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A lifelong dream of mine has finally been achieved. That dream is to faithfully recreate the look of Mount St. Helens in Microsoft Flight Simulator X on the morning of May 18, 1980.
Special thanks to the USGS for providing the background data for this. In one of these captures, I replicated the famous Harry Glicken photo taken on the morning of May 17, 1980. And in another, a replication of Mount St. Helens from Bear Meadow, where the famous Gary Rosenquist sequence was captured.
To recreate the look of the peak, a special method of interpolating to the terrain model of an aerial photograph commissioned for the USGS taken by the Washington State Department of Transportation.This aerial had a one meter per pixel resolution, which provides ample details of the bulge, crater, and north flank. To simulate the rest of the peak, digital synthesizing of aerial photographs taken both May 17, 1980 and during the eruption of May 18, as well as an aerial image taken in June, 1980, sourced from USGS Earth Explorer, were done. These photos had to be digitally manipulated to match the DEM.
Palacio de Aguirre, Cartagena (Murcia), Spain
Built: 1898–1901
Architect: Víctor Beltrí (1862-1935)
Client: Camilo Aguirre, industrialist and newspaper proprietor
This opulent residence stands as a jewel of Cartagena’s late 19th-century bourgeois expansion, marrying Neo-Baroque monumentality with eclectic ornamental sophistication.
Commissioned by Camilo Aguirre, a wealthy entrepreneur whose fortune was rooted in the region’s mining boom and media influence, the palace functioned as both a family home and an architectural assertion of modern taste, cultural literacy, and upward mobility.
About Cartagena
In 1901, Cartagena was a city of strategic and symbolic importance in Spain—a historic naval stronghold undergoing a period of intense economic and urban renewal. Situated on the southeastern coast, it had long been home to the country’s principal Mediterranean naval base and shipyards.
By the turn of the 20th century, Cartagena was also at the center of a mining and industrial boom, driven by the extraction of silver, lead, and zinc from the nearby Sierra Minera. This influx of capital gave rise to a new class of bourgeois entrepreneurs, financiers, and professionals who sought to remake the city in their image: modern, cultured, and prosperous.
The construction of the Palacio de Aguirre in this context signals not only the personal ambition of its patron, Camilo Aguirre, but also the aspirations of a city eager to assert its place in the modern Spanish nation—as both a military bulwark and a symbol of civic progress, blending classical heritage with contemporary style.
Listed Status
The Palacio de Aguirre is officially designated as a Bien de Interés Cultural in the category of Monumento (Monument), which is the highest level of heritage protection in Spain. This status protects both its architectural integrity and decorative elements, including its polychrome tilework, sculptural ornamentation, and historic fabric.
Additionally, the building forms part of the Museo Regional de Arte Moderno (MURAM) and has been incorporated into the city's cultural and tourism infrastructure, further reinforcing its protected status.
🎨 Style: Historicist Eclecticism meets the Aesthetic Movement
The building synthesizes a rich variety of historicist vocabularies, from Baroque and Renaissance revival to the Aesthetic and Eastlake movements then circulating through European design discourse. Its intricate surface program reveals Beltrí’s fluency with:
•Arts & Crafts and Eastlake linearity, evident in the rhythmic scrolls, plant forms, and stylized beasts
•Spanish and Italian Baroque massing (note the heavily bracketed cornices and ornamental cresting)
•Renaissance grotesque motifs, especially in the ceramic panels
Ceramic Iconography: Pleasure, Labor, and Moral Complexity
A highlight of the façade is the vibrant polychrome tile frieze, where putti harvest grapes amid thistles and symbolic flora. This program draws directly on Roman and Renaissance precedents:
•The grape harvest invokes Bacchic fertility, but here labor is emphasized—putti are not frolicking but toiling, echoing bourgeois work ethic.
•The thistle, beneath soft flesh and ripe fruit, injects emotional and symbolic tension: a reminder of the pain beneath pleasure, or the hard reality beneath surface delight.
•Elsewhere, a putto presents a green parrot perched on a ring—a scene of exotic domesticity, but also allegory: a tamed, mimicking creature symbolizing artifice, desire, and aestheticized nature.
🐉 Scrollwork Beasts and Decorative Lineage
Surrounding these scenes, ceramic panels display scroll-and-beast motifs—hybrid zoomorphic forms emerging from foliage. These derive from:
•Roman grotesque wall painting, filtered through Renaissance revival and 19th-century pattern books.
•Possibly influenced by Moorish ornamental flattening or Japoniste abstraction, part of the wider Aesthetic Movement.
These “botanicomorphic” beasts, unreal by design, assert cultivated imagination—a hallmark of both imperial Rome and modern elite culture. Their presence signals control over the fantastical, a visual assertion of taste, intellect, and privilege.
🐝 Architectural Allegory in Relief and Iron
On the tower, relief bees and stylized botanical panels add another symbolic layer. The bee—a classical emblem of industry, order, and fertility—underscores the patron’s narrative: this is a house of productive labor, refined taste, and civilizing aspiration. Even the wrought iron balcony grilles echo Eastlake wood carving in their intricate scrollwork—nature made geometric, ornament made discipline.
A mixed-use building from the outset:
✔️ Primary Use: Family Residence
The upper floors, particularly the ornate corner rooms and formal salon spaces, were undoubtedly intended as private domestic quarters for the Aguirre family.
The architectural richness—putti, allegorical tiles, wrought iron balconies, and symbolic reliefs—aligns with the bourgeois ideal of the cultivated home, a stage for displaying wealth, refinement, and cultural legitimacy.
✔️ Secondary Use: Business and Social Functions
Camilo Aguirre was more than a rentier—he was an entrepreneur, linked to the regional press, mining interests, and finance.
Like many Spanish industrialist homes of the period, it is plausible that the ground floor or a lateral wing housed offices related to:
Aguirre’s publishing ventures (possibly editorial or administrative spaces)
Business meeting rooms for investment partnerships or civic involvement
Such arrangements were typical of urban palacetes—blending domestic life and elite professional activity in one structure.
Supporting Clues from the Architecture
The arched main door and grander-than-domestic vestibule suggest semi-public or business-related access.
The vertical zoning—more decorative and symbolic elements concentrated on upper façades—often marked a distinction between public-facing lower floors and private upper floors.
️ Afterlife: From Private Palace to Public Use
By the mid-20th century, the palace had ceased to function as a private residence.
It now houses the Museo Regional de Arte Moderno de Cartagena (MURAM)—a fitting reuse that continues the building’s role as a showcase of cultural aspiration.
Final Note
The Palacio de Aguirre is not just eclectic—it is encoded. It offers a narrative façade, in which labor and luxury, sensuality and discipline, mythology and modernity are layered into its ornament. Whether or not Camilo Aguirre grasped every classical or mythic reference, he certainly intended to project cultural legitimacy, moral rectitude, and aesthetic modernity—the values of a man made in the age of industry, but longing to be remembered in the idiom of empire.
About the Architect
Víctor Beltrí (1862–1935) was a prolific and versatile architect who played a transformative role in shaping Cartagena’s architectural identity during its late 19th- and early 20th-century boom. A Catalan by birth and trained in Barcelona, Beltrí brought to Murcia a refined blend of eclectic historicism, Modernisme, and regionalist idioms, applying them across public, religious, and residential buildings.
Here are some of his most notable surviving works, nearly all in Cartagena:
️ Casa Cervantes (1900–1901)
•One of his earliest major commissions in Cartagena, built for the industrialist José María Cervantes.
•Strongly eclectic, with Neo-Baroque and Neo-Renaissance features.
•Known for its decorative stuccowork, ironwork balconies, and elegant symmetry.
🏫 Casa Llagostera (1916)
•A more Modernista work, distinguished by elaborate ceramic tile panels and stylized floral motifs.
•Famous for its ceramic depictions of Cervantine characters (Don Quixote and Sancho Panza), referencing the owner’s name.
🏨 Grand Hotel of Cartagena (1907)
•Perhaps Beltrí’s most iconic secular work.
•A true Modernista showpiece, with a curved corner façade, domed turret, lavish iron balconies, and Art Nouveau ornament.
•Its exuberant decorative program and urban prominence make it one of Cartagena’s architectural landmarks.
⛪ Iglesia de la Caridad (restoration and dome, early 20th c.)
•Beltrí contributed to the renovation of this Baroque church, particularly the dome and lateral chapels.
•The church is the spiritual heart of Cartagena, housing the patron saint Nuestra Señora de la Caridad.
🏫 Casa Clares (1905)
•Residential and commercial building with wrought iron balconies, stucco ornament, and a carefully proportioned façade.
•A good example of Beltrí’s ability to adapt ornamental richness to smaller-scale urban commissions.
️ Casino de Cartagena (remodeling, early 20th century)
•Beltrí was responsible for major interior renovations to this 19th-century social club.
•He introduced Neo-Mudejar elements, stained glass, and eclectic interiors that blend orientalist fantasy with bourgeois refinement.
🏥 Hospital de la Caridad Expansion
•Beltrí also worked on institutional architecture, contributing to the expansion of Cartagena’s medical infrastructure.
Summary of Beltrí’s Significance
Beltrí’s legacy lies in his stylistic range: from strict academic revivalism (as in the Palacio de Aguirre) to Art Nouveau experimentation, always tailored to his patrons’ ambitions. His buildings remain among the most photographed and best-preserved examples of Cartagena’s golden age architecture.
This text is a collaboration with Chat GPT
Forbidden Planet (MGM, 1956).
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.
Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
Starring Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly, Richard Anderson, Earl Holliman, and Robby the Robot. Directed by Fred M. Wilcox.
Trying to repair the damage from the intruder. Based loosely on Shakespeare's The Tempest, this classic sci-fi thriller explores the power of the mind. Creatures from the Id attack a party of spacemen who've come to check up on a reclusive scientist and his daughter. Forbidden Planet was influential on a wide variety of media, and particularly on the subsequent Star Trek TV series, which cribbed a lot of details from the film.
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.
Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
The Aegean Sea, ca. 1877
Frederic Edwin Church (American, 1826–1900)
Oil on canvas
54 x 63 1/4 in. (137.2 x 160.7 cm)
Bequest of Mrs. William H. Osborn, 1902 (02.23)
In 1868–69, Church traveled from the Near East through Asia Minor to Rome, from where he made an excursion to southern Italy and Greece before returning to America. Painted eight years later, The Aegean Sea synthesizes his perceptions along that path, characterizing within a single panorama sites such as Petra in present-day Jordan, Baalbek in Lebanon, Constantinople in Turkey, and probably Athens in Greece. Then beset by ethnic and national conflict, this crossroads of East and West is transfigured by one of the artist's miraculous-looking rainbows, as if he were seeking to impose armistice and comity at a time, on the one hand, of astounding archaeological discovery in Asia Minor and, on the other, of war between Turkey and Russia.
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.
Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
From the Dirty Laundry Cabaret.
DL2 111023
© 2011 Lloyd Thrap Photography for Halo Media Group
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Community is our reason to exist, the most essential element to Talking Fountain flow, letting expression go where ever it wants to.From arts&crafts with receptions, fundraising& weekly events, our doors and arms are open to the needs of our people.
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© 2011 Lloyd Thrap Photography for Halo Media Group
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Model: Tara.
Photo by: Lloyd Thrap.
Produced by: model shop studio.
Shot on Location at the October 25th 2008 Black Market Goods art show in albuquerque New Mexico
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Seen from the Ayasofya (Hagia Sophia). The design of the Sultan Ahmed Mosque (completed in 1616) 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, Sedefkar Mehmed Agha, has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
Model: # 47
© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group
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represented by www.happylane.co
review on Cycle Tech Review
Story: After the Sony review was a bust when it got discontinued, and still hadn’t gotten a Lollipop upgrade, I went looking for what else was available. Something waterproof and great for cycling but not some kind of weird military looking phone. There aren’t many options out there but the one I did find was the HTC Desire Eye. In terms of photographing it the thing I wanted to do was tell the story of the product. What is compelling about it and how do you synthesize that into an image.
Lighting: Really simple lighting. For the main shot there is a single Einstein light being triggered by a pocket wizard. The shot of the screen is just natural light in a dark room.
