that year, Mies and the faculty voted to close the Bauhaus. He built very little in these years (one built commission was Philip Johnson's New York apartment); the Nazis rejected his style as not "German" in character.
Frustrated and unhappy, he left his homeland reluctantly in 1937 as he saw his opportunity for any future building commissions vanish, accepting a residential commission in Wyoming and then an offer to head the department of architecture of the newly established Illinois Institute of Technology (IIT) in Chicago. There he introduced a new kind of education and attitude later known as Second Chicago School, which became very influential in the following decades in North America and Europe.
Mies settled in Chicago, Illinois where he was appointed head of the architecture school at Chicago's Armour Institute of Technology (later renamed Illinois Institute of Technology). One of the benefits of taking this position was that he would be commissioned to design the new buildings and master plan for the campus. All his buildings still stand there, including Alumni Hall, the Chapel, and his masterpiece the S.R. Crown Hall, built as the home of IIT's School of Architecture. Crown Hall is widely regarded as Mies' finest work, the definition of Miesian architecture.
In 1944, he became an American citizen, completing his severance from his native Germany. His thirty years as an American architect reflect a more structural, pure approach toward achieving his goal of a new architecture for the twentieth century. He focused his efforts on enclosing open and adaptable "universal" spaces with clearly arranged structural frameworks, featuring prefabricated steel shapes filled in with large sheets of glass.
His early projects at the IIT campus, and for developer Herb Greenwald, presented to Americans a style that seemed a natural progression of the almost forgotten nineteenth century Chicago School style. His architecture, with origins in the German Bauhaus and western European International Style, became an accepted mode of building for American cultural and educational institutions, developers, public agencies, and large corporations.
Mies worked from his studio in downtown Chicago for his entire 31-year period in America. His significant projects in the U.S. include in Chicago and the area: the residential towers of 860–880 Lake Shore Dr, the Chicago Federal Center complex, the Farnsworth House, Crown Hall and other structures at IIT; and the Seagram Building in New York. These iconic works became the prototypes for his other projects. He also built homes for wealthy clients.
Between 1946 and 1951, Mies van der Rohe designed and built the Farnsworth House, a weekend retreat outside Chicago for an independent professional woman, Dr. Edith Farnsworth. Here, Mies explored the relationship between people, shelter, and nature. The glass pavilion is raised six feet above a floodplain next to the Fox River, surrounded by forest and rural prairies.
The highly crafted pristine white structural frame and all-glass walls define a simple rectilinear interior space, allowing nature and light to envelop the interior space. A wood-panelled fireplace (also housing mechanical equipment, kitchen, and toilets) is positioned within the open space to suggest living, dining and sleeping spaces without using walls. No partitions touch the surrounding all-glass enclosure. Without solid exterior walls, full-height draperies on a perimeter track allow freedom to provide full or partial privacy when and where desired. The house has been described as sublime, a temple hovering between heaven and earth, a poem, a work of art.
The Farnsworth House and its 60-acre (240,000 m2) wooded site was purchased at auction for US$7.5 million by preservation groups in 2004 and is now owned and operated by the National Trust for Historic Preservation as a public museum. The building influenced the creation of hundreds of modernist glass houses, most notably the Glass House by Philip Johnson, located near New York City and also now owned by the National Trust.
The house is an embodiment of Mies' mature vision of modern architecture for the new technological age: a single unencumbered space within a minimal "skin and bones" framework, a clearly understandable arrangement of architectural parts. His ideas are stated with clarity and simplicity, using materials that are configured to express their own individual character.
Mies designed a series of four middle-income high-rise apartment buildings for developer Herb Greenwald: the 860–880 (which was built between 1949 and 1951) and 900–910 Lake Shore Drive towers on Chicago's Lakefront. These towers, with façades of steel and glass, were radical departures from the typical residential brick apartment buildings of the time. Mies found their unit sizes too small for him, choosing instead to continue living in a spacious traditional luxury apartment a few blocks away. The towers were simple rectangular boxes with a non-hierarchical wall enclosure, raised on stilts above a glass-enclosed lobby.
The lobby is set back from the perimeter columns, which were exposed around the perimeter of the building above, creating a modern arcade not unlike those of the Greek temples. This configuration created a feeling of light, openness, and freedom of movement at the ground level that became the prototype for countless new towers designed both by Mies's office and his followers. Some historians argue that this new approach is an expression of the American spirit and the boundless open space of the frontier, which German culture so admired.
Once Mies had established his basic design concept for the general form and details of his tower buildings, he applied those solutions (with evolving refinements) to his later high-rise building projects. The architecture of his towers appears to be similar, but each project represents new ideas about the formation of highly sophisticated urban space at ground level. He delighted in the composition of multiple towers arranged in a seemingly casual non-hierarchical relation to each other.
Just as with his interiors, he created free flowing spaces and flat surfaces that represented the idea of an oasis of uncluttered clarity and calm within the chaos of the city. He included nature by leaving openings in the pavement, through which plants seem to grow unfettered by urbanization, just as in the pre-settlement environment.
In 1958, Mies van der Rohe designed what is often regarded as the pinnacle of the modernist high-rise architecture, the Seagram Building in New York City. Mies was chosen by the daughter of the client, Phyllis Bronfman Lambert, who has become a noted architectural figure and patron in her own right. The Seagram Building has become an icon of the growing power of the corporation, that defining institution of the twentieth century. In a bold and innovative move, the architect chose to set the tower back from the property line to create a forecourt plaza and fountain on Park Avenue.
Although now acclaimed and widely influential as an urban design feature, Mies had to convince Bronfman's bankers that a taller tower with significant "unused" open space at ground level would enhance the presence and prestige of the building. Mies' design included a bronze curtain wall with external H-shaped mullions that were exaggerated in depth beyond what was structurally necessary. Detractors criticized it as having committed Adolf Loos's "crime of ornamentation". Philip Johnson had a role in interior materials selections, and he designed the sumptuous Four Seasons Restaurant, which has endured un-remodeled to today. The Seagram Building is said to be an early example of the innovative "fast-track" construction process, where design documentation and construction are done concurrently.
Using the Seagram as a prototype, Mies' office designed a number of modern high-rise office towers, notably the Chicago Federal Center, which includes the Dirksen and Kluczynski Federal Buildings and Post Office (1959) and the IBM Plaza in Chicago; the Westmount Square in Montreal, and the Toronto-Dominion Centre in 1967. Each project applies the prototype rectangular form on stilts and ever-more refined enclosure wall systems, but each creates a unique set of exterior spaces that are an essential aspect of his creative efforts.
During 1951–1952, Mies' designed the steel, glass, and brick McCormick House, located in Elmhurst, Illinois (15 miles west of the Chicago Loop), for real-estate developer Robert Hall McCormick, Jr. A one-story adaptation of the exterior curtain wall of his famous 860–880 Lake Shore Drive towers, it served as a prototype for an unbuilt series of speculative houses to be constructed in Melrose Park, Illinois. The house has been moved and reconfigured as a part of the public Elmhurst Art Museum. He also built a residence for John M. van Beuren on a family estate near Morristown, New Jersey.
Mies designed two buildings for the Museum of Fine Arts, Houston (MFAH) as additions to the Caroline Weiss Law Building. In 1953, the MFAH commissioned Mies van der Rohe to create a master plan for the institution. He designed two additions to the building—Cullinan Hall, completed in 1958, and the Brown Pavilion, completed in 1974. A renowned example of the International Style, these portions of the Caroline Wiess Law Building comprise one of only two Mies-designed museums in the world.
Mies's last work was the Neue Nationalgalerie art museum, the New National Gallery for the Berlin National Gallery. Considered one of the most perfect statements of his architectural approach, the upper pavilion is a precise composition of monumental steel columns and a cantilevered (overhanging) roof plane with a glass enclosure. The simple square glass pavilion is a powerful expression of his ideas about flexible interior space, defined by transparent walls and supported by an external structural frame.
The glass pavilion is a relatively small portion of the overall building, serving as a symbolic architectural entry point and monumental gallery for temporary exhibits. A large podium building below the pavilion accommodates most of the museum's total built area in windowless spaces for galleries and support functions.