Diploria - in-situ fossil brain coral colony on the Devil's Point Hardground in the reef facies of the Cockburn Town Member, upper Grotto Beach Formation at the Cockburn Town Fossil Reef, western margin of San Salvador Island.
The Cockburn Town Fossil Reef is a well-preserved, well-exposed Pleistocene fossil reef. It consists of non-bedded to poorly-bedded, poorly-sorted, very coarse-grained, aragonitic fossiliferous limestones (grainstones and rubblestones), representing shallow marine deposition in reef and peri-reef facies. Cockburn Town Member reef facies rocks date to the MIS 5e sea level highstand event (early Late Pleistocene).
Notice that the fossil brain coral shown above is encrusting an irregular surface. This surface is an unconformity and is traceable throughout the outcrop. It represents a limestone hardground surface that formed during a short-lived, mid-5e regression called the Devil's Point Event, dated to somewhere between 120 and 123 ka. After the event, high sea level returned. This coral was one of the earliest inhabitants of this locality’s shallow seafloor after the mid-5e regression. The Devil's Point Unconformity is present on most Bahamian islands and is traceable to Florida and Mexico. The more deeply flooded carbonate platforms in the Bahamas, such as Mayaguana Island, were not significantly affected by the mid-5e regression.
The rocks and fossils below the unconformity are referred to as "Reef 1". The rocks and fossils above are called "Reef 2". Isotopic dating has been done on 122 coral samples from the Cockburn Town Fossil Reef. The oldest is 127 ka and the youngest is 114.3 ka. Including dates from San Salvador Island to Great Inagua Island, Reef 1 has an average age of 123.5 ka, and Reef 2 has an average age of 119.5 ka.
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The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
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Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
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Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
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Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
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San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
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Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature list below), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
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The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
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Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
© 2008 2025 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Shales over carbonates in the Devonian of Kentucky, USA.
The outcrop seen here consists of the basal-preserved beds of the New Albany Shale unconformably overlying carbonates of the Duffin Limestone - both are Devonian in age. The shales are dolomitic and are part of the Trousdale / Blocher Member. A lag unit is present between the Trousdale and the Duffin. The top of the lag unit is subplanar at outcrop scale and the bottom of the lag unit has outcrop-scale paleotopography (see figure 2.3.3 of Schieber & Lazar, 2004). The lag consists principally of a mix of detrital dolomite, quartz sand, and silicified / chertified fossil fragments. The Duffin rocks underlying the lag are calcareous-dolomitic sandstones with some crystal-lined vugs. Duffin sediments are probably reworked from the Boyle Formation, which occurs underneath the Duffin.
Stratigraphy: Trousdale / Blocher Member (New Albany Shale / Ohio Shale / Chattanooga Shale, Givetian Stage, upper Middle Devonian) over the Duffin Limestone (Givetian Stage, upper Middle Devonian)
Locality: roadcut on the eastern side of Route 127, just south of Bowens Road intersection & just north of bridge over Harris Creek, ~3 miles south of Junction City, northwestern Lincoln County, central Kentucky, USA (37˚ 32.619’ North latitude, 84˚ 48.135’ West longitude) (= Stop 3A of Schieber & Lazar, 2004, pp. 24-29)
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Synthesized from:
Schieber, J. & R. Lazar (eds.). 2004. Devonian black shales of the eastern U.S. New insights into sedimentology and stratigraphy from the subsurface and outcrops in the Illinois and Appalachian Basins. Field Guide for the 2004 Annual Field Conference of the Great Lakes Section of SEPM. Indiana Geological Survey Open-File Study 04-05. 90 pp.
The Ghost Dance, (also called the Ghost Dance of 1890) was a new religious movement which was incorporated into numerous Native American belief systems. According to the prophet Jack Wilson (Wovoka)'s teachings, proper practice of the dance would reunite the living with the spirits of the dead and bring peace, prosperity, and unity to native peoples throughout the region.
The basis for the Ghost Dance, the circle dance, is a traditional ritual which has been used by many Native Americans since prehistoric times, but this new form was first practiced among the Nevada Paiute in 1889. The practice swept throughout much of the Western United States, quickly reaching areas of California and Oklahoma. As the Ghost Dance spread from its original source, Native American tribes synthesized selective aspects of the ritual with their own beliefs. This process often created change in both the society that integrated it, and in the ritual itself.
The chief figure in the movement was the prophet of peace, Jack Wilson, known as Wovoka among the Paiute. He prophesied a peaceful end to white expansion while preaching goals of clean living, an honest life, and cross-cultural cooperation by Native Americans. Practice of the Ghost Dance movement was believed to have contributed to Lakota resistance. In the Wounded Knee Massacre in 1890, U.S. Army forces killed at least 153 Lakota Sioux. The Sioux variation on the Ghost Dance tended towards millenarianism, an innovation that distinguished the Sioux interpretation from Jack Wilson's original teachings. The Caddo Nation still practices the Ghost Dance today.
The Northern Paiutes living in Mason Valley, in what is now the U.S. state of Nevada, were known collectively as the Tövusi-dökadö (Tövusi-: "Cyperus bulb" and dökadö: "eaters") at the time of European-American settlement. The Northern Paiute community thrived upon a subsistence pattern of foraging and augmenting their diets with fish, pine nuts, wild game, and foraging for roots such as Cyperus esculentus.
The Tövusi-dökadö lacked any permanent political organization or officials. They followed self-proclaimed spiritually blessed individuals who organized events or activities for the betterment of the group as a whole. Community events centered on the observance of a ritual at a prescribed time of year or were intended to organize activities like harvests or hunting parties. In 1869, Hawthorne Wodziwob, a Paiute man, organized a series of community dances to announce his vision. He spoke of a journey to the land of the dead and of promises made to him by the souls of the recently deceased.
Wodziwob's peers accepted this vision, likely due to his reputable status as a healer, as he urged the populace to dance the common circle dance as was customary during a time of celebration. He continued preaching this message for three years with the help of a local "weather doctor" named Tavibo, father of Jack Wilson.
Prior to Wodziwob's religious movement, a devastating typhoid epidemic struck in 1867. This and other European diseases killed approximately one-tenth of the total population, resulting in widespread psychological and emotional trauma. The disruption brought disorder to the economic system and society. Many families were prevented from continuing their nomadic lifestyle. Left with few options, many families ended up in Virginia City seeking employment for wages.
Referred to as the "round dance", this ritual form characteristically includes a circular community dance held around an individual who leads the ceremony. It was used in many community rituals. Often accompanying the ritual are intermissions of trance, exhortations and prophesying.
The anthropologist Leslie Spier used the term "prophet dances" to describe this kind of ritual during his studies of the Pacific Northwest tribes. He studied peoples of the Columbia plateau (a region including Washington, Oregon, Idaho, and parts of western Montana). As Spier's study was conducted at a time when most of these rituals had already incorporated Christian elements, investigation of the round dance's origin was complicated.
Enculturation and diffusion are not the only explanations for the common circle dance rituals. Anthropologist James Mooney was one of the first to study the circle dance. He observed striking similarities in many Native American rituals. However, he also claimed that "a hope and longing common to all humanity, manifests through behavior rooted in human physiology and common experience", therefore alluding to either the notion of universal imprints on the human mind or to ubiquitous behaviors drawn from universal life courses that led to the ritual form.
Jack Wilson, the prophet formerly known as Wovoka, was believed to have had a vision during a solar eclipse on January 1, 1889. It was reportedly not his first time experiencing a vision directly from God; but as a young adult, he claimed that he was then better equipped, spiritually, to handle this message. Jack had received training from an experienced holy man under his parents' guidance after they realized that he was having difficulty interpreting his previous visions. Jack was also training to be a "weather doctor", following in his father's footsteps. He was known throughout Mason Valley as a gifted and blessed young leader. Preaching a message of universal love, he often presided over circle dances, which symbolized the sun's heavenly path across the sky.
Jack Wilson claimed to have left the presence of God convinced that if every Indian in the West danced the new dance to "hasten the event", all evil in the world would be swept away, leaving a renewed Earth filled with food, love, and faith. Quickly accepted by his Paiute brethren, the new religion was termed "Dance In A Circle". Because the first European contact with the practice came by way of the Sioux, their expression Spirit Dance was adopted as a descriptive title for all such practices. This was subsequently translated as "Ghost Dance".
Through Native Americans and some Anglo-Americans, Wilson's message spread across much of the western portion of the United States. Early in the religious movement, many tribes sent members to investigate the self-proclaimed prophet, while other communities sent delegates only to be cordial. Regardless of their initial motivations, many left as believers and returned to their homeland preaching his message. The Ghost Dance was also investigated by many Mormons from Utah, for whom the concepts of the Native American prophet were familiar and often accepted. While most followers of the Ghost Dance understood Wovoka's role as being that of a teacher of pacifism and peace, others did not.
In February 1890, the United States government broke a Lakota treaty by adjusting the Great Sioux Reservation of South Dakota (an area that formerly encompassed the majority of the state) and breaking it up into five smaller reservations. The government was accommodating white homesteaders from the eastern United States; in addition, it intended to "break up tribal relationships" and "conform Indians to the white man's ways, peaceably if they will, or forcibly if they must."
On the reduced reservations, the government allocated family units on 320-acre (1.3 km2) plots for individual households. The Lakota were expected to farm and raise livestock, and to send their children to boarding schools. With the goal of assimilation, the schools taught English and Christianity, as well as European-American cultural practices. Generally, they forbade inclusion of Native American traditional culture and language. To help support the Sioux during the period of transition, the Bureau of Indian Affairs (BIA) was to supplement the Sioux with food and to hire white farmers as teachers for the people. The farming plan failed to take into account the difficulty which Sioux farmers would have in trying to cultivate crops in the semi-arid region of South Dakota. By the end of the 1890 growing season, a time of intense heat and low rainfall, it was clear that the land was unable to produce substantial agricultural yields. Unfortunately, this was also the time when the government's patience with supporting the so-called "lazy Indians" ran out. They cut rations for the Sioux in half. With the bison having been virtually eradicated a few years earlier, the Sioux were at risk of starvation.
The people turned to the Ghost Dance ritual, which frightened the supervising agents of the BIA. Kicking Bear was forced to leave Standing Rock, but when the dances continued unabated, Agent McLaughlin asked for more troops. He claimed the Hunkpapa spiritual leader Sitting Bull was the real leader of the movement. A former agent, Valentine McGillycuddy, saw nothing extraordinary in the dances and ridiculed the panic that seemed to have overcome the agencies, saying: "The coming of the troops has frightened the Indians. If the Seventh-Day Adventists prepare the ascension robes for the Second Coming of the Savior, the United States Army is not put in motion to prevent them. Why should not the Indians have the same privilege? If the troops remain, trouble is sure to come."
Nonetheless, thousands of additional U.S. Army troops were deployed to the reservation. On December 15, 1890, Sitting Bull was arrested for failing to stop his people from practicing the Ghost Dance. During the incident, one of Sitting Bull's men, Catch the Bear, fired at Lieutenant "Bull Head," striking his right side. He instantly wheeled and shot Sitting Bull, hitting him in the left side, between the tenth and eleventh ribs; this exchange resulted in deaths on both sides, including that of Sitting Bull.
Big Foot, also known as Spotted Elk, was a Miniconjou leader on the U.S. Army's list of "trouble-making" Indians. He was stopped while en route to convene with the remaining Sioux chiefs. U.S. Army officers forced him to relocate with his people to a small camp close to the Pine Ridge Agency. Here the soldiers could more closely watch the old chief.
That evening, December 28, the small band of Sioux erected their tipis on the banks of Wounded Knee Creek. The following day, during an attempt by the officers to collect weapons from the band, one young, deaf Sioux warrior refused to relinquish his arms. A struggle followed in which somebody's weapon discharged into the air. One U.S. officer gave the command to open fire, and the Sioux responded by taking up previously confiscated weapons; the U.S. forces responded with carbine firearms and several rapid-fire light-artillery (Hotchkiss) guns mounted on the overlooking hill.
When the fighting had concluded, 25 U.S. soldiers lay dead, many killed by friendly fire.
Among the 153 dead Sioux, most were women and children.
Twenty U.S. soldiers received Medals of Honor for their actions. American Indian and human rights activists have referred to these as "Medals of Dis-Honor" and called for the awards to be rescinded, but none of them have ever been revoked.
Bobby Momenteller - Photography by: Alex Gonzalez of VPXSPORTS.COM
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Photo taken by Linden Hudson (amateur photographer) in Paris France (March 2017).
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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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.
Tarnished native silver wires 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. 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.
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Model: Chelsea, Damm ™
Model: Nick.
Location: model shop studio, Albuquerque, NM. USA
© 2009 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.
Kimberlite from the Jurassic of Sierra Leone, Africa. (~6.1 centimeters across at its widest)
Kimberlites and lamproites have significant economic importance because they are host rocks for gem-grade and industrial-grade diamonds. Kimberlites and lamproites are unusual igneous bodies having overall pipe-shaped geometries. Their mode of formation is only moderately understood because they have not been observed forming. They are known from scattered localities throughout the world - only some are significantly diamondiferous. Classic localities for diamonds are India and Brazil. Africa was later discovered to have many kimberlites and is world-famous for producing large numbers of diamonds. Other notable diamondiferous kimberlite-lamproite occurrences include Russia, China, northwestern Australia, and northwestern Canada.
Kimberlites are named for the town of Kimberley, South Africa, where several kimberlite pipes occur. Kimberlites have a gently tapering-downward, pipe-shaped cross-section.
The slightly bluish-green kimberlite sample seen here is from the diamondiferous Koidu Kimberlite Complex of Jurassic age in eastern Sierra Leone, West Africa. The rounded, whitish- to pale green-colored grains are serpentinized olivine crystals having a mesh texture (reticulate texture) (click on the photo once or twice to zoom in). The sample is probably from one of the kimberlite dikes in the area (Dike Zone B, C, or D of Tompkins & Haggerty, 1984).
Location: probably derived from the Yengema-Koidu (Sefadu) area, eastern Sierra Leone, West Africa
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Info. mostly synthesized from:
Linda Tompkins (pers. comm.)
Stuart McRae (pers. comm.)
Tompkins & Haggerty (1984) - Kimberlites I: kimberlites and related rocks. in: Proceedings of the “Third International Kimberlite Conference”, volume 1. Developments in Petrology 11A.
© 2011 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.
Model: Minervana
Location: Black Market Goods Gallery,
Albuquerque, New Mexico.
Lloyd-Thrap-Creative-Photography
© 2009 2018 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.
Oil on canvas; 76 x 64 cm.
A native of Reggio Calabria, Boccioni studied art through the Scuola Libera del Nudo at the Accademia di Belle Arti in Rome, beginning in 1901. He also studied design with a sign painter in Rome. Together with his friend Gino Severini, he became a student of Giacomo Balla, a divisionist painter. In 1906, Boccioni studied Impressionist and Post-Impressionist styles in Paris. During the late 1906 and early 1907, he shortly took drawing classes at the Accademia di Belle Arti in Venice. In 1901, Boccioni first visited the Famiglia Artistica, a society for artists in Milan. After moving there in 1907, he became acquainted with fellow Futurists, including the famous poet Filippo Tommaso Marinetti. The two artists would later join with others in writing manifestos on Futurism.
Boccioni became the main theorist of the artistic movement. He also decided to be a sculptor after he visited various studios in Paris, in 1912, among which those of Braque, Archipenko, Brancusi, Raymond Duchamp-Villon and, probably, Medardo Rosso. While in 1912 he exhibited some paintings together with other Italian futurists at the Bernheim-Jeun, in 1913 he returned to show his sculptures at the Gallerie La Boetie: all related to the elaboration of what Boccioni had seen in Paris, they in their turn probably influenced the cubist sculptors, especially Duchamp-Villon.
In 1914, he published Pittura e scultura futuriste (dinamismo plastico) explaining the aesthetics of the group: “While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.” He exhibited in London, together with the group, in 1912 (Sackville Gallery) and 1914 (Doré Gallery): the two exhibitions made a deep impression on a number of young English artists, in particular C.R.W. Nevinson, who joined the movement: others aligned themselves instead to its British equivalent, Vorticism, led by Wyndham Lewis.
Mobilized in the declaration of war, Boccioni was assigned to an artillery regiment at Sorte, near Verona. On 16 August 1916, Boccioni was thrown from his horse during a cavalry training exercise and was trampled. He died the following day, age thirty-three.
Diploria strigosa - fossil symmetrical brain coral colony in the reef facies of the Cockburn Town Member, upper Grotto Beach Formation at the Cockburn Town Fossil Reef, western margin of San Salvador Island.
The Cockburn Town Fossil Reef is a well-preserved, well-exposed Pleistocene fossil reef. It consists of non-bedded to poorly-bedded, poorly-sorted, very coarse-grained, aragonitic fossiliferous limestones (grainstones and rubblestones), representing shallow marine deposition in reef and peri-reef facies. Cockburn Town Member reef facies rocks date to the MIS 5e sea level highstand event (early Late Pleistocene). Dated corals in the Cockburn Town Fossil Reef range in age from 114 to 127 ka.
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The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
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Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
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Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
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Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
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San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
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Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature list below), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
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The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
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Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
1979
This was one of the first digital synthesized tuner. It was constructed with a little help from Pioneer. The massive 19 "aluminum front was a typical feature of the Phase Linear series. It looks very good to the famous amp line from Bob Carvers Phase Linear line. Now I'm looking for an amp.
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Der 5100 II war seinerzeit einer der ersten Tuner mit einer digitalen Abstimmungstechnik. Mit etwas Hilfe von Pioneer wurde er entwickelt. Die solide 19" Front gehörte zum typischen Erscheinungsbild der Phase Linear Serie. In Set mit Bob Carvers sehr leistungsstarken Phase Linear Endverstärkern gibt es einen professionellen Look. Hat jemand noch einen Amp für mich ;-)
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.
Chris might be many miles away in Nicaragua with the Peace Corps, but make no doubt about it that Reviva has only just begun.
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Diploria strigosa - fossil symmetrical brain coral colony in the reef facies of the Cockburn Town Member, upper Grotto Beach Formation at the Cockburn Town Fossil Reef, western margin of San Salvador Island.
The Cockburn Town Fossil Reef is a well-preserved, well-exposed Pleistocene fossil reef. It consists of non-bedded to poorly-bedded, poorly-sorted, very coarse-grained, aragonitic fossiliferous limestones (grainstones and rubblestones), representing shallow marine deposition in reef and peri-reef facies. Cockburn Town Member reef facies rocks date to the MIS 5e sea level highstand event (early Late Pleistocene). Dated corals in the Cockburn Town Fossil Reef range in age from 114 to 127 ka.
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The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
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Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
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Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
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Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
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San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
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Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature list below), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
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The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
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Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
The Sultan Ahmed Mosque has five main domes, 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. It has a forecout and special area for abulation. In the middle it has a big fountain. On the upper side it has a big chain. The upper area is made up of 20000 ceramic tiles each having 60 tulip designs. In the lower area it has 200 stained glass
“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.
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.
Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
. . . as you can see here: all soldiers are individually styled and all faces are different - no assembly production of the heads and uniforms
_______________________________________
The Terracotta Army or the "Terracotta Warriors and Horses" is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. It is a form of funerary art buried with the emperor in 210–209 BCE and whose purpose was to protect the emperor in his afterlife.The figures, dating from approximately the late third century BCE, were discovered in 1974 by local farmers in Lintong District, Xi'an, Shaanxi province. The figures vary in height according to their roles, with the tallest being the generals. The figures include warriors, chariots and horses. Estimates from 2007 were that the three pits containing the Terracotta Army held more than 8,000 soldiers, 130 chariots with 520 horses and 150 cavalry horses, the majority of which remained buried in the pits nearby Qin Shi Huang's mausoleum. Other terracotta non-military figures were found in other pits, including officials, acrobats, strongmen and musicians.
BACKGROUND
The Terracotta Army was discovered on 29 March 1974 to the east of Xi'an in Shaanxi province by farmers digging a water well approximately 1.6 kilometres east of the Qin Emperor's tomb mound at Mount Li (Lishan), a region riddled with underground springs and watercourses. For centuries, occasional reports mentioned pieces of terracotta figures and fragments of the Qin necropolis – roofing tiles, bricks and chunks of masonry. This discovery prompted Chinese archaeologists to investigate, revealing the largest pottery figurine group ever found in China.
NECROPROLIS
In addition to the warriors, an entire necropolis built for the emperor was found surrounding the first emperor's tomb mound. The earthen tomb mound is located at the foot of Mount Li and built in a pyramidal shape with Qin Shi Huang’s necropolis complex constructed as a microcosm of his imperial palace or compound.
It consists of several offices, halls, stables, and other structures placed around the tomb mound, which is surrounded by two solidly built rammed earth walls with gateway entrances. Up to 5 metres of reddish, sandy soil had accumulated over the site in the two millennia following its construction, but archaeologists found evidence of earlier disturbances at the site. During the excavations near the Mount Li burial mound, archaeologists found several graves dating from the eighteenth and nineteenth centuries, where diggers had apparently struck terracotta fragments. These were discarded as worthless and used along with soil to back fill the excavations.
HISTORY
According to the writings of historian Sima Qian (145–90 BCE), work on the mausoleum began in 246 BCE soon after Emperor Qin (then aged 13) ascended the throne. The project eventually involved 700,000 workers. Geographer Li Daoyuan, writing six centuries after the First Emperor's death, recorded in Shui Jing Zhu that Mount Li was a favoured location due to its auspicious geology, "famed for its jade mines, its northern side was rich in gold, and its southern side rich in beautiful jade; the First Emperor, covetous of its fine reputation, therefore chose to be buried there". Sima Qian, in his most noted work, Shiji, finished a century after the mausoleum's completion, wrote that the First Emperor was buried with palaces, towers, officials, valuable artifacts and wondrous objects. According to this account, 100 rivers had their flow simulated by mercury, and above them the ceiling was decorated with heavenly bodies below which were the features of the land. Some translations of this passage refer to "models" or "imitations," however those words were not used in the original text, which makes no mention of the terracotta army.
High levels of mercury were found in the soil of the tomb mound, giving credence to Sima Qian's account.
Later historical accounts suggested that the tomb had been looted by Xiang Yu, a contender for the throne after the death of the first emperor, however, there are indications that the tomb may not have been plundered.
CONSTRUCTION
The terracotta army figures were manufactured in workshops by government laborers and local craftsmen using local materials. Heads, arms, legs, and torsos were created separately and then assembled. Eight face moulds were most likely used, with clay added after assembly to provide individual facial features.
It is believed that the warriors' legs were made in much the same way that terracotta drainage pipes were manufactured at the time. This would classify the process as assembly line production, with specific parts manufactured and assembled after being fired, as opposed to crafting one solid piece and subsequently firing it. In those times of tight imperial control, each workshop was required to inscribe its name on items produced to ensure quality control. This has aided modern historians in verifying which workshops were commandeered to make tiles and other mundane items for the terracotta army. Upon completion, the terracotta figures were placed in the pits in precise military formation according to rank and duty.
The terracotta figures are life-sized. They vary in height, uniform, and hairstyle in accordance with rank. Most originally held real weapons such as spears, swords, or crossbows. Originally, the figures were also painted with bright pigments, variously coloured pink, red, green, blue, black, brown, white and lilac. The coloured lacquer finish, individual facial features, and weapons used in producing these figures increased the figures' realism. Most of the original weapons were looted shortly after the creation of the army, or have rotted away, while the colour coating flaked off or greatly faded.
THE TOMB
The tomb appears to be a hermetically-sealed space the size of a football pitch. The tomb remains unopened, given concerns about preserving its artifacts. For example, after their excavation, the painted surface present on some terracotta figures began to flake and fade. The lacquer covering the paint can curl in fifteen seconds once exposed to Xi'an's dry air and can flake off in just four minutes. There is speculation of a possible Hellenistic link to these sculptures, due to the lack of life-sized and realistic sculptures prior to the Qin dynasty according to some scholars.