Mies designed modern furniture pieces using new industrial technologies that have become popular classics, such as the Barcelona chair and table, the Brno chair, and the Tugendhat chair. His furniture is known for fine craftsmanship, a mix of traditional luxurious fabrics like leather combined with modern chrome frames, and a distinct separation of the supporting structure and the supported surfaces, often employing cantilevers to enhance the feeling of lightness created by delicate structural frames. During this period, he collaborated closely with interior designer and companion Lilly Reich.
Mies served as the last director of Berlin's Bauhaus, and then headed the department of architecture, Illinois Institute of Technology in Chicago, where he developed the Second Chicago School. He played a significant role as an educator, believing his architectural language could be learned, then applied to design any type of modern building. He set up a new education at the department of architecture of the Illinois Institute of Technology in Chicago replacing the traditional Ecole des Beaux-Art curriculum by a three-step-education beginning with crafts of drawing and construction leading to planning skills and finishing with theory of architecture (compare Vitruvius: firmitas, utilitas, venustas). He worked personally and intensively on prototype solutions, and then allowed his students, both in school and his office, to develop derivative solutions for specific projects under his guidance.
Some of Mies' curriculum is still put in practice in the first and second year programs at IIT, including the precise drafting of brick construction details so unpopular with aspiring student architects. When none was able to match the quality of his own work, he agonized about where his educational method had gone wrong. Nevertheless his achievements in creating a teachable architecture language that can be used to express the modern technological era survives until today.
Mies placed great importance on education of architects who could carry on his design principles. He devoted a great deal of time and effort leading the architecture program at IIT. Mies served on the initial Advisory Board of the Graham Foundation in Chicago. His own practice was based on intensive personal involvement in design efforts to create prototype solutions for building types (860 Lake Shore Drive, the Farnsworth House, Seagram Building, S. R. Crown Hall, The New National Gallery), then allowing his studio designers to develop derivative buildings under his supervision.
Mies's grandson Dirk Lohan and two partners led the firm after he died in 1969. Lohan, who had collaborated with Mies on the New National Gallery, continued with existing projects but soon led the firm on his own independent path. Other disciples continued Mies's architectural language for years, notably Gene Summers, David Haid, Myron Goldsmith, Y.C. Wong, Jacques Brownson, and other architects at the firms of C.F. Murphy and Skidmore, Owings & Merrill.
But while Mies' work had enormous influence and critical recognition, his approach failed to sustain a creative force as a style after his death and was eclipsed by the new wave of Post Modernism by the 1980s. Proponents of the Post Modern style attacked the Modernism with clever statements such as "less is a bore" and with captivating images such as Crown Hall sinking in Lake Michigan. Mies had hoped his architecture would serve as a universal model that could be easily imitated, but the aesthetic power of his best buildings proved impossible to match, instead resulting mostly in drab and uninspired structures rejected by the general public. The failure of his followers to meet his high standard may have contributed to demise of Modernism and the rise of new competing design theories following his death.
Mies van der Rohe's grave marker in Graceland Cemetery
German commemorative stamp marking 100 years since Mies's birth.
Over the last twenty years of his life, Mies developed and built his vision of a monumental "skin and bones" architecture that reflected his goal to provide the individual a place to fulfill himself in the modern era. Mies sought to create free and open spaces, enclosed within a structural order with minimal presence. Mies van der Rohe died on August 17, 1969. After cremation,[citation needed] his ashes were buried near Chicago's other famous architects in Chicago's Graceland Cemetery. His grave is marked by a simple black slab of granite and a large Honey locust tree.
The Ludwig Mies van der Rohe Archive, an administratively independent section of the Museum of Modern Art's department of architecture and design, was established in 1968 by the museum's trustees. It was founded in response to the architect's desire to bequeath his entire work to the museum. The archive consists of about nineteen thousand drawings and prints, one thousand of which are by the designer and architect Lilly Reich (1885–1947), Mies van der Rohe's close collaborator from 1927 to 1937; of written documents (primarily, the business correspondence) covering nearly the entire career of the architect; of photographs of buildings, models, and furniture; and of audiotapes, books, and periodicals.
Archival materials are also held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The Ludwig Mies van der Rohe Collection, 1929–1969 (bulk 1948–1960) includes correspondence, articles, and materials related to his association with the Illinois Institute of Technology. The Ludwig Mies van der Rohe Metropolitan Structures Collection, 1961–1969, includes scrapbooks and photographs documenting Chicago projects.
Other archives are held at the University of Illinois at Chicago (personal book collection), the Canadian Center for Architecture (drawings and photos) in Montreal, the Newberry Library in Chicago (personal correspondence), and at the Library of Congress in Washington D.C. (professional correspondence) (Wikipedia).
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© 2010 2018 Photo by Lloyd Thrap Photography
for Halo Media Group
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Glacially eroded & striated columnar-jointed trachybasalt in the Pleistocene of California, USA.
Famous localities for seeing excellent columnar jointing include Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA). Columnar jointing forms as a lava flow cools and contracts, resulting in the development of shrinkage cracks. As shrinkage cracks grow, they branch at ~120º angles (as seen in plan view). Crack networks merge with other networks to form columns having a polygonal cross-section shape. Most columns are hexagonal or pentagonal in shape. A few are 3-sided, 4-sided, or 7-sided.
Devils Postpile is a trachybasalt (or basaltic trachyandesite) lava flow with well-developed columnar jointing. Erosion has toppled many of the columns into a large pile at the base of the flow. The flow represents part of the activity of the Long Valley Volcano, which is now a large caldera in the eastern Sierra Nevada Mountains of California. The Devils Postpile lava flow erupted outside the southwestern margin of the Long Valley Caldera.
The top of the flow has been eroded by glaciers. Decent glacial striations and glacial polish are present in many places.
Stratigraphy: Postpile Flow, Upper Pleistocene, 82 ka
Locality: Devils Postpile National Monument, west of town of Mammoth Lakes, eastern California, USA
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Info. synthesized from:
Huber et al. (2001) - The Story of Devils Postpile, a Land of Volcanic Fire, Glacial Ice and an Ancient River, Updated from the Original Edition.
Bailey (2004) - United States Geological Survey Professional Paper 1692.
Mahood et al. (2010) - Geological Society of America Bulletin 122: 396-407.
Gino Severini was an Italian painter who synthesized the styles of Futurism and Cubism.
Severini began his painting career in 1900 as a student of Giacomo Balla, an Italian pointillist painter who later became a prominent Futurist. Stimulated by Balla’s account of the new painting in France, Severini moved to Paris in 1906 and met leading members of the French avant-garde, such as the Cubist painters Georges Braque and Pablo Picasso and the writer Guillaume Apollinaire. Severini continued to work in the pointillist manner—an approach that entailed applying dots of contrasting colors according to principles of optical science—until 1910, when he signed the Futurist painters’ manifesto.
The Futurists wanted to revitalize Italian art (and, as a consequence, all of Italian culture) by depicting the speed and dynamism of modern life. Severini shared this artistic interest, but his work did not contain the political overtones typical of Futurism. Whereas Futurists typically painted moving cars or machines, Severini usually portrayed the human figure as the source of energetic motion in his paintings. He was especially fond of painting nightclub scenes in which he evoked the sensations of movement and sound by filling the picture with rhythmic forms and cheerful, flickering colors. In Dynamic Hieroglyph of the Bal Tabarin (1912), he retained the nightlife theme but incorporated the Cubist technique of collage (real sequins are fixed to the dancers’ dresses) and such nonsensical elements as a realistic nude riding a pair of scissors.
Only briefly, in wartime works such as Red Cross Train Passing a Village (1914), did Severini paint subjects that conformed to the Futurist glorification of war and mechanized power. Over the next few years, he turned increasingly to an idiosyncratic form of Cubism that retained decorative elements of pointillism and Futurism, as seen in the abstract painting Spherical Expansion of Light (Centrifugal) (1914).