EXCAVATION SITE
PITS
Four main pits approximately 7 metres deep have been excavated. These are located approximately 1.5 kilometres east of the burial mound. The soldiers within were laid out as if to protect the tomb from the east, where all the Qin Emperor's conquered states lay.
PIT ONE
Pit one, which is 230 metres long and 62 metres wide,contains the main army of more than 6,000 figures. Pit one has 11corridors, most of which are more than 3 metres wide and paved with small bricks with a wooden ceiling supported by large beams and posts. This design was also used for the tombs of nobles and would have resembled palace hallways when built. The wooden ceilings were covered with reed mats and layers of clay for waterproofing, and then mounded with more soil raising them about 2 to 3 metres above the surrounding ground level when completed.
OTHERS
Pit two has cavalry and infantry units as well as war chariots and is thought to represent a military guard. Pit three is the command post, with high-ranking officers and a war chariot. Pit four is empty, perhaps left unfinished by its builders.
Some of the figures in pit one and two show fire damage, while remains of burnt ceiling rafters have also been found.
These, together with the missing weapons, have been taken as evidence of the reported looting by Xiang Yu and the subsequent burning of the site, which is thought to have caused the roof to collapse and crush the army figures below. The terracotta figures currently on display have been restored from the fragments.Other pits that formed the necropolis also have been excavated. These pits lie within and outside the walls surrounding the tomb mound. They variously contain bronze carriages, terracotta figures of entertainers such as acrobats and strongmen, officials, stone armour suits, burials sites of horses, rare animals and labourers, as well as bronze cranes and ducks set in an underground park.
WEAPONRY
Weapons such as swords, spears, battle-axes, scimitars, shields, crossbows, and arrowheads were found in the pits. Some of these weapons, such as the swords are sharp and were coated with a 10–15 micrometre layer of chromium dioxide and kept the swords rust-free for 2,000 years. The swords contain an alloy of copper, tin, and other elements including nickel, magnesium, and cobalt. Some carry inscriptions that date manufacture between 245 and 228 BCE, indicating they were used as weapons before their burials.
An important element of the army is the chariot, of which four types were found. In battle the fighting chariots form pairs at the head of a unit of infantry. The principal weapon of the charioteers was the ge or dagger-axe, an L-shaped bronze blade mounted on a long shaft used for sweeping and hooking at the enemy. Infantrymen also carried ge on shorter shafts, ji or halberds and spears and lances. For close fighting and defence, both charioteers and infantrymen carried double-edged straight swords. The archers carried crossbows, with sophisticated trigger mechanisms, capable of firing arrows farther than 800 metres.
EXHIBITIONS
A collection of 120 objects from the mausoleum and 20 terracotta warriors were displayed at the British Museum in London as its special exhibition "The First Emperor: China's Terracotta Army" from 13 September 2007 to April 2008. This exhibition made 2008 the British Museum's most successful year and made the British Museum the United Kingdom's top cultural attraction between 2007 and 2008. The exhibition brought the most visitors to the museum since the King Tutankhamun exhibition in 1972. It was reported that the initial batch of tickets sold out so fast that the museum extended its opening hours until midnight on Thursdays to Sundays. According to The Times, many people had to be turned away, despite the extended hours. During the day of events to mark the Chinese New Year, the crush was so intense that the gates to the museum had to be shut. The Terracotta Army has been described as the only other set of historic artifacts (along with the remnants of wreck of the RMS Titanic) that can draw a crowd by the name alone.
Warriors and other artifacts were exhibited to the public at the Forum de Barcelona in Barcelona between 9 May and 26 September 2004. It was their most successful exhibition ever. The same exhibition was presented at the Fundación Canal de Isabel II in Madrid between October 2004 and January 2005, their most successful ever. From December 2009 to May 2010 the exhibition was shown in the Centro Cultural La Moneda in Santiago de Chile.
The exhibition traveled to North America and visited museums such as the Asian Art Museum of San Francisco, Bowers Museum in Santa Ana, California, Houston Museum of Natural Science, High Museum of Art in Atlanta, National Geographic Society Museum in Washington, D.C. and the Royal Ontario Museum in Toronto. Subsequently the exhibition traveled to Sweden and was hosted in the Museum of Far Eastern Antiquities between 28 August 2010 and 20 January 2011. An exhibition entitled 'The First Emperor – China's Entombed Warriors', presenting 120 artifacts was hosted at the Art Gallery of New South Wales, between 2 December 2010 and 13 March 2011. An exhibition entitled "L'Empereur guerrier de Chine et son armée de terre cuite" ("The Warrior-Emperor of China and his terracotta army"), featuring artifacts including statues from the mausoleum, was hosted by the Montreal Museum of Fine Arts from 11 February 2011 to 26 June 2011. In Italy, from July 2008 to November 16, 2008, five of the warriors of the terracotta army were exposed in Turin at the Museum of Antiquities, and from 16 April 2010 to 5 September 2010 were exposed nine warriors in Milan, at the Royal Palace, at the exhibition entitled "The Two Empires". The group consisted of a horse, a counselor, an archer and 6 Lancers. The "Treasures of Ancient China" exhibition, showcasing two terracotta soldiers and other artifacts, including the Longmen Grottoes Buddhist statues, was held between 19 February 2011 and 7 November 2011 in four locations in India: National Museum of New Delhi, Prince of Wales Museum in Mumbai, Salar Jung Museum in Hyderabad and National Library of India in Kolkata.
Soldiers and related items were on display from March 15, 2013, to November 17, 2013, at the Historical Museum of Bern.
SCIENTIFIC RESEARCH
In 2007, scientists at Stanford University and the Advanced Light Source facility in Berkeley, California reported that powder diffraction experiments combined with energy-dispersive X-ray spectroscopy and micro-X-ray fluorescence analysis showed that the process of producing Terracotta figures colored with Chinese purple dye consisting of barium copper silicate was derived from the knowledge gained by Taoist alchemists in their attempts to synthesize jade ornaments.
Since 2006, an international team of researchers at the UCL Institute of Archaeology have been using analytical chemistry techniques to uncover more details about the production techniques employed in the creation of the Terracotta Army. Using X-ray fluorescence spectrometry of 40,000 bronze arrowheads bundled in groups of 100, the researchers reported that the arrowheads within a single bundle formed a relatively tight cluster that was different from other bundles. In addition, the presence or absence of metal impurities was consistent within bundles. Based on the arrows’ chemical compositions, the researchers concluded that a cellular manufacturing system similar to the one used in a modern Toyota factory, as opposed to a continuous assembly line in the early days of automobile industry, was employed.
Grinding and polishing marks visible under a scanning electron microscope provide evidence for the earliest industrial use of lathes for polishing.
WIKIPEDIA
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is a historical mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built between 1609 and 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. 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.
More info at: en.wikipedia.org/wiki/Sultan_Ahmed_Mosque
© Eddie Chui
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.
. . . it´s not a good Idea to copy and paste the missing heads: all 8000 soldiers have individual looks! Not even two have similar bodies, heads or faces
____________________________________
The Terracotta Army or the "Terracotta Warriors and Horses" is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. It is a form of funerary art buried with the emperor in 210–209 BCE and whose purpose was to protect the emperor in his afterlife. The figures, dating from approximately the late third century BCE, were discovered in 1974 by local farmers in Lintong District, Xi'an, Shaanxi province. The figures vary in height according to their roles, with the tallest being the generals. The figures include warriors, chariots and horses. Estimates from 2007 were that the three pits containing the Terracotta Army held more than 8,000 soldiers, 130 chariots with 520 horses and 150 cavalry horses, the majority of which remained buried in the pits nearby Qin Shi Huang's mausoleum. Other terracotta non-military figures were found in other pits, including officials, acrobats, strongmen and musicians.
BACKGROUND
The Terracotta Army was discovered on 29 March 1974 to the east of Xi'an in Shaanxi province by farmers digging a water well approximately 1.6 kilometres east of the Qin Emperor's tomb mound at Mount Li (Lishan), a region riddled with underground springs and watercourses. For centuries, occasional reports mentioned pieces of terracotta figures and fragments of the Qin necropolis – roofing tiles, bricks and chunks of masonry. This discovery prompted Chinese archaeologists to investigate, revealing the largest pottery figurine group ever found in China.
NECROPROLIS
In addition to the warriors, an entire necropolis built for the emperor was found surrounding the first emperor's tomb mound. The earthen tomb mound is located at the foot of Mount Li and built in a pyramidal shape with Qin Shi Huang’s necropolis complex constructed as a microcosm of his imperial palace or compound.
It consists of several offices, halls, stables, and other structures placed around the tomb mound, which is surrounded by two solidly built rammed earth walls with gateway entrances. Up to 5 metres of reddish, sandy soil had accumulated over the site in the two millennia following its construction, but archaeologists found evidence of earlier disturbances at the site. During the excavations near the Mount Li burial mound, archaeologists found several graves dating from the eighteenth and nineteenth centuries, where diggers had apparently struck terracotta fragments. These were discarded as worthless and used along with soil to back fill the excavations.
HISTORY
According to the writings of historian Sima Qian (145–90 BCE), work on the mausoleum began in 246 BCE soon after Emperor Qin (then aged 13) ascended the throne. The project eventually involved 700,000 workers. Geographer Li Daoyuan, writing six centuries after the First Emperor's death, recorded in Shui Jing Zhu that Mount Li was a favoured location due to its auspicious geology, "famed for its jade mines, its northern side was rich in gold, and its southern side rich in beautiful jade; the First Emperor, covetous of its fine reputation, therefore chose to be buried there". Sima Qian, in his most noted work, Shiji, finished a century after the mausoleum's completion, wrote that the First Emperor was buried with palaces, towers, officials, valuable artifacts and wondrous objects. According to this account, 100 rivers had their flow simulated by mercury, and above them the ceiling was decorated with heavenly bodies below which were the features of the land. Some translations of this passage refer to "models" or "imitations," however those words were not used in the original text, which makes no mention of the terracotta army.
High levels of mercury were found in the soil of the tomb mound, giving credence to Sima Qian's account.
Later historical accounts suggested that the tomb had been looted by Xiang Yu, a contender for the throne after the death of the first emperor, however, there are indications that the tomb may not have been plundered.
CONSTRUCTION
The terracotta army figures were manufactured in workshops by government laborers and local craftsmen using local materials. Heads, arms, legs, and torsos were created separately and then assembled. Eight face moulds were most likely used, with clay added after assembly to provide individual facial features.
It is believed that the warriors' legs were made in much the same way that terracotta drainage pipes were manufactured at the time. This would classify the process as assembly line production, with specific parts manufactured and assembled after being fired, as opposed to crafting one solid piece and subsequently firing it. In those times of tight imperial control, each workshop was required to inscribe its name on items produced to ensure quality control. This has aided modern historians in verifying which workshops were commandeered to make tiles and other mundane items for the terracotta army. Upon completion, the terracotta figures were placed in the pits in precise military formation according to rank and duty.
The terracotta figures are life-sized. They vary in height, uniform, and hairstyle in accordance with rank. Most originally held real weapons such as spears, swords, or crossbows. Originally, the figures were also painted with bright pigments, variously coloured pink, red, green, blue, black, brown, white and lilac. The coloured lacquer finish, individual facial features, and weapons used in producing these figures increased the figures' realism. Most of the original weapons were looted shortly after the creation of the army, or have rotted away, while the colour coating flaked off or greatly faded.
THE TOMB
The tomb appears to be a hermetically-sealed space the size of a football pitch. The tomb remains unopened, given concerns about preserving its artifacts. For example, after their excavation, the painted surface present on some terracotta figures began to flake and fade. The lacquer covering the paint can curl in fifteen seconds once exposed to Xi'an's dry air and can flake off in just four minutes. There is speculation of a possible Hellenistic link to these sculptures, due to the lack of life-sized and realistic sculptures prior to the Qin dynasty according to some scholars.
EXCAVATION SITE
PITS
Four main pits approximately 7 metres deep have been excavated. These are located approximately 1.5 kilometres east of the burial mound. The soldiers within were laid out as if to protect the tomb from the east, where all the Qin Emperor's conquered states lay.