About 1916 Severini embraced a more rigorous and formal approach to composition; instead of deconstructing forms, he wanted to bring geometric order to his paintings. His works from this period were usually still lifes executed in a Synthetic Cubist manner, which entailed constructing a composition out of fragments of objects. In portraits such as Maternity (1916), he also began to experiment with a Neoclassical figurative style, a conservative approach that he embraced more fully in the 1920s. Severini published a book, Du cubisme au classicisme (1921; “From Cubism to Classicism”), in which he discussed his theories about the rules of composition and proportion. Later in his career he created many decorative panels, frescoes, and mosaics, and he became involved in set and costume design for the theater. The artist’s autobiography, Tutta la vita di un pittore (“The Life of a Painter”), was published in 1946.
Deep Listening Kyoto 2009
17. 3. 2009 @ cafe independants
"DEEP LISTENING CHAIR" is a unique installation-festival in Tokyo, Japan. But this time we are going to Kyoto!!!! Edition NIkO is a label cooperation for electronic music based in Tokyo. And this festival is based on various programs joined together to form a trajectory over 2 days (not this time) but the festival explores the many facets of cutting-edge live electronic music and art. It provides a forum to exchange about the artistic practice underlying the electronic music scene. Festival brings together the artists that are breaking ground and shaping new standards in media and design, becoming the essential meeting point for the international scene of digital creation. NIkO festival provides insight into all culture media platforms. And featured a notable quantity of well known electronic artists over the world, while also reserving a special place for emergent laptop artists and installation artists. Dadaism, Surrealism, expressionism, impressionism, minimalism, actionism, those artists with this wonderful abstract identity, will perform and show how we can express our strong electronic arts. So, this live digital audiovisual performances and abstract installations are one of the important dimensions for this festival.
Edition NIkOはSurrealistic Minimalismを掲げ、パリ、ベルリン、バルセロナ、ロンドン、ニューヨークそしてここ日本と、世界中の電子音響家を擁する電子音響系レーベルである。コンピューターで生成されるマイクロスコピックな電子音を構成素とし、抽象的な音響空間を創出するため、個々のそのデジタルクリエーションの中に「常識を外れた奇妙で既存の状態を超越している状況」を提示し続けるsurrealisticなartistが集まる。
オーナーはダダやバウハウスなどの反社会主義性と合理主義的な思想を掲げスペインやロンドンを中心にヨーロッパでのリリースを続け、ENGまたはJANDEATHという名義にてzbigniew karkowskiやincapacitantsなどとライブを行うshotahiramaで、２００７年に設立、non profitで運営している。
そして今回のDeep Listening Kyotoでは、京都のオーディエンスのためにレーベルのショーケース的ラインナップとなっている。
enormous 0'clockはロンドンのAi Recordsからの最新作INFORMATION WARFAREを含む最新のライブセット。オーナーであるshotahiramaはJandeath名義にて現代音楽のシンボルであるリズムを自身が開発したプログラムソフト、R systemでそれを具象化、映像化するインスタレーションを。その他にも、幽玄な持続音響にて世界を魅了し続けるHakobuneをはじめ、現音作曲新人賞など数々の受賞経歴を持ち、ジャズやクラシックをエレクトロニカへアップデートし続けるユニットProvoke。またミニマルデザイン、アートの分野においても評価の高いyuji kondoによるサウンドインスタレーション、実験音楽家ishimuraはループのオーヴァーラップによるズレを伴った電子的なリズムパターンが美しい新ユニットSHARPでのライブを。
以上の豪華メンバーによる、シュールレアリズムな電子音響イベントを披露する。
Deep Listening Kyoto vol.1 "Surrealistic Minimalism" presented by Edition NIkO
17th. Mar. 2009
18:00-23:00
free (1 drink please)
at cafe independants
出演者
enormous O'clock (Kyoto)
□) www.myspace.com/enormousoclock
国内外問わず数々のリリースを続けるなか、昨年イギリスのレーベルAI RECORDSから"INFORMATION WARFARE"を発表しBBC RADIO 1やその他でのオンエアーにより話題となったのが切掛で、今年も既に数々のリリースが海外等で決定している。今回"cafe independants"でのライヴセットでは彼特有の季節感を演出するだろう。
enormous O'clock is an electronic music producer who lives and works in Kyoto. A rarity in the world of beat-driven electronic music, and he is known for contributing to the development of surrealistic minimal techno with his 2008 album INFORMATION WARFAR from Ai Records (London, UK). Interspersed with irregular clicks, pops and beeps, the minimal breaks in time reveal the careful attention to detail in the depth and dynamics of his music. eO' explain him self as "ELECTRO AMBIENCE DRENCHED IN DISTORTION AND PRIMED FOR THE FLOOR".
Hakobune (Kyoto)
□) www.myspace.com/hakobunemusic
京都市在住の音楽家。ギターを軸としたタピストリーを用いソニックランドスケープを構築する。国内外のレーベルから音源をリリース。08年7月に2ndアルバム"We Left The Window Open Sometimes"をリリースし、後にイギリスのレコードショップSmallfish Recordsが発表した2008年度ベストアルバム20に選ばれる。09年にはニューアルバムのリリースを予定。
Hakobune aka Takahiro Yorifuji (b.1986.4), inspired by minimalism, drone and concentrated on sound landscape, Yorifuji is best known as the father of ambient music in "Kyoto new-age". Using guitar and makes deep appreciation of harmonic structure, layering sounds in textures that seem to leave the listener suspended in time. He has been released out a number of titles, and working with David Tagg in 2008 was one of his best work in his discography. Yorifuji is from a small town in Hyogo, Japan and currently resides in Kyoto.
JANDEATH (Tokyo)
□) www.myspace.com/industrialensemble
ダダやバウハウスなどの反社会主義性と合理主義的な思想を掲げ２００６年にENG (electronoise group)を結成したshotahirama。スペインやロンドンを中心にヨーロッパでのリリース、ライブ活動を行う傍ら、JANDEATHという別名義を２００８年に始動。産業主義を連想させる金属音や破壊音的コンクレート電子音響に、２台のエレクトロンを扱い現代音楽のシンボルであるリズムを複雑に溶け込ませたネオテクノイズを提案する。Edition NIkO (旧NIkO Label)のオーナーでもある。
Under the name of JANDEATH, which is "Edition NIkO" founder-shotahirama' solo project. Produced sounds of vaguely danceable noise and power-electronics noise using complex mono and poly-rhythm, driving percussion, and meticulous sequencing. His main influences are from the early 1980s, with industrial acts like Throbbing Gristle, Einstürzende Neubauten and also from mille plateaux artists like SND, Alva noto, Pan sonic. JANDEATH also made extensive use of a variety of computer based sequencers, softsynths, and other applications as a means of controlling those synths and processing the synthesized sounds, using Reaktor, Processing and Elektron. He has been working with this kind of computer music, independently and in collaboration with other artists such as Zbigniew Karkowski, Incapacitants, ASTRO, since 2008. Also work with an organizing member of the Shinjuku-based Soup collective, MICLODIET in 2008, project was named MICLODEATH.
PROVOKE (Osaka)
□) www.myspace.com/provoke2000
森崇博と三上良太によるユニット。音楽大学で現代音楽を学び、その後コンピューターベースでの制作に移行。映画音楽、舞台音楽なども手がけて来た。
PROVOKE is a multi-media group consisting of Moze and Ryota Mikami. Introduce a "political" "inaudible" "experimental" form of electronica music. Combines themes of gender, sexuality, class, linguistics, ethnicity and race.... This diversity of themes is matched by PROVOKE' wide range of production styles, which include film music, Sine-wave, digital jazz, ambient, and computer-composed neo-expressionist piano solos.
SHARP (Osaka)
□) www.myspace.com/sharpsoundproject
石村晋也と筒井一隆は、それぞれがでフィールドレコーディングや音響生成による楽曲、インスタレーションを制作してきた。SHARPは自分たちのソロ活動とは違ったアプローチで楽曲を制作し、ライブパフォーマンス、ダイナミズムへと回帰することを目
的に2008年に結成した不定期に活動するユニット。現在までに、2007年度IMI修了展オープニングイベント、NIkO label Nl003-NEUBAUTEN- に参加。
SHARP is an experimental music group from Osaka consisting of shinya ishimura , kazutaka tsutsui. Music without sequencers, clicks and glitches are not used as ornamental additions to the compositions but make up the essential elements of the work and these sound sources are applied to the rhythmic groove. Disparate beats and quirky samples are carefully distilled in the frequency lab, then scientifically arranged for maximum cerebral massage.
yuji kondo (Osaka)
□) yujikondo.wordpress.com/
ベーシストとして活動する傍ら、徐々に騒音学に傾倒。2005年に本名義を始動、現在に至る。主にフィールドレコーディングなどの素材を扱い、それらを和音化したものを複数のチャンネルで走らせ、壮大かつ幽玄な故障音響を生成、さらに時間化する。Jun Nishimura aka JadeGardenの楽曲リミックス、ENGのオーディオヴィジュアル作品等に参加、関西を中心にライヴを行うなど精力的にその独自のサウンドを展開中。Edition NIkOからリリースされているコンピレーションへの楽曲提供もしている。
yuji kondo (b. 1986) is a sound artist and composer from japan. in late 2005, he started his solo project, and currently based in osaka, kyoto,,, the kansai region. he makes compositions using computer programs, and restructure the sounds such as snow noise, sine wave, stylus tip noise, tape hiss, impulse click, field recording sources, acoustic percussion instruments, random tuning electric bass guitar tones, and voices in unconventional ways. generated materials are fed back by the matrix-switch system on daw software, and are used in music. the grand feedback landscape woven by frequency operation is as beautiful as the fog, subtle and profound. his sound is a unique blend of electronic sounds and acoustic instruments, and the minimal and the complexities coexist there. the electronics function just as any other instruments. he skillfully shifts the brokendown sound to listening music.
Edition NIkO
Edition NIkO was founded/curated and art directed by Japanese-American sound artist shotahirama in 2007. It is a label cooperation for electronic music based in Tokyo. The main interest was to give uniting sound and art design with strong attention to scientific sequences, Dada, Bauhaus, and drone ambient sound scapes. A surrealistic minimalism. So, priority is to publish series with focus on a specific philosophy of music/ sound/ art composing. Also it is a platform for conceptional and experimental related projects in music, art and sciencemusic both by myself (shotahirama) and by other artists and musicians. All NIkO releases have been on either CD or CDr or MP3 as I feel that these formats currently offer the most appropriate form of reproduction. But its basically, a non-profit label..... NIkO Label was closed down at the end of 2008 and reopened in January 2009 as Edition NIkO.
Edition NIkO mixi community
□) mixi.jp/view_community.pl?id=1077804
flier everywhere!
Art rock (Kyoto), cafe independants (Kyoto), COMPUFUNK RECORDS (Osaka), CYDER RECORDS (Osaka), Disk Union Shibuya Club-Music Shop (Tokyo), Disk Union Shinjuku (Tokyo), Disk Union Shinjuku Club-Music Shop (Tokyo), FLAKE RECORDS (Osaka), FUKUGAN GALLERY (Osaka), Graf media gm (Osaka), HMV Abeno (Osaka), HMV TEMMABASHI (Osaka), K2 RECORDS (Osaka), KINGKONG RECORDS (Osaka), Nanba ROCKETS (Osaka), Parallax Records (Kyoto), NEWTONE RECORDS (Osaka), Riverside records (Kyoto), Shin-bi (Kyoto), Tower Records Shibuya (Tokyo), Tower Records Umeda Marubiru (Osaka), Tower Records NU chayamachi (Osaka), Tower Records Nanba (Osaka), Unagidani Sunsui (Osaka), Warzsawa Shibuya (Tokyo), Workshop Records (Kyoto)
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.
Contributed By:
Claude Cernuschi
Microsoft ® Encarta ® 2006. © 1993-2005 Microsoft Corporation. All rights reserved.
To-Go Fashion Show
Urban Transit Smart Attire
Location:Downtown Alvarado Transportation Center
Time:5:30PM Thursday, April 1st 2010.
Lloyd-Thrap-Creative-Photography
To-Go Fashion Show Call for Artists - . : : the zipper abq: a walk and ride guide to historic route www.thezipperabq.com Show us how to properly dress for the on-the-go “walk+ride+bike+shop local” lifestyle with fashion demonstrating comfort and readiness with verve for outdoor walking, biking, and mass transit use in Albuquerque, NM.
© 2010 2013 Photo by Lloyd Thrap Photography for Halo Media Group
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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!
Istanbul, Blue Mosque
The Sultan Ahmed Mosque or Sultan Ahmet Mosque (Turkish: Sultan Ahmet Camii) is a historic mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built from 1609 to 1616, during the rule of Ahmed I. After the Peace of Zsitvatorok and the crushing loss in the 1604-1618 war with Persia, Sultan Ahmet I, decided to build a big mosque in Istanbul to reassert Ottoman power. The mosque was built on the site of the palace of the Byzantine emperors, in front of the basilica Ayasofya (at that time, the primary imperial mosque in Istanbul) and the hippodrome, a site of significant symbolic meaning as it dominated the city skyline from the south.
The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates some Byzantine Christian 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, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
The courtyard is about as large as the mosque itself and is surrounded by a continuous vaulted arcade (revak). It has ablution facilities on both sides. The central hexagonal fountain is small relative to the courtyard.
The Sultan Ahmed Mosque is first one of the two mosques in Turkey that have six minarets. When the number of minarets was revealed, the Sultan was criticized for being presumptuous, since this was the same minarets number as at the mosque of the Ka'aba in Mecca. He overcame this problem by ordering a seventh minaret to be built at the Mecca mosque.
Four minarets stand at the corners of the Blue Mosque. Each of these fluted, pencil-shaped minarets has three balconies with stalactite corbels, while the two others at the end of the forecourt only have two balconies. The muezzin or prayer caller used to climb a narrow spiral staircase five times a day to announce the call to prayer.
Panasonic Lumix DMC-GX8 w/Lumix G 14-42mm kit lens
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third image appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
Born: February 20, 1988
Rihanna established her dance-pop credentials in summer 2005 with her debut smash hit, "Pon de Replay," and continued to demonstrate hit potential in subsequent years (e.g., "S.O.S." in 2006; "Umbrella" in 2007; "Disturbia" in 2008). However, it was the singer's third album, Good Girl Gone Bad, that made her a full-fledged international pop star with a regular presence atop the charts. Born Robyn Rihanna Fenty on February 20, 1988, in Saint Michael, Barbados, she exhibited a certain star quality as a young child, often winning beauty and talent contests. Because she lived on the fairly remote island of Barbados in the West Indies, however, she never foresaw the sort of stardom that would later befall her.
That stardom came courtesy of a fateful meeting with Evan Rogers. The New Yorker was vacationing in Barbados with his wife, a native of the island, when he was introduced to Rihanna. Rogers had spent years producing pop hits for such superstars as *NSYNC, Christina Aguilera, Jessica Simpson, Kelly Clarkson, Laura Pausini, and Rod Stewart, and he offered the talented Rihanna a chance to record. Along with Rogers' production partner, Carl Sturken (the other half of Syndicated Rhythm Productions), Rihanna recorded several demos that sparked the interest of the Carter Administration -- that is, the newly appointed Def Jam president Shawn "Jay-Z" Carter. This led to an audition, and Rihanna both received and accepted an on-the-spot offer to sign with Def Jam.
Come summer 2005, Def Jam rolled out "Pon de Replay," the lively leadoff single from Music of the Sun. Produced almost entirely by Rogers and Sturken, the song synthesized Caribbean rhythms with urban-pop songwriting. "Pon de Replay" caught fire almost immediately, climbing all the way to number two on the Billboard Hot 100 and contesting the half-summer reign of Mariah Carey's "We Belong Together" atop the chart. The debut album spawned one other hit, "If It's Lovin' That You Want," which also broke the Top 40. Rihanna's follow-up effort, A Girl Like Me, saw even greater success and spawned three sizable singles: a chart-topper ("S.O.S.") and two Top Ten hits ("Unfaithful," "Break It Off").