PIT ONE
Pit one, which is 230 metres long and 62 metres wide,contains the main army of more than 6,000 figures. Pit one has 11corridors, most of which are more than 3 metres wide and paved with small bricks with a wooden ceiling supported by large beams and posts. This design was also used for the tombs of nobles and would have resembled palace hallways when built. The wooden ceilings were covered with reed mats and layers of clay for waterproofing, and then mounded with more soil raising them about 2 to 3 metres above the surrounding ground level when completed.
OTHERS
Pit two has cavalry and infantry units as well as war chariots and is thought to represent a military guard. Pit three is the command post, with high-ranking officers and a war chariot. Pit four is empty, perhaps left unfinished by its builders.
Some of the figures in pit one and two show fire damage, while remains of burnt ceiling rafters have also been found.
These, together with the missing weapons, have been taken as evidence of the reported looting by Xiang Yu and the subsequent burning of the site, which is thought to have caused the roof to collapse and crush the army figures below. The terracotta figures currently on display have been restored from the fragments.Other pits that formed the necropolis also have been excavated. These pits lie within and outside the walls surrounding the tomb mound. They variously contain bronze carriages, terracotta figures of entertainers such as acrobats and strongmen, officials, stone armour suits, burials sites of horses, rare animals and labourers, as well as bronze cranes and ducks set in an underground park.
WEAPONRY
Weapons such as swords, spears, battle-axes, scimitars, shields, crossbows, and arrowheads were found in the pits. Some of these weapons, such as the swords are sharp and were coated with a 10–15 micrometre layer of chromium dioxide and kept the swords rust-free for 2,000 years. The swords contain an alloy of copper, tin, and other elements including nickel, magnesium, and cobalt. Some carry inscriptions that date manufacture between 245 and 228 BCE, indicating they were used as weapons before their burials.
An important element of the army is the chariot, of which four types were found. In battle the fighting chariots form pairs at the head of a unit of infantry. The principal weapon of the charioteers was the ge or dagger-axe, an L-shaped bronze blade mounted on a long shaft used for sweeping and hooking at the enemy. Infantrymen also carried ge on shorter shafts, ji or halberds and spears and lances. For close fighting and defence, both charioteers and infantrymen carried double-edged straight swords. The archers carried crossbows, with sophisticated trigger mechanisms, capable of firing arrows farther than 800 metres.
EXHIBITIONS
A collection of 120 objects from the mausoleum and 20 terracotta warriors were displayed at the British Museum in London as its special exhibition "The First Emperor: China's Terracotta Army" from 13 September 2007 to April 2008. This exhibition made 2008 the British Museum's most successful year and made the British Museum the United Kingdom's top cultural attraction between 2007 and 2008. The exhibition brought the most visitors to the museum since the King Tutankhamun exhibition in 1972. It was reported that the initial batch of tickets sold out so fast that the museum extended its opening hours until midnight on Thursdays to Sundays. According to The Times, many people had to be turned away, despite the extended hours. During the day of events to mark the Chinese New Year, the crush was so intense that the gates to the museum had to be shut. The Terracotta Army has been described as the only other set of historic artifacts (along with the remnants of wreck of the RMS Titanic) that can draw a crowd by the name alone.
Warriors and other artifacts were exhibited to the public at the Forum de Barcelona in Barcelona between 9 May and 26 September 2004. It was their most successful exhibition ever. The same exhibition was presented at the Fundación Canal de Isabel II in Madrid between October 2004 and January 2005, their most successful ever. From December 2009 to May 2010 the exhibition was shown in the Centro Cultural La Moneda in Santiago de Chile.
The exhibition traveled to North America and visited museums such as the Asian Art Museum of San Francisco, Bowers Museum in Santa Ana, California, Houston Museum of Natural Science, High Museum of Art in Atlanta, National Geographic Society Museum in Washington, D.C. and the Royal Ontario Museum in Toronto. Subsequently the exhibition traveled to Sweden and was hosted in the Museum of Far Eastern Antiquities between 28 August 2010 and 20 January 2011. An exhibition entitled 'The First Emperor – China's Entombed Warriors', presenting 120 artifacts was hosted at the Art Gallery of New South Wales, between 2 December 2010 and 13 March 2011. An exhibition entitled "L'Empereur guerrier de Chine et son armée de terre cuite" ("The Warrior-Emperor of China and his terracotta army"), featuring artifacts including statues from the mausoleum, was hosted by the Montreal Museum of Fine Arts from 11 February 2011 to 26 June 2011. In Italy, from July 2008 to November 16, 2008, five of the warriors of the terracotta army were exposed in Turin at the Museum of Antiquities, and from 16 April 2010 to 5 September 2010 were exposed nine warriors in Milan, at the Royal Palace, at the exhibition entitled "The Two Empires". The group consisted of a horse, a counselor, an archer and 6 Lancers. The "Treasures of Ancient China" exhibition, showcasing two terracotta soldiers and other artifacts, including the Longmen Grottoes Buddhist statues, was held between 19 February 2011 and 7 November 2011 in four locations in India: National Museum of New Delhi, Prince of Wales Museum in Mumbai, Salar Jung Museum in Hyderabad and National Library of India in Kolkata.
Soldiers and related items were on display from March 15, 2013, to November 17, 2013, at the Historical Museum of Bern.
SCIENTIFIC RESEARCH
In 2007, scientists at Stanford University and the Advanced Light Source facility in Berkeley, California reported that powder diffraction experiments combined with energy-dispersive X-ray spectroscopy and micro-X-ray fluorescence analysis showed that the process of producing Terracotta figures colored with Chinese purple dye consisting of barium copper silicate was derived from the knowledge gained by Taoist alchemists in their attempts to synthesize jade ornaments.
Since 2006, an international team of researchers at the UCL Institute of Archaeology have been using analytical chemistry techniques to uncover more details about the production techniques employed in the creation of the Terracotta Army. Using X-ray fluorescence spectrometry of 40,000 bronze arrowheads bundled in groups of 100, the researchers reported that the arrowheads within a single bundle formed a relatively tight cluster that was different from other bundles. In addition, the presence or absence of metal impurities was consistent within bundles. Based on the arrows’ chemical compositions, the researchers concluded that a cellular manufacturing system similar to the one used in a modern Toyota factory, as opposed to a continuous assembly line in the early days of automobile industry, was employed.
Grinding and polishing marks visible under a scanning electron microscope provide evidence for the earliest industrial use of lathes for polishing.
WIKIPEDIA
Messier 76, NGC 650/651 the cork or Little Dumbbell nebula. A planetary nebula in Perseus.
Ha used as Luminance channel
Red and blue filters with synthesized green channel
The Sultan Ahmed 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. 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 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 Aga, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
At its lower levels and at every pier, the interior of the mosque is lined with more than 20,000 handmade ceramic tiles, made at Iznik (the ancient Nicaea) in more than fifty different tulip designs. The tiles at lower levels are traditional in design, while at gallery level their design becomes flamboyant with representations of flowers, fruit and cypresses. More than 200 stained glass windows with intricate designs admit natural light, today assisted by chandeliers.
www.pacegallery.com/exhibitions/james-turrell-9/
James Turrell’s recent Constellation works, the focal point of this exhibition, are the culmination of Turrell's lifelong pursuit. Generating what the artist has called “spaces within space,” these luminous portals are instruments for altering our perception; gazing into them results in the slow dissolution of the boundaries of the surrounding room, enveloping the viewer in the radiance of pure color. Fusing the temporal, sensuous, and illusory qualities of his projection works and architectural installations, the Constellations synthesize several aspects of Turrell’s practice. Unlike his early projection pieces, however, they are not about generating an illusion; instead, they greet the viewer with the actual materiality of light, what Turrell calls “the physical manifestation of light, which we have trained our eyes too readily to look through rather than to look at.”
Hyalite opal from the Tertiary of Mexico. (~3.7 centimeters across)
The gorgeous greenish-glowing material seen here is hyalite opal (SiO2·nH2O - hydrous silica). Hyalite is also known as glass opal. It is composed of opal-AN, which refers to amorphous opal having a network structure similar to silica glass, rather than opal consisting of silica gel spheres/colloids (most opal is the latter type).
Hyalite is normally clear/colorless. Under incandescent lighting, this Mexican material is clear to extremely pale yellow. The greenish coloration is a type of luminescence - fluorescence. Under ultraviolet light (UV light; black light) and in direct sunlight and in indirect sunlight and in blue laser pointer light, this hyalite glows greenish.
Published research has shown that the greenish luminescence is from ultraviolet excitation of uranyl impurities in the hyalite opal (Fritsch et al., 2015a, 2015b). Uranyl is a UO2 +2 ion - uranium dioxide with a double positive electric charge. This Mexican hyalite is indeed slightly radioactive, but the radiation levels do not pose a health risk (Fritsch et al., 2015b). Several uranium-bearing minerals have been identified in the opal's host rocks, including meta-autunite, haiweeite, uranophane, meta-uranospinite, and others (Fritsch et al., 2015a).
This specimen is luminescent botryoidal hyalite opal on a devitrified rhyolitic volcanic tuff matrix. This new opal variety, discovered in 2013, has been nicknamed "electric opal".
Geologic context & age: Sierra Madre Occidental Volcanic Province, mid-Tertiary
Locality: undisclosed site on a high mesa in Zacatecas State, central Mexico
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Info. mostly synthesized from:
Fritsch et al. (2015a) - Green-luminescing, gem hyalite opal from Zacatecas, Mexico. 34th International Gemmological Conference, August 2015, Vilnius, Lithuania: 101-104.
Fritsch et al. (2015b) - Green-luminescing hyalite opal from Zacatecas, Mexico. Journal of Gemmology 34: 490-508.
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.
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
Forbidden Planet (MGM, 1956) Additional Photos in Set.
www.flickr.com/photos/morbius19/sets/72157627463487027/
youtu.be/AxQ9GG6hUDM The Original Trailer
youtu.be/BD_Ns-GcnnI Forbidden Planet Documentary 1 of 2
youtu.be/AK3czDsHZbE Forbidden Planet Documentary 2 of 2
youtu.be/IYFr3UyVpRA The Monster From The Id
Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly, Richard Anderson, Earl Holliman, Robby the Robot. Directed by Fred M. Wilcox.
Opening scene
It is late in the 22nd Century. United Planet cruiser C57D a year out from Earth base on the way to Altair for a special mission. Commander J.J Adams (Leslie Neilsen) orders the crew to the deceleration booths as the ship drops from light speed to normal space.
Adams orders pilot Jerry Farman (Jack Kelly) to lay in a course for the fourth planet. The captain then briefs the crew that they are at their destination, and that they are to look for survivors from the Bellerophon expedition 20 years earlier.
As they orbit the planet looking for signs of life, the ship is scanned by a radar facility some 20 square miles in area. Morbius (Walter Pigeon) contacts the ship from the planet asking why the ship is here. Morbius goes on to explain he requires nothing, no rescue is required and he can't guarantee the safety of the ship or its crew.
Adams confirms that Morbius was a member of the original crew, but is puzzled at the cryptic warning Morbius realizes the ship is going to land regardless, and gives the pilot coordinates in a desert region of the planet. The ship lands and security details deploy. Within minutes a high speed dust cloud approaches the ship. Adams realizes it is a vehicle, and as it arrives the driver is discovered to be a robot (Robby). Robby welcomes the crew to Altair 4 and invites members of the crew to Morbious residence.
Adams, Farman and Doc Ostrow (Warren Stevens) arrive at the residence and are greeted by Morbius. They sit down to a meal prepared by Robbys food synthesizer and Morbius shows the visitors Robbys other abilities, including his unwavering obedience. Morbius then gives Robby a blaster with orders to shoot Adams. Robby refuses and goes into a mechanical mind lock, disabling him till the order is changed.
Morbius then shows the men the defense system of the house (A series of steel shutters). When questioned, Morbius admits that the Belleraphon crew is dead, Morbius and his wife being the only original survivors. Morbius's wife has also died, but months after the others and from natural causes. Morbius goes on to explain many of the crew were torn limb from limb by a strange creature or force living on the planet. The Belleraphon herself was destroyed when the final three surviving members tried to take off for Earth.