Rihanna's third album, 2007's Good Girl Gone Bad, continued her success while signaling a change of direction. Whereas her past two albums had been imbalanced -- often weighed down by faceless balladry and canned Caribbean-isms -- Good Girl Gone Bad was a first-rate dance-pop album, stacked with several chart-topping singles and boasting collaborations with Jay-Z, Ne-Yo, Timbaland, and StarGate. The lead single, "Umbrella," shot to number one, as did "Take a Bow" and "Disturbia." Its success turned Rihanna into one of the planet's biggest pop stars.
Rated R was released in 2009 during the wake of a physical altercation with romantic interest Chris Brown, who pleaded guilty to felony assault. The album's lead single, "Russian Roulette" -- written with Ne-Yo -- was one of the year's most controversial singles, and it set the tone for the singer's new, dark direction. Rated R peaked within the Top Five of the Billboard 200, while another one of its singles, "Rude Boy," topped the Hot 100. Rated R: Remixed was released in the spring of 2010 and featured ten tracks from the album revamped for the dancefloor by Chew Fu. Loud, Rihanna's fifth studio album, followed in November and was led by the StarGate-produced "Only Girl (In the World)." Jason Birchmeier, Rovi
Born: February 20, 1988
Rihanna established her dance-pop credentials in summer 2005 with her debut smash hit, "Pon de Replay," and continued to demonstrate hit potential in subsequent years (e.g., "S.O.S." in 2006; "Umbrella" in 2007; "Disturbia" in 2008). However, it was the singer's third album, Good Girl Gone Bad, that made her a full-fledged international pop star with a regular presence atop the charts. Born Robyn Rihanna Fenty on February 20, 1988, in Saint Michael, Barbados, she exhibited a certain star quality as a young child, often winning beauty and talent contests. Because she lived on the fairly remote island of Barbados in the West Indies, however, she never foresaw the sort of stardom that would later befall her.
That stardom came courtesy of a fateful meeting with Evan Rogers. The New Yorker was vacationing in Barbados with his wife, a native of the island, when he was introduced to Rihanna. Rogers had spent years producing pop hits for such superstars as *NSYNC, Christina Aguilera, Jessica Simpson, Kelly Clarkson, Laura Pausini, and Rod Stewart, and he offered the talented Rihanna a chance to record. Along with Rogers' production partner, Carl Sturken (the other half of Syndicated Rhythm Productions), Rihanna recorded several demos that sparked the interest of the Carter Administration -- that is, the newly appointed Def Jam president Shawn "Jay-Z" Carter. This led to an audition, and Rihanna both received and accepted an on-the-spot offer to sign with Def Jam.
Come summer 2005, Def Jam rolled out "Pon de Replay," the lively leadoff single from Music of the Sun. Produced almost entirely by Rogers and Sturken, the song synthesized Caribbean rhythms with urban-pop songwriting. "Pon de Replay" caught fire almost immediately, climbing all the way to number two on the Billboard Hot 100 and contesting the half-summer reign of Mariah Carey's "We Belong Together" atop the chart. The debut album spawned one other hit, "If It's Lovin' That You Want," which also broke the Top 40. Rihanna's follow-up effort, A Girl Like Me, saw even greater success and spawned three sizable singles: a chart-topper ("S.O.S.") and two Top Ten hits ("Unfaithful," "Break It Off").
Rihanna's third album, 2007's Good Girl Gone Bad, continued her success while signaling a change of direction. Whereas her past two albums had been imbalanced -- often weighed down by faceless balladry and canned Caribbean-isms -- Good Girl Gone Bad was a first-rate dance-pop album, stacked with several chart-topping singles and boasting collaborations with Jay-Z, Ne-Yo, Timbaland, and StarGate. The lead single, "Umbrella," shot to number one, as did "Take a Bow" and "Disturbia." Its success turned Rihanna into one of the planet's biggest pop stars.
Rated R was released in 2009 during the wake of a physical altercation with romantic interest Chris Brown, who pleaded guilty to felony assault. The album's lead single, "Russian Roulette" -- written with Ne-Yo -- was one of the year's most controversial singles, and it set the tone for the singer's new, dark direction. Rated R peaked within the Top Five of the Billboard 200, while another one of its singles, "Rude Boy," topped the Hot 100. Rated R: Remixed was released in the spring of 2010 and featured ten tracks from the album revamped for the dancefloor by Chew Fu. Loud, Rihanna's fifth studio album, followed in November and was led by the StarGate-produced "Only Girl (In the World)." Jason Birchmeier, Rovi
Bats are mammals of the order Chiroptera (/kaɪˈrɒptərə/; from the Greek χείρ - cheir, "hand" and πτερόν - pteron, "wing") whose forelimbs form webbed wings, making them the only mammals naturally capable of true and sustained flight. By contrast, other mammals said to fly, such as flying squirrels, gliding possums, and colugos, can only glide for short distances. Bats do not flap their entire forelimbs, as birds do, but instead flap their spread-out digits, which are very long and covered with a thin membrane or patagium.
Bats are the second largest order of mammals (after the rodents), representing about 20% of all classified mammal species worldwide, with about 1,240 bat species divided into two suborders: the less specialized and largely fruit-eating megabats, or flying foxes, and the highly specialized and echolocating microbats. About 70% of bat species are insectivores. Most of the rest are frugivores, or fruit eaters. A few species, such as the fish-eating bat, feed from animals other than insects, with the vampire bats being hematophagous, or feeding on blood.
Bats are present throughout most of the world, with the exception of extremely cold regions. They perform vital ecological roles of pollinating flowers and dispersing fruit seeds; many tropical plant species depend entirely on bats for the distribution of their seeds. Bats are economically important, as they consume insect pests, reducing the need for pesticides. The smallest bat is the Kitti's hog-nosed bat, measuring 29–34 mm in length, 15 cm across the wings and 2–2.6 g in mass. It is also arguably the smallest extant species of mammal, with the Etruscan shrew being the other contender. The largest species of bat are a few species of Pteropus (fruit bats or flying foxes) and the giant golden-crowned flying fox with a weight up to 1.6 kg and wingspan up to 1.7 m.
CLASSIFICATION AND EVOLUTION
Bats are mammals. In many languages, the word for "bat" is cognate with the word for "mouse": for example, chauve-souris ("bald-mouse") in French, murciélago ("blind mouse") in Spanish, saguzahar ("old mouse") in Basque, летучая мышь ("flying mouse") in Russian, slijepi miš ("blind mouse") in Bosnian, nahkhiir ("leather mouse") in Estonian, vlermuis (winged mouse) in Afrikaans, from the Dutch word vleermuis (from Middle Dutch "winged mouse"). An older English name for bats is flittermouse, which matches their name in other Germanic languages (for example German Fledermaus and Swedish fladdermus). Bats were formerly thought to have been most closely related to the flying lemurs, treeshrews, and primates, but recent molecular cladistics research indicates that they actually belong to Laurasiatheria, a diverse group also containing Carnivora and Artiodactyla.
The two traditionally recognized suborders of bats are:
- Megachiroptera (megabats)
- Microchiroptera (microbats/echolocating bats)
Not all megabats are larger than microbats. The major distinctions between the two suborders are:
- Microbats use echolocation; with the exception of the Rousettus genus, megabats do not.
- Microbats lack the claw at the second finger of the forelimb.
- The ears of microbats do not close to form a ring; the edges are separated from each other at the base of the ear.
- Microbats lack underfur; they are either naked or have guard hairs.
Megabats eat fruit, nectar, or pollen. Most microbats eat insects; others may feed on fruit, nectar, pollen, fish, frogs, small mammals, or the blood of animals. Megabats have well-developed visual cortices and show good visual acuity, while microbats rely on echolocation for navigation and finding prey.
The phylogenetic relationships of the different groups of bats have been the subject of much debate. The traditional subdivision between Megachiroptera and Microchiroptera reflects the view that these groups of bats have evolved independently of each other for a long time, from a common ancestor already capable of flight. This hypothesis recognized differences between microbats and megabats and acknowledged that flight has only evolved once in mammals. Most molecular biological evidence supports the view that bats form a single or monophyletic group.
Researchers have proposed alternative views of chiropteran phylogeny and classification, but more research is needed.
In the 1980s, a hypothesis based on morphological evidence was offered that stated the Megachiroptera evolved flight separately from the Microchiroptera. The so-called flying primates theory proposes that, when adaptations to flight are removed, the Megachiroptera are allied to primates by anatomical features not shared with Microchiroptera. One example is that the brains of megabats show a number of advanced characteristics that link them to primates. Although recent genetic studies strongly support the monophyly of bats, debate continues as to the meaning of available genetic and morphological evidence.
Genetic evidence indicates that megabats originated during the early Eocene and should be placed within the four major lines of microbats.
Consequently, two new suborders based on molecular data have been proposed. The new suborder of Yinpterochiroptera includes the Pteropodidae, or megabat family, as well as the Rhinolophidae, Hipposideridae, Craseonycteridae, Megadermatidae, and Rhinopomatidae families The other new suborder, Yangochiroptera, includes all of the remaining families of bats (all of which use laryngeal echolocation). These two new suborders are strongly supported by statistical tests. Teeling (2005) found 100% bootstrap support in all maximum likelihood analyses for the division of Chiroptera into these two modified suborders. This conclusion is further supported by a 15-base-pair deletion in BRCA1 and a seven-base-pair deletion in PLCB4 present in all Yangochiroptera and absent in all Yinpterochiroptera. Perhaps most convincingly, a phylogenomic study by Tsagkogeorga et al (2013) showed that the two new proposed suborders were supported by analyses of thousands of genes.
The chiropteran phylogeny based on molecular evidence is controversial because microbat paraphyly implies that one of two seemingly unlikely hypotheses occurred. The first suggests that laryngeal echolocation evolved twice in Chiroptera, once in Yangochiroptera and once in the rhinolophoids. The second proposes that laryngeal echolocation had a single origin in Chiroptera, was subsequently lost in the family Pteropodidae (all megabats), and later evolved as a system of tongue-clicking in the genus Rousettus.
Analyses of the sequence of the "vocalization" gene, FoxP2, were inconclusive as to whether laryngeal echolocation was secondarily lost in the pteropodids or independently gained in the echolocating lineages. However, analyses of the "hearing" gene, Prestin seemed to favor the independent gain in echolocating species rather than a secondary loss in the pteropodids.
In addition to Yinpterochiroptera and Yangochiroptera, the names Pteropodiformes and Vespertilioniformes have also been proposed for these suborders. Under this new proposed nomenclature, the suborder Pteropodiformes includes all extant bat families more closely related to the genus Pteropus than the genus Vespertilio, while the suborder Vespertilioniformes includes all extant bat families more closely related to the genus Vespertilio than to the genus Pteropus.
Little fossil evidence is available to help map the evolution of bats, since their small, delicate skeletons do not fossilize very well. However, a Late Cretaceous tooth from South America resembles that of an early microchiropteran bat. Most of the oldest known, definitely identified bat fossils were already very similar to modern microbats. These fossils, Icaronycteris, Archaeonycteris, Palaeochiropteryx and Hassianycteris, are from the early Eocene period, 52.5 million years ago. Archaeopteropus, formerly classified as the earliest known megachiropteran, is now classified as a microchiropteran.
Bats were formerly grouped in the superorder Archonta, along with the treeshrews (Scandentia), colugos (Dermoptera), and the primates, because of the apparent similarities between Megachiroptera and such mammals. Genetic studies have now placed bats in the superorder Laurasiatheria, along with carnivorans, pangolins, odd-toed ungulates, even-toed ungulates, and cetaceans. A recent study by Zhang et al. places Chiroptera as a sister taxon to the clade Perissodactyla (which includes horses and other odd-toed ungulates). However, the first phylogenomic analysis of bats shows that they are not sisters to Perissodactyla, instead they are sisters to a larger group that includes ungulates and carnivores.
Megabats primarily eat fruit or nectar. In New Guinea, they are likely to have evolved for some time in the absence of microbats, which has resulted in some smaller megabats of the genus Nyctimene becoming (partly) insectivorous to fill the vacant microbat ecological niche. Furthermore, some evidence indicates that the fruit bat genus Pteralopex from the Solomon Islands, and its close relative Mirimiri from Fiji, have evolved to fill some niches that were open because there are no nonvolant or nonflying mammals on those islands.
FOSSIL BATS
Fossilized remains of bats are few, as they are terrestrial and light-boned. Only an estimated 12% of the bat fossil record is complete at the genus level. Fossil remains of an Eocene bat, Icaronycteris, were found in 1960. Another Eocene bat, Onychonycteris finneyi, was found in the 52-million-year-old Green River Formation in Wyoming, United States, in 2003. This intermediate fossil has helped to resolve a long-standing disagreement regarding whether flight or echolocation developed first in bats. The shape of the rib cage, faceted infraspious fossa of the scapula, manus morphology, robust clavicle, and keeled sternum all indicated Onychonycteris was capable of powered flight. However, the well-preserved skeleton showed that the small cochlea of the inner ear did not have the morphology necessary to echolocate. O. finneyi lacked an enlarged orbical apophysis on the malleus, and a stylohyal element with an expanded paddle-like cranial tip - both of which are characteristics linked to echolocation in other prehistoric and extant bat species. Because of these absences, and the presence of characteristics necessary for flight, Onychonycteris provides strong support for the “flight first” hypothesis in the evolution of flight and echolocation in bats.
The appearance and flight movement of bats 52.5 million years ago were different from those of bats today. Onychonycteris had claws on all five of its fingers, whereas modern bats have at most two claws appearing on two digits of each hand. It also had longer hind legs and shorter forearms, similar to climbing mammals that hang under branches such as sloths and gibbons. This palm-sized bat had short, broad wings, suggesting it could not fly as fast or as far as later bat species. Instead of flapping its wings continuously while flying, Onychonycteris likely alternated between flaps and glides while in the air. Such physical characteristics suggest that this bat did not fly as much as modern bats do, rather flying from tree to tree and spending most of its waking day climbing or hanging on the branches of trees. The distinctive features noted on the Onychonycteris fossil also support the claim that mammalian flight most likely evolved in arboreal gliders, rather than terrestrial runners. This model of flight development, commonly known as the "trees-down" theory, implies that bats attained powered flight by taking advantage of height and gravity, rather than relying on running speeds fast enough for a ground-level take off.
The mid-Eocene genus Necromantis is one of the earliest examples of bats specialised to hunt vertebrate prey, as well as one of the largest bats of its epoch.
HABITATS
Flight has enabled bats to become one of the most widely distributed groups of mammals. Apart from the Arctic, the Antarctic and a few isolated oceanic islands, bats exist all over the world. Bats are found in almost every habitat available on Earth. Different species select different habitats during different seasons, ranging from seasides to mountains and even deserts, but bat habitats have two basic requirements: roosts, where they spend the day or hibernate, and places for foraging. Most temperate species additionally need a relatively warm hibernation shelter. Bat roosts can be found in hollows, crevices, foliage, and even human-made structures, and include "tents" the bats construct by biting leaves.
The United States is home to an estimated 45 to 48 species of bats. The three most common species are Myotis lucifugus (little brown bat), Eptesicus fuscus (big brown bat), and Tadarida brasiliensis (Mexican free-tailed bat). The little and the big brown bats are common throughout the northern two-thirds of the country, while the Mexican free-tailed bat is the most common species in the southwest, sometimes even appearing in portions of the Southeast.