Adams wonders why this force has remained dormant all these years and never attacked Morbius. As discussions continue, a young woman Altaira (Anne Francis) introduces herself as Morbius daughter. Farman takes an immediate interest in Altaira, and begins to flirt with her . Altaira then shows the men her ability to control wild animals by petting a wild tiger. During this display the ship checks in on the safety of the away party. Adams explains he will need to check in with Earth for further orders and begins preparations for sending a signal. Because of the power needed the ship will be disabled for up to 10 days. Morbius is mortified by this extended period and offers Robby's services in building the communication facility
The next day Robby arrives at ship as the crew unloads the engine to power the transmitter. To lighten the tense moment the commander instructs the crane driver to pick up Cookie (Earl Holliman) and move him out of the way. Quinn interrupts the practical joke to report that the assembly is complete and they can transmit in the morning.
Meanwhile Cookie goes looking for Robby and organizes for the robot to synthesize some bourbon. Robby takes a sample and tells Cookie he can have 60 gallons ready the next morning for him.Farman continues to court Altair by teaching her how to kiss, and the health benefits of kissing. Adams interrupts the exercise, and is clearly annoyed with a mix of jealous. He then explains to Altair that the clothes she wears are inappropriate around his crew. Altair tries to argue till Adams looses patience and order Altair to leave the area.
That night, Altair, still furious, explains to her father what occurred. Altair takes Adams advice to heart and orders Robby to run up a less revealing dress. Meanwhile back at the ship two security guards think they hear breathing in the darkness but see nothing.
Inside the ship, one of the crew half asleep sees the inner hatch opened and some material moved around. Next morning the Captain holds court on the events of the night before. Quinn advises the captain that most of the missing and damaged equipment can be replaced except for the Clystron monitor. Angry the Capt and Doc go back to Morbius to confront him about what has occurred.
Morbius is unavailable, so the two men settle in to wait. Outside Adams sees Altair swimming and goes to speak to her. Thinking she is naked, Adams becomes flustered and unsettled till he realizes she wants him to see her new dress. Altair asks why Adams wont kiss her like everyone else has. He gives in and plants one on her. Behind them a tiger emerges from the forest and attacks Altair, Adams reacts by shooting it. Altair is badly troubled by the incident, the tiger had been her friend, but she can't understand why acted as if she was an enemy.
Returning to the house, Doc and Adams accidently open Morbius office. They find a series of strange drawings but no sign of Morbius. He appears through a secret door and is outraged at the intrusion. Adams explains the damage done to the ship the previous night and his concern that Morbius was behind the attack.
Morbius admits it is time for explanations. He goes on to tell them about a race of creatures that lived on the planet called the Krell. In the past they had visited Earth, which explains why there are Earth animals on the planet. Morbius believes the Krell civilization collapsed in a single night, right on the verge of their greatest discovery. Today 2000 centuries later, nothing of their cities exists above ground.
Morbius then takes them on a tour of the Krell underground installation. Morbius first shows them a device for projecting their knowledge; he explains how he began to piece together information. Then an education device that projects images formed in the mind. Finally he explains what the Krell were expected to do, and how much lower human intelligence is in comparison.
Doc tries the intelligence tester but is confused when it does not register as high as Morbius. Morbius then explains it can also boost intelligence, and that the captain of the Belleraphon died using it. Morbius himself was badly injured but when he recovered his IQ had doubled.
Adams questions why all the equipment looks brand new. It is explained that all the machines left on the planet are self repairing and Morbius takes them on a tour of the rest of the installation. First they inspect a giant air vent that leads to the core of the planet. There are 400 other such shafts in the area and 9200 thermal reactors spread through the facilities 8000 cubic miles.
Later that night the crew has completed the security arrangements and tests the force field fence. Cookie asks permission to go outside the fence. He meets Robby who gives him the 60 gallons of bourbon. Outside, something hits the fence and shorts it out. The security team checks the breach but finds nothing. A series of foot like depressions begin forming leading to the ship. Something unseen enters the ship. A scream echos through the compound.
Back at the Morbius residence he argues that only he should be allowed to control the flow of Krell technology back to Earth. In the middle of the discussion, Adams is paged and told that the Chief Quinn has been murdered. Adams breaks of his discussions and heads back to the ship.
Later that night Doc finds the footprints and makes a cast. The foot makes no evolutionary sense. It seems to have elements of a four footed and biped creature; also it seems a predator and herbivore. Adams questions Cookie who was with the robot during the test and decides the robot was not responsible.
The next day at the funeral for Chief Morbius again warns him of impending doom facing the ship and crew. Adams considers this a challenge and spends the day fortifying the position around the ship. After testing the weapons and satisfied all that could be done has, the radar station suddenly reports movement in the distance moving slowly towards the ship.
No one sees anything despite the weapons being under radar fire control. The controller confirms a direct hit, but the object is still moving towards the ship. Suddenly something hits the force field fence, and a huge monster appears outlined in the energy flux. The crew open fire, but seem to do little good. A number of men move forward but a quickly killed.
Morbious wakes hearing the screams of Altair. Shes had a dream mimicking the attack that has just occurred. As Morbious is waking the creature in the force field disappears. Doc theories that the creature is made of some sort of energy, renewing itself second by second.
Adams takes Doc in the tractor to visit Morbius intending to evacuate him from the planet. He leaves orders for the ship to be readied for lift off. If he and Doc dont get back, the ship is to leave without them. They also want to try and break into Morbious office and take the brain booster test.
They are met at the door by Robby, who disarms them. Altair appears and countermands the orders given to Robby by her father. Seeing a chance Doc sneaks into the office. Altair argues with Adams about trying to make Morbius return home, she ultimately declares her love for him.
Robby appears carrying the injured Doc. Struggling to speak and heavy pain, Doc explains that the Krell succeeded in their great experiment. However they forgot about the sub conscious monsters they would release. Monsters from the id.
Morbius sees the dead body of Doc, and makes a series of ugly comments. His daughter reminds him that Doc is dead. Morbius lack of care convinces Altair she is better off going with Adams. Morbius tries to talk Adams out of taking Altair.
Adams demands an explanation of the id. Morbius realizes he is the source of the creature killing everyone. The machine the Krell built was able to release his inner beast, the sub conscious monster dwelling deep inside his ancestral mind.
Robby interrupts the debate to report something approaching the house. Morbius triggers the defensive shields of the house, which the creature begins to destroy. Morbius then orders Robby to destroy the creature, however Robby short circuits. Adams explained that it was useless; Robby knew it was Morbius self.
Adams, Altair and Morbius retreat to the Krell lab and sealed themselves in by sealing a special indestructible door. Adams convinces Morbius that he is really the monster, and that Morbius can not actually control his subconscious desires.
The group watch as the creature beings the slow process of burning through the door. Panicked Morbius implores Altair to say it is not so. Suddenly the full realization comes, and he understands that he could endanger or even kill Altair.
As the creature breaks through Morbius rushes forward and denies its existence. Suddenly the creature disappears but Morbius is mortally wounded. With his dying breath he instructs Adams to trigger a self destruct mechanism linked to the reactors of the great machine. The ship and crew have 24 hours to get as far away from the planet as possible
The next day we see the ship deep in space. Robby and Altair are onboard watching as the planet brightens and is destroyed. Adams assures Altair that her fathers memory will shine like a beacon.
Native terrestrial iron from the Tertiary of Greenland.
(public display, Carnegie Museum of Natural History, Pittsburgh, Pennsylvania, USA)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5400 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
Elements are fundamental substances of matter - matter that is composed of the same types of atoms. At present, 118 elements are known (four of them are still unnamed). Of these, 98 occur naturally on Earth (hydrogen to californium). Most of these occur in rocks & minerals, although some occur in very small, trace amounts. Only some elements occur in their native elemental state as minerals.
To find a native element in nature, it must be relatively non-reactive and there must be some concentration process. Metallic, semimetallic (metalloid), and nonmetallic elements are known in their native state as minerals.
Iron is quite rare in its elemental state at the Earth's surface. In the presence of oxygen, iron turns to rust (iron oxide). Many meteorites that fall to Earth from the asteroid belt are composed of native iron (plus impurities). Very few localities on Earth have native iron of terrestrial origin. These occurrences are along natural smelting zones, where magma or lava has come in direct contact with coals or other carbonaceous sedimentary rocks. In such smelting zones, reducing conditions are created, and metallic iron can crystallize. Famous localities where this has happened include Disko Island in Greenland and the Siberian Traps Flood Basalt Province.
Iron has a metallic luster, a silvery-gray color, is somewhat hard (H = 4 to 4.5), is strongly magnetic, has no cleavage, is malleable, and is moderately heavy for its size. Native iron is always alloyed with nickel in meteorites. In terrestrial iron occurrences, the Fe is also alloyed with a little Ni.
The rock shown above is a mass of native terrestrial iron from the famous Disko Island, Greenland locality. During the Tertiary, basaltic dikes intruded Cretaceous and lower Tertiary sedimentary rocks of Disko Island. These rocks included coals and carbonaceous shales. The meeting of mafic magma and carbon resulted in a reducing environment - a natural smelter. Native iron formed in the magma as small blebs. When erupted as basalt lava flows or intruded as basalt sills, the iron blebs settled to flow bases and sill bases to form iron masses.
Chemical analysis has shown that Disko Island iron masses contain native iron (Fe) and cohenite (iron carbide) plus various inclusions of silicates, sulfides, and oxides (see list in Bird et al., 1981).
Locality: Disko Island, offshore western Greenland
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Disko Island geology synthesized from:
Bird, J.M., C.A. Goodrich & M.S. Weathers. 1981. Petrogenesis of Uivfaq iron, Disko Island, Greenland. Journal of Geophysical Research 86(B12): 11,787-11,805.
This 47 cents postage stamp was issued by America on 31 May 2016 (= Scott Catalogue # 5074). It shows Planet Saturn and is part of a set depicting all the planets of the Solar System.
There are four types of planets in the Solar System: terrestrial planets, gas giant planets, ice giant planets, and dwarf planets. The terrestrial planets are Mercury, Venus, Earth, and Mars. The gas giant planets are Jupiter and Saturn. The ice giant planets are Uranus and Neptune. Dwarf planets include named and unnamed objects - for example, Ceres, Pluto, Quaoar, Sedna, Eris, Varuna, Makemake, and many others. Only two dwarf planets have been visited and imaged (Ceres and Pluto).
Planet Saturn, the "Crown Jewel of the Solar System", has been visited four times from 1979 to 2017. Three visits were flybys by the Pioneer 11, Voyager 1, and Voyager 2 spacecrafts. The only orbiter to visit Saturn was the Cassini spacecraft.
Saturn is the 6th planet from the Sun (or the seventh, if one counts Ceres, which one should) and is about 9 to 10.1 astronomical units distance from the Sun. One astronomical unit ("AU") is the average distance between the center of the Sun and the center of the Earth. The eccentricity of Saturn's orbit is about 0.06 - its orbit is slightly non-circular. Saturn's rotation and orbit around the Sun are both prograde, which refers to counter-clockwise movement when viewed above the North Pole of the Sun.
Saturn is the # 2 largest planet in the Solar System - it is nine times larger than Earth. Saturn is one of the gas giant planets. Not surprisingly, it is similar to its larger neighbor, Jupiter. Neither world has a solid surface and neither world has traditional geologic features, such as mountains, rivers, volcanism, landslides, quakes, etc.
The equatorial radius of Saturn (= from the center to the core to the surface, arbitrarily defined as 1 bar of atmospheric pressure) is about 60,270 kilometers. The polar radius is about 54,360 kilometers. These numbers show that Saturn has a permanently flattened shape - it is noticeably wider at the equator. This is the result of its rapid spinning and its mostly fluid composition.
Saturn's density is about 0.69 grams per cubic centimeter, making it the lowest density planet in the Solar System - it is less dense than liquid water, which is 1 gram per cubic centimeter. The low density is a consequence of it being mostly composed of lightweight elements, hydrogen and helium.