ANATOMY
WINGS
The finger bones of bats are much more flexible than those of other mammals, owing to their flattened cross-section and to low levels of minerals, such as calcium, near their tips. In 2006, Sears et al. published a study that traces the elongation of manual bat digits, a key feature required for wing development, to the upregulation of bone morphogenetic proteins (Bmps). During embryonic development, the gene controlling Bmp signaling, Bmp2, is subjected to increased expression in bat forelimbs - resulting in the extension of the offspring's manual digits. This crucial genetic alteration helps create the specialized limbs required for volant locomotion. Sears et al. (2006) also studied the relative proportion of bat forelimb digits from several extant species and compared these with a fossil of Lcaronycteris index, an early extinct species from approximately 50 million years ago. The study found no significant differences in relative digit proportion, suggesting that bat wing morphology has been conserved for over 50 million years.The wings of bats are much thinner and consist of more bones than the wings of birds, allowing bats to maneuver more accurately than the latter, and fly with more lift and less drag. By folding the wings in toward their bodies on the upstroke, they save 35 percent energy during flight. The membranes are also delicate, ripping easily; however, the tissue of the bat's membrane is able to regrow, such that small tears can heal quickly. The surface of their wings is equipped with touch-sensitive receptors on small bumps called Merkel cells, also found on human fingertips. These sensitive areas are different in bats, as each bump has a tiny hair in the center, making it even more sensitive and allowing the bat to detect and collect information about the air flowing over its wings, and to fly more efficiently by changing the shape of its wings in response. An additional kind of receptor cell is found in the wing membrane of species that use their wings to catch prey. This receptor cell is sensitive to the stretching of the membrane. The cells are concentrated in areas of the membrane where insects hit the wings when the bats capture them.
OTHER
The teeth of microbats resemble insectivorans. They are very sharp to bite through the hardened armor of insects or the skin of fruit.
Mammals have one-way valves in their veins to prevent the blood from flowing backwards, but bats also have one-way valves in their arteries.
The tube-lipped nectar bat (Anoura fistulata) has the longest tongue of any mammal relative to its body size. This is beneficial to them in terms of pollination and feeding. Their long, narrow tongues can reach deep into the long cup shape of some flowers. When the tongue retracts, it coils up inside its rib cage.
Bats possess highly adapted lung systems to cope with the pressures of powered-flight. Flight is an energetically taxing aerobic activity and requires large amounts of oxygen to be sustained. In bats, the relative alveolar surface area and pulmonary capillary blood volume are significantly larger than most other small quadrupedal mammals.
ECHOLOCATION
Bat echolocation is a perceptual system where ultrasonic sounds are emitted specifically to produce echoes. By comparing the outgoing pulse with the returning echoes, the brain and auditory nervous system can produce detailed images of the bat's surroundings. This allows bats to detect, localize, and even classify their prey in complete darkness. At 130 decibels in intensity, bat calls are some of the most intense, airborne animal sounds.
To clearly distinguish returning information, bats must be able to separate their calls from the echoes that they receive. Microbats use two distinct approaches.
Low duty cycle echolocation: Bats can separate their calls and returning echoes by time. Bats that use this approach time their short calls to finish before echoes return. This is important because these bats contract their middle ear muscles when emitting a call, so they can avoid deafening themselves. The time interval between the call and echo allows them to relax these muscles, so they can clearly hear the returning echo. The delay of the returning echoes provides the bat with the ability to estimate the range to their prey.
High duty cycle echolocation: Bats emit a continuous call and separate pulse and echo in frequency. The ears of these bats are sharply tuned to a specific frequency range. They emit calls outside of this range to avoid self-deafening. They then receive echoes back at the finely tuned frequency range by taking advantage of the Doppler shift of their motion in flight. The Doppler shift of the returning echoes yields information relating to the motion and location of the bat's prey. These bats must deal with changes in the Doppler shift due to changes in their flight speed. They have adapted to change their pulse emission frequency in relation to their flight speed so echoes still return in the optimal hearing range.
The new Yinpterochiroptera and Yangochiroptera classification of bats, supported by molecular evidence, suggests two possibilities for the evolution of echolocation. It may have been gained once in a common ancestor of all bats and was then subsequently lost in the Old World fruit bats, only to be regained in the horseshoe bats, or echolocation evolved independently in both the Yinpterochiroptera and Yangochiroptera lineages.
Two groups of moths exploit a bat sense to echolocate: tiger moths produce ultrasonic signals to warn the bats that they (the moths) are chemically protected or aposematic, other moth species produce signals to jam bat echolocation. Many moth species have a hearing organ called a tympanum, which responds to an incoming bat signal by causing the moth's flight muscles to twitch erratically, sending the moth into random evasive maneuvers.
In addition to echolocating prey, bat ears are sensitive to the fluttering of moth wings, the sounds produced by tymbalate insects, and the movement of ground-dwelling prey, such as centipedes, earwigs, etc. The complex geometry of ridges on the inner surface of bat ears helps to sharply focus not only echolocation signals, but also to passively listen for any other sound produced by the prey. These ridges can be regarded as the acoustic equivalent of a Fresnel lens, and may be seen in a large variety of unrelated animals, such as the aye-aye, lesser galago, bat-eared fox, mouse lemur, and others.
By repeated scanning, bats can mentally construct an accurate image of the environment in which they are moving and of their prey item.
OTHER SENSES
Although the eyes of most microbat species are small and poorly developed, leading to poor visual acuity, no species is blind. Microbats use vision to navigate, especially for long distances when beyond the range of echolocation, and species that are gleaners - that is, ones that attempt to swoop down from above to ambush tasty insects like crickets on the ground or moths up a tree - often have eyesight about as good as a rat's. Some species have been shown to be able to detect ultraviolet light, and most cave dwelling species have developed the ability to utilize very dim light. They also have high-quality senses of smell and hearing. Bats hunt at night, reducing competition with birds, minimizing contact with certain predators, and travel large distances (up to 800 km) in their search for food. Megabat species often have excellent eyesight as good as, if not better than, human vision; they need this for the warm climates they live in and the very social world they occupy, where relations and friends need to be distinguished from other bats in the colony. This eyesight is, unlike its microbat relations, adapted to both night and daylight vision and enables the bat to have some colour vision whereas the microbat sees in blurred shades of grey.
BEHAVIOUR
Most microbats are nocturnal and are active at twilight. A large portion of bats migrate hundreds of kilometres to winter hibernation dens, while some pass into torpor in cold weather, rousing and feeding when warm weather allows for insects to be active. Others retreat to caves for winter and hibernate for six months. Bats rarely fly in rain, as the rain interferes with their echolocation, and they are unable to locate their food.
The social structure of bats varies, with some leading solitary lives and others living in caves colonized by more than a million bats. The fission-fusion social structure is seen among several species of bats. The term "fusion" refers to a large numbers of bats that congregate in one roosting area, and "fission" refers to breaking up and the mixing of subgroups, with individual bats switching roosts with others and often ending up in different trees and with different roostmates.
Studies also show that bats make all kinds of sounds to communicate with others. Scientists in the field have listened to bats and have been able to associate certain sounds with certain behaviours that bats make after the sounds are made.
Insectivores make up 70% of bat species and locate their prey by means of echolocation. Of the remainder, most feed on fruits. Only three species sustain themselves with blood.
Some species even prey on vertebrates. The leaf-nosed bats (Phyllostomidae) of Central America and South America, and the two bulldog bat (Noctilionidae) species feed on fish. At least two species of bat are known to feed on other bats: the spectral bat, also known as the American false vampire bat, and the ghost bat of Australia. One species, the greater noctule bat, catches and eats small birds in the air.
Predators of bats include bat hawks, bat falcons and even spiders.
REPRODUCTION
Most bats have a breeding season, which is in the spring for species living in a temperate climate. Bats may have one to three litters in a season, depending on the species and on environmental conditions, such as the availability of food and roost sites. Females generally have one offspring at a time, which could be a result of the mother's need to fly to feed while pregnant. Female bats nurse their young until they are nearly adult size, because a young bat cannot forage on its own until its wings are fully developed.
Female bats use a variety of strategies to control the timing of pregnancy and the birth of young, to make delivery coincide with maximum food ability and other ecological factors. Females of some species have delayed fertilization, in which sperm is stored in the reproductive tract for several months after mating. In many such cases, mating occurs in the fall, and fertilization does not occur until the following spring. Other species exhibit delayed implantation, in which the egg is fertilized after mating, but remains free in the reproductive tract until external conditions become favorable for giving birth and caring for the offspring.
In yet another strategy, fertilization and implantation both occur, but development of the fetus is delayed until favorable conditions prevail, during the delayed development the mother still gives the fertilized egg nutrients, and oxygenated blood to keep it alive. However, this process can go for a long period of time, because of the advanced gas exchange system. All of these adaptations result in the pup being born during a time of high local production of fruit or insects.