One day on Saturn is about 10.5 hours - it rotates rapidly. One year on Saturn is about 29.5 Earth years - it takes about 10,759 days to go once around the Sun.
Unlike Jupiter, Saturn's spin axis is strongly tilted, at about 26.7 degrees from the vertical. Depending on its orbital position, this means that sometimes the upper surface of Saturn's rings are visible from Earth, and at other times, the underside of the rings are visible. The significant axial tilt results in strong seasonality. Each season on Saturn (spring, summer, fall, winter) is over seven years long.
As of this writing, Saturn has at least 274 known moons. Only seven of these satellites are large: Titan, Iapetus, Rhea, Tethys, Dione, Enceladus, and Mimas. Most moons are unnamed.
Saturn possesses a magnetic field that is generated by electrical currents in a moving metallic liquid hydrogen layer in the deep interior. The internal layers of Saturn probably include, from the top-down, a thick layer of gaseous molecular hydrogen (H2), a layer of liquid molecular hydrogen (H2), a deep layer of liquid metallic hydrogen (H), and a core of heavier elements. The core is probably differentiated into layers and likely composed of "ices", silicate minerals, and metals. Newer models of Saturn's interior include a "fuzzy" core similar to Jupiter.
Saturn has the best developed and most prominent set of rings in the entire Solar System. Major sections of the rings are designated by capital letters: A Ring, B Ring, C Ring, etc. Saturn's rings are only about 100 meters thick - they appear quite thin when viewed exactly edgewise from Earth. The rings are composed of reflective particles ranging in size from about 1 centimeter (= pebble-sized) to about 10 meters in size (= boulder-sized). The particles are about 99% water ice (H2O).
The origin of Saturn's rings is a major unsolved mystery in planetary geology. Despite the uncertain origin, several hypotheses have been proposed. A commonly cited explanation is that the rings possibly formed after the breakup of a moon. All the material in the rings would make up a ~500 to 600 kilometer-sized satellite.
Narrow gaps in the rings are caused by tiny moons. For example, the Keeler Gap in the A Ring is caused by a small satellite called Daphnis.
Surprisingly, Saturn's rings are not always planar. As were Jupiter's rings after a cometary impact event, Saturn's rings have been observed with distinct ripples. In 2009, when the Sun illuminated the rings edge-on, corrugations were seen. Evidence and calculations indicate that Saturn's rings were tilted in 1983 by a cometary impact. Ripples in the rings have formed as they return to equatorial equilibrium. The 1983 impact event was not observed from Earth, because Saturn was behind the Sun at the time.
Saturn's composition is like Jupiter, with about 96% hydrogen (H) and about 3% helium (He). Saturn is color-banded, but subtly so. Overall, Saturn has pale yellowish to yellowish-gray colors. Unlike Jupiter, Saturn storms are relatively small and short-lived, but occasional giant storms are observed (Example: a "great white spot" from 2010 to 2011).
In equatorial regions, winds in the Saturn atmosphere are about 500 meters per second, which is over 1100 miles per hour. Polar winds are much slower.
Unexpectedly, Saturn's North Pole has a persistant hexagonal structure over twice the size of Planet Earth. The South Pole lacks a hexagon. The North Pole hexagon is sometimes bluish and sometimes brownish in color. A vortex is present at the center of the hexagon. Saturn's South Pole also has a vortex.
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Synthesized from many sources.
The Orchidaceae are a diverse and widespread family of flowering plants, with blooms that are often colourful and fragrant, commonly known as the orchid family.
Along with the Asteraceae, they are one of the two largest families of flowering plants. The Orchidaceae have about 28,000 currently accepted species, distributed in about 763 genera. The determination of which family is larger is still under debate, because verified data on the members of such enormous families are continually in flux. Regardless, the number of orchid species is nearly equal to the number of bony fishes, more than twice the number of bird species, and about four times the number of mammal species.
The family encompasses about 6–11% of all seed plants. The largest genera are Bulbophyllum (2,000 species), Epidendrum (1,500 species), Dendrobium (1,400 species) and Pleurothallis (1,000 species). It also includes Vanilla (the genus of the vanilla plant), the type genus Orchis, and many commonly cultivated plants such as Phalaenopsis and Cattleya. Moreover, since the introduction of tropical species into cultivation in the 19th century, horticulturists have produced more than 100,000 hybrids and cultivars.
DESCRIPTION
Orchids are easily distinguished from other plants, as they share some very evident derived characteristics or synapomorphies. Among these are: bilateral symmetry of the flower (zygomorphism), many resupinate flowers, a nearly always highly modified petal (labellum), fused stamens and carpels, and extremely small seeds.
STEM AND ROOTS
All orchids are perennial herbs that lack any permanent woody structure. They can grow according to two patterns:
Monopodial: The stem grows from a single bud, leaves are added from the apex each year, and the stem grows longer accordingly. The stem of orchids with a monopodial growth can reach several metres in length, as in Vanda and Vanilla.
Sympodial: Sympodial orchids have a front (the newest growth) and a back (the oldest growth). The plant produces a series of adjacent shoots, which grow to a certain size, bloom and then stop growing and are replaced. Sympodial orchids grow laterally rather than vertically, following the surface of their support. The growth continues by development of new leads, with their own leaves and roots, sprouting from or next to those of the previous year, as in Cattleya. While a new lead is developing, the rhizome may start its growth again from a so-called 'eye', an undeveloped bud, thereby branching. Sympodial orchids may have visible pseudobulbs joined by a rhizome, which creeps along the top or just beneath the soil.
Terrestrial orchids may be rhizomatous or form corms or tubers. The root caps of terrestrial orchids are smooth and white.
Some sympodial terrestrial orchids, such as Orchis and Ophrys, have two subterranean tuberous roots. One is used as a food reserve for wintry periods, and provides for the development of the other one, from which visible growth develops.
In warm and constantly humid climates, many terrestrial orchids do not need pseudobulbs.
Epiphytic orchids, those that grow upon a support, have modified aerial roots that can sometimes be a few meters long. In the older parts of the roots, a modified spongy epidermis, called a velamen, has the function of absorbing humidity. It is made of dead cells and can have a silvery-grey, white or brown appearance. In some orchids, the velamen includes spongy and fibrous bodies near the passage cells, called tilosomes.
The cells of the root epidermis grow at a right angle to the axis of the root to allow them to get a firm grasp on their support. Nutrients for epiphytic orchids mainly come from mineral dust, organic detritus, animal droppings and other substances collecting among on their supporting surfaces.
The base of the stem of sympodial epiphytes, or in some species essentially the entire stem, may be thickened to form a pseudobulb that contains nutrients and water for drier periods.
The pseudobulb has a smooth surface with lengthwise grooves, and can have different shapes, often conical or oblong. Its size is very variable; in some small species of Bulbophyllum, it is no longer than two millimeters, while in the largest orchid in the world, Grammatophyllum speciosum (giant orchid), it can reach three meters. Some Dendrobium species have long, canelike pseudobulbs with short, rounded leaves over the whole length; some other orchids have hidden or extremely small pseudobulbs, completely included inside the leaves.
With ageing, the pseudobulb sheds its leaves and becomes dormant. At this stage, it is often called a backbulb. Backbulbs still hold nutrition for the plant, but then a pseudobulb usually takes over, exploiting the last reserves accumulated in the backbulb, which eventually dies off, too. A pseudobulb typically lives for about five years. Orchids without noticeable pseudobulbs are also said to have growths, an individual component of a sympodial plant.
LEAVES
Like most monocots, orchids generally have simple leaves with parallel veins, although some Vanilloideae have reticulate venation. Leaves may be ovate, lanceolate, or orbiculate, and very variable in size on the individual plant. Their characteristics are often diagnostic. They are normally alternate on the stem, often folded lengthwise along the centre ("plicate"), and have no stipules. Orchid leaves often have siliceous bodies called stegmata in the vascular bundle sheaths (not present in the Orchidoideae) and are fibrous.
The structure of the leaves corresponds to the specific habitat of the plant. Species that typically bask in sunlight, or grow on sites which can be occasionally very dry, have thick, leathery leaves and the laminae are covered by a waxy cuticle to retain their necessary water supply. Shade-loving species, on the other hand, have long, thin leaves.
The leaves of most orchids are perennial, that is, they live for several years, while others, especially those with plicate leaves as in Catasetum, shed them annually and develop new leaves together with new pseudobulbs.
The leaves of some orchids are considered ornamental. The leaves of the Macodes sanderiana, a semiterrestrial or rock-hugging ("lithophyte") orchid, show a sparkling silver and gold veining on a light green background. The cordate leaves of Psychopsis limminghei are light brownish-green with maroon-puce markings, created by flower pigments. The attractive mottle of the leaves of lady's slippers from tropical and subtropical Asia (Paphiopedilum), is caused by uneven distribution of chlorophyll. Also, Phalaenopsis schilleriana is a pastel pink orchid with leaves spotted dark green and light green. The jewel orchid (Ludisia discolor) is grown more for its colorful leaves than its white flowers.
Some orchids, such as Dendrophylax lindenii (ghost orchid), Aphyllorchis and Taeniophyllum depend on their green roots for photosynthesis and lack normally developed leaves, as do all of the heterotrophic species.
Orchids of the genus Corallorhiza (coralroot orchids) lack leaves altogether and instead wrap their roots around the roots of mature trees and use specialized fungi to harvest sugars.
FLOWERS
The Orchidaceae are well known for the many structural variations in their flowers.
Some orchids have single flowers, but most have a racemose inflorescence, sometimes with a large number of flowers. The flowering stem can be basal, that is, produced from the base of the tuber, like in Cymbidium, apical, meaning it grows from the apex of the main stem, like in Cattleya, or axillary, from the leaf axil, as in Vanda.
As an apomorphy of the clade, orchid flowers are primitively zygomorphic (bilaterally symmetrical), although in some genera, such as Mormodes, Ludisia, and Macodes, this kind of symmetry may be difficult to notice.
The orchid flower, like most flowers of monocots, has two whorls of sterile elements. The outer whorl has three sepals and the inner whorl has three petals. The sepals are usually very similar to the petals (thus called tepals, 1), but may be completely distinct.
The medial petal, called the labellum or lip (6), which is always modified and enlarged, is actually the upper medial petal; however, as the flower develops, the inferior ovary or the pedicel usually rotates 180°, so that the labellum arrives at the lower part of the flower, thus becoming suitable to form a platform for pollinators. This characteristic, called resupination, occurs primitively in the family and is considered apomorphic, a derived characteristic all Orchidaceae share. The torsion of the ovary is very evident from the longitudinal section shown (below right). Some orchids have secondarily lost this resupination, e.g. Epidendrum secundum.
The normal form of the sepals can be found in Cattleya, where they form a triangle. In Paphiopedilum (Venus slippers), the lower two sepals are fused into a synsepal, while the lip has taken the form of a slipper. In Masdevallia, all the sepals are fused.
Orchid flowers with abnormal numbers of petals or lips are called peloric. Peloria is a genetic trait, but its expression is environmentally influenced and may appear random.
Orchid flowers primitively had three stamens, but this situation is now limited to the genus Neuwiedia. Apostasia and the Cypripedioideae have two stamens, the central one being sterile and reduced to a staminode. All of the other orchids, the clade called Monandria, retain only the central stamen, the others being reduced to staminodes (4). The filaments of the stamens are always adnate (fused) to the style to form cylindrical structure called the gynostemium or column (2). In the primitive Apostasioideae, this fusion is only partial; in the Vanilloideae, it is more deep; in Orchidoideae and Epidendroideae, it is total. The stigma (9) is very asymmetrical, as all of its lobes are bent towards the centre of the flower and lie on the bottom of the column.
Pollen is released as single grains, like in most other plants, in the Apostasioideae, Cypripedioideae, and Vanilloideae. In the other subfamilies, which comprise the great majority of orchids, the anther (3) carries two pollinia.
A pollinium is a waxy mass of pollen grains held together by the glue-like alkaloid viscin, containing both cellulosic strands and mucopolysaccharides. Each pollinium is connected to a filament which can take the form of a caudicle, as in Dactylorhiza or Habenaria, or a stipe, as in Vanda. Caudicles or stipes hold the pollinia to the viscidium, a sticky pad which sticks the pollinia to the body of pollinators.