At birth, the wings are too small to be used for flight. Young microbats become independent at the age of six to eight weeks, while megabats do not until they are four months old.
LIFE EXPECTANCY
A single bat can live over 20 years, but bat population growth is limited by the slow birth rate.
HUNTING, FEEDING AND DRINKING
Newborn bats rely on the milk from their mothers. When they are a few weeks old, bats are expected to fly and hunt on their own. It is up to them to find and catch their prey, along with satisfying their thirst.
HUNTING
Most bats are nocturnal creatures. Their daylight hours are spent grooming and sleeping; they hunt during the night. The means by which bats navigate while finding and catching their prey in the dark was unknown until the 1790s, when Lazzaro Spallanzani conducted a series of experiments on a group of blind bats. These bats were placed in a room in total darkness, with silk threads strung across the room. Even then, the bats were able to navigate their way through the room. Spallanzani concluded the bats were not using their eyes to fly through complete darkness, but something else.
Spallanzani decided the bats were able to catch and find their prey through the use of their ears. To prove this theory, Spallanzani plugged the ears of the bats in his experiment. To his pleasure, he found that the bats with plugged ears were not able to fly with the same amount of skill and precision as they were able to without their ears plugged. Unfortunately for Spallanzani, the twin concepts of sound waves and acoustics would not be understood for another century and he could not explain why specifically the bats were crashing into walls and the threads that he'd strung up around the room, and because of the methodology Spallanzani used, many of his test subjects died.
It was thus well known through the nineteenth century that the chiropteran ability to navigate had something to do with hearing, but how they accomplish this was not proven conclusively until the 1930s, by Donald R. Griffin, a biology student at Harvard University. Using a locally native species, the little brown bat, he discovered that bats use echolocation to locate and catch their prey. When bats fly, they produce a constant stream of high-pitched sounds. When the sound waves produced by these sounds hit an insect or other animal, the echoes bounce back to the bat, and guide them to the source.
FEEDING AND DIET
The majority of food consumed by bats includes insects, fruits and flower nectar, vertebrates and blood. Almost three-fourths of the world's bats are insect eaters. Bats consume both aerial and ground-dwelling insects. Each bat is typically able to consume one-third of its body weight in insects each night, and several hundred insects in a few hours. This means that a group of a thousand bats could eat four tons of insects each year. If bats were to become extinct, it has been calculated that the insect population would reach an alarmingly high number.
VITAMIN C
In a test of 34 bat species from six major families of bats, including major insect- and fruit-eating bat families, all were found to have lost the ability to synthesize vitamin C, and this loss may derive from a common bat ancestor, as a single mutation. However, recent results show that there are at least two species of bat, the frugivorous bat (Rousettus leschenaultii) and insectivorous bat (Hipposideros armiger), that have retained their ability to produce vitamin C. In fact, the whole Chiroptera are in the process of losing the ability to synthesize Vc which most of them have already lost.
AERIAL INSECTIVORES
Watching a bat catch and eat an insect is difficult. The action is so fast that all one sees is a bat rapidly change directions, and continue on its way. Scientist Frederick A. Webster discovered how bats catch their prey. In 1960, Webster developed a high-speed camera that was able to take one thousand pictures per second. These photos revealed the fast and precise way in which bats catch insects. Occasionally, a bat will catch an insect in mid-air with its mouth, and eat it in the air. However, more often than not, a bat will use its tail membrane or wings to scoop up the insect and trap it in a sort of "bug net". Then, the bat will take the insect back to its roost. There, the bat will proceed to eat said insect, often using its tail membrane as a kind of napkin, to prevent its meal from falling to the ground. One common insect prey is Helicoverpa zea, a moth that causes major agricultural damage.
FORAGE GLEANERS
These bats typically fly down and grasp their prey off the ground with their teeth, and take it to a nearby perch to eat it. Generally, these bats do not use echolocation to locate their prey. Instead, they rely on the sounds produced by the insects. Some make unique sounds, and almost all make some noise while moving through the environment.
FRUITS AND FLOWER NECTAR
Fruit eating, or frugivory, is a specific habit found in two families of bats. Megachiropterans and microchiropterans both include species of bat that feed on fruits. These bats feed on the juices of sweet fruits, and fulfill the needs of some seeds to be dispersed. The fruits preferred by most fruit-eating bats are fleshy and sweet, but not particularly strong smelling or colorful. To get the juice of these fruits, bats pull the fruit off the trees with their teeth, and fly back to their roosts with the fruit in their mouths. There, the bats will consume the fruit in a specific way. To do this, the bats crush open the fruit and eat the parts that satisfy their hunger. The remainder of the fruit, the seeds and pulp, are spat onto the ground. These seeds take root and begin to grow into new fruit trees. Over 150 types of plants depend on bats in order to reproduce.Some bats prefer the nectar of flowers to insects or other animals. These bats have evolved specifically for this purpose. For example, these bats possess long muzzles and long, extensible tongues covered in fine bristles that aid them in feeding on particular flowers and plants.[68] When they sip the nectar from these flowers, pollen gets stuck to their fur, and is dusted off when the bats take flight, thus pollinating the plants below them. The rainforest is said to be the most benefitted of all the biomes where bats live, because of the large variety of appealing plants. Because of their specific eating habits, nectar-feeding bats are more prone to extinction than any other type of bat. However, bats benefit from eating fruits and nectar just as much as from eating insects.
VERTEBRATES
A small group of carnivorous bats feed on other vertebrates and are considered the top carnivores of the bat world. These bats typically eat a variety of animals, but normally consume frogs, lizards, birds, and sometimes other bats. For example, one vertebrate predator, Trachops cirrhosus, is particularly skilled at catching frogs. These bats locate large groups of frogs by distinguishing their mating calls from other sounds around them. They follow the sounds to the source and pluck them from the surface of the water with their sharp canine teeth. Another example is the greater noctule bat, which is believed to catch birds on the wing.
Also, several species of bat feed on fish. These types of bats are found on almost all continents. They use echolocation to detect tiny ripples in the water's surface to locate fish. From there, the bats swoop down low, inches from the water, and use specially enlarged claws on their hind feet to grab the fish out of the water. The bats then take the fish to a feeding roost and consume the animal.
BLOOD
A few species of bats exclusively consume blood as their diet. This type of diet is referred to as hematophagy, and three species of bats exhibit this behavior. These species are the common, the white-winged, and the hairy-legged vampire bats. The common vampire bat typically consumes the blood of mammals, while the hairy-legged and white-winged vampires feed on the blood of birds. These species live only in Mexico, Central, and South America, with a presence also on the Island of Trinidad.
DEFECATION
Bat dung, or guano, is so rich in nutrients that it is mined from caves, bagged, and used by farmers to fertilize their crops. During the U.S. Civil War, guano was used to make gunpowder.
To survive hibernation months, some species build up large reserves of body fat, both as fuel and as insulation.
DRINKING
In 1960, Frederic A. Webster discovered bats' method of drinking water using a high-speed camera and flashgun that could take 1,000 photos per second. Webster's camera captured a bat skimming the surface of a body of water, and lowering its jaw to get just one drop of water. It then skimmed again to get a second drop of water, and so on, until it has had its fill. A bat's precision and control during flight is very fine, and it almost never misses. Other bats, such as the flying fox or fruit bat, gently skim the water's surface, then land nearby to lick water from chest fur.
WIKIPEDIA
Albrecht Dürer, Nürnberg 1471 - 1528
Adam (1507)
Museo del Prado
Dürer made this panel and its companion Eve upon returning from his second trip to Italy in 1505. Both works constitute an effort to synthesize what he had learned there, in search of a balance between Italian and Germanic approaches that would permit the ideal perfection of the human body. Thus, the choice of a biblical subject here is mere pretext. Dürer´s knowledge of the classical nude is prodigious, while the exactitude of his lines reveals the hand of a unique engraver rooted in the northern tradition. The growing Italian influence is visible in the monumental grandeur of his figures, while his Germanic orientation is clear in the colors, the precise details and a naturalist taste that is expressionist in nature. All this is further enlivened by his brilliant draftsman´s mind. This was a present from Queen Christine of Sweden to Felipe IV.
Source: Museo del Prado
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.