At the upper edge of the stigma of single-anthered orchids, in front of the anther cap, is the rostellum (5), a slender extension involved in the complex pollination mechanism.
As mentioned, the ovary is always inferior (located behind the flower). It is three-carpelate and one or, more rarely, three-partitioned, with parietal placentation (axile in the Apostasioideae).
In 2011, Bulbophyllum nocturnum was discovered to flower nocturnally.
POLLINATION
The complex mechanisms that orchids have evolved to achieve cross-pollination were investigated by Charles Darwin and described in Fertilisation of Orchids (1862). Orchids have developed highly specialized pollination systems, thus the chances of being pollinated are often scarce, so orchid flowers usually remain receptive for very long periods, rendering unpollinated flowers long-lasting in cultivation. Most orchids deliver pollen in a single mass. Each time pollination succeeds, thousands of ovules can be fertilized.
Pollinators are often visually attracted by the shape and colours of the labellum. However, some Bulbophyllum species attract male fruit flies (Bactrocera and Zeugodacus spp.) solely via a floral chemical which simultaneously acts as a floral reward (e.g. methyl eugenol, raspberry ketone, or zingerone) to perform pollination. The flowers may produce attractive odours. Although absent in most species, nectar may be produced in a spur of the labellum (8 in the illustration above), or on the point of the sepals, or in the septa of the ovary, the most typical position amongst the Asparagales.
In orchids that produce pollinia, pollination happens as some variant of the following sequence: when the pollinator enters into the flower, it touches a viscidium, which promptly sticks to its body, generally on the head or abdomen. While leaving the flower, it pulls the pollinium out of the anther, as it is connected to the viscidium by the caudicle or stipe. The caudicle then bends and the pollinium is moved forwards and downwards. When the pollinator enters another flower of the same species, the pollinium has taken such position that it will stick to the stigma of the second flower, just below the rostellum, pollinating it. The possessors of orchids may be able to reproduce the process with a pencil, small paintbrush, or other similar device.
Some orchids mainly or totally rely on self-pollination, especially in colder regions where pollinators are particularly rare. The caudicles may dry up if the flower has not been visited by any pollinator, and the pollinia then fall directly on the stigma. Otherwise, the anther may rotate and then enter the stigma cavity of the flower (as in Holcoglossum amesianum).
The slipper orchid Paphiopedilum parishii reproduces by self-fertilization. This occurs when the anther changes from a solid to a liquid state and directly contacts the stigma surface without the aid of any pollinating agent or floral assembly.
The labellum of the Cypripedioideae is poke bonnet-shaped, and has the function of trapping visiting insects. The only exit leads to the anthers that deposit pollen on the visitor.
In some extremely specialized orchids, such as the Eurasian genus Ophrys, the labellum is adapted to have a colour, shape, and odour which attracts male insects via mimicry of a receptive female. Pollination happens as the insect attempts to mate with flowers.
Many neotropical orchids are pollinated by male orchid bees, which visit the flowers to gather volatile chemicals they require to synthesize pheromonal attractants. Males of such species as Euglossa imperialis or Eulaema meriana have been observed to leave their territories periodically to forage for aromatic compounds, such as cineole, to synthesize pheromone for attracting and mating with females. Each type of orchid places the pollinia on a different body part of a different species of bee, so as to enforce proper cross-pollination.
A rare achlorophyllous saprophytic orchid growing entirely underground in Australia, Rhizanthella slateri, is never exposed to light, and depends on ants and other terrestrial insects to pollinate it.
Catasetum, a genus discussed briefly by Darwin, actually launches its viscid pollinia with explosive force when an insect touches a seta, knocking the pollinator off the flower.
After pollination, the sepals and petals fade and wilt, but they usually remain attached to the ovary.
ASEXUAL REPRODUCTION
Some species, such as Phalaenopsis, Dendrobium, and Vanda, produce offshoots or plantlets formed from one of the nodes along the stem, through the accumulation of growth hormones at that point. These shoots are known as keiki.
FRUITS AND SEEDS
The ovary typically develops into a capsule that is dehiscent by three or six longitudinal slits, while remaining closed at both ends.
The seeds are generally almost microscopic and very numerous, in some species over a million per capsule. After ripening, they blow off like dust particles or spores. They lack endosperm and must enter symbiotic relationships with various mycorrhizal basidiomyceteous fungi that provide them the necessary nutrients to germinate, so all orchid species are mycoheterotrophic during germination and reliant upon fungi to complete their lifecycles.
As the chance for a seed to meet a suitable fungus is very small, only a minute fraction of all the seeds released grow into adult plants. In cultivation, germination typically takes weeks.
Horticultural techniques have been devised for germinating orchid seeds on an artificial nutrient medium, eliminating the requirement of the fungus for germination and greatly aiding the propagation of ornamental orchids. The usual medium for the sowing of orchids in artificial conditions is agar gel combined with a carbohydrate energy source. The carbohydrate source can be combinations of discrete sugars or can be derived from other sources such as banana, pineapple, peach, or even tomato puree or coconut water. After the preparation of the agar medium, it is poured into test tubes or jars which are then autoclaved (or cooked in a pressure cooker) to sterilize the medium. After cooking, the medium begins to gel as it cools.
TAXONOMY
The taxonomy of this family is in constant flux, as new studies continue to clarify the relationships between species and groups of species, allowing more taxa at several ranks to be recognized. The Orchidaceae is currently placed in the order Asparagales by the APG III system of 2009.
Five subfamilies are recognised. The cladogram below was made according to the APG system of 1998. It represents the view that most botanists had held up to that time. It was supported by morphological studies, but never received strong support in molecular phylogenetic studies.
Apostasioideae: 2 genera and 16 species, south-western Asia
Cypripedioideae: 5 genera and 130 species, from the temperate regions of the world, as well as tropical America and tropical Asia
Monandrae
Vanilloideae: 15 genera and 180 species, humid tropical and subtropical regions, eastern North America
Epidendroideae: more than 500 genera and more or less 20,000 species, cosmopolitan
Orchidoideae: 208 genera and 3,630 species, cosmopolitan
In 2015, a phylogenetic study showed strong statistical support for the following topology of the orchid tree, using 9 kb of plastid and nuclear DNA from 7 genes, a topology that was confirmed by a phylogenomic study in the same year.
Apostasioideae
Vanilloideae
Cypripedioideae
Epidendroideae
Orchidoideae
EVOLUTION
A study in the scientific journal Nature has hypothesised that the origin of orchids goes back much longer than originally expected. An extinct species of stingless bee, Proplebeia dominicana, was found trapped in Miocene amber from about 15-20 million years ago. The bee was carrying pollen of a previously unknown orchid taxon, Meliorchis caribea, on its wings. This find is the first evidence of fossilised orchids to date and shows insects were active pollinators of orchids then. This extinct orchid, M. caribea, has been placed within the extant tribe Cranichideae, subtribe Goodyerinae (subfamily Orchidoideae). An even older orchid species, Succinanthera baltica, was described from the Eocene Baltic amber by Poinar & Rasmussen (2017).
Genetic sequencing indicates orchids may have arisen earlier, 76 to 84 million years ago during the Late Cretaceous. According to Mark W. Chase et al. (2001), the overall biogeography and phylogenetic patterns of Orchidaceae show they are even older and may go back roughly 100 million years.
Using the molecular clock method, it was possible to determine the age of the major branches of the orchid family. This also confirmed that the subfamily Vanilloideae is a branch at the basal dichotomy of the monandrous orchids, and must have evolved very early in the evolution of the family. Since this subfamily occurs worldwide in tropical and subtropical regions, from tropical America to tropical Asia, New Guinea and West Africa, and the continents began to split about 100 million years ago, significant biotic exchange must have occurred after this split (since the age of Vanilla is estimated at 60 to 70 million years).
Genome duplication occurred prior to the divergence of this taxon.
GENERA
There are around 800 genera of orchids.
ETYOLOGY
The type genus (i.e. the genus after which the family is named) is Orchis. The genus name comes from the Ancient Greek ὄρχις (órkhis), literally meaning "testicle", because of the shape of the twin tubers in some species of Orchis. The term "orchid" was introduced in 1845 by John Lindley in School Botany, as a shortened form of Orchidaceae.
In Middle English, the name bollockwort was used for some orchids, based on "bollock" meaning testicle and "wort" meaning plant.
DISTRIBUTION
Orchidaceae are cosmopolitan, occurring in almost every habitat apart from glaciers. The world's richest diversity of orchid genera and species is found in the tropics, but they are also found above the Arctic Circle, in southern Patagonia, and two species of Nematoceras on Macquarie Island at 54° south.
The following list gives a rough overview of their distribution:
Oceania: 50 to 70 genera
North America: 20 to 26 genera
tropical America: 212 to 250 genera
tropical Asia: 260 to 300 genera
tropical Africa: 230 to 270 genera
Europe and temperate Asia: 40 to 60 genera
ECOLOGY
A majority of orchids are perennial epiphytes, which grow anchored to trees or shrubs in the tropics and subtropics. Species such as Angraecum sororium are lithophytes, growing on rocks or very rocky soil. Other orchids (including the majority of temperate Orchidaceae) are terrestrial and can be found in habitat areas such as grasslands or forest.
Some orchids, such as Neottia and Corallorhiza, lack chlorophyll, so are unable to photosynthesise. Instead, these species obtain energy and nutrients by parasitising soil fungi through the formation of orchid mycorrhizae. The fungi involved include those that form ectomycorrhizas with trees and other woody plants, parasites such as Armillaria, and saprotrophs. These orchids are known as myco-heterotrophs, but were formerly (incorrectly) described as saprophytes as it was believed they gained their nutrition by breaking down organic matter. While only a few species are achlorophyllous holoparasites, all orchids are myco-heterotrophic during germination and seedling growth, and even photosynthetic adult plants may continue to obtain carbon from their mycorrhizal fungi.
USES
PERFUMERY
The scent of orchids is frequently analysed by perfumers (using headspace technology and gas-liquid chromatography/mass spectrometry) to identify potential fragrance chemicals.
HORTICULTURE
The other important use of orchids is their cultivation for the enjoyment of the flowers. Most cultivated orchids are tropical or subtropical, but quite a few that grow in colder climates can be found on the market. Temperate species available at nurseries include Ophrys apifera (bee orchid), Gymnadenia conopsea (fragrant orchid), Anacamptis pyramidalis (pyramidal orchid) and Dactylorhiza fuchsii (common spotted orchid).
Orchids of all types have also often been sought by collectors of both species and hybrids. Many hundreds of societies and clubs worldwide have been established. These can be small, local clubs, or larger, national organisations such as the American Orchid Society. Both serve to encourage cultivation and collection of orchids, but some go further by concentrating on conservation or research.
The term "botanical orchid" loosely denotes those small-flowered, tropical orchids belonging to several genera that do not fit into the "florist" orchid category. A few of these genera contain enormous numbers of species. Some, such as Pleurothallis and Bulbophyllum, contain approximately 1700 and 2000 species, respectively, and are often extremely vegetatively diverse. The primary use of the term is among orchid hobbyists wishing to describe unusual species they grow, though it is also used to distinguish naturally occurring orchid species from horticulturally created hybrids.
New orchids are registered with the International Orchid Register, maintained by the Royal Horticultural Society.
USE AS FOOD
The dried seed pods of one orchid genus, Vanilla (especially Vanilla planifolia), are commercially important as a flavouring in baking, for perfume manufacture and aromatherapy.
The underground tubers of terrestrial orchids [mainly Orchis mascula (early purple orchid)] are ground to a powder and used for cooking, such as in the hot beverage salep or in the Turkish frozen treat dondurma. The name salep has been claimed to come from the Arabic expression ḥasyu al-tha‘lab, "fox testicles", but it appears more likely the name comes directly from the Arabic name saḥlab. The similarity in appearance to testes naturally accounts for salep being considered an aphrodisiac.
The dried leaves of Jumellea fragrans are used to flavour rum on Reunion Island.
Some saprophytic orchid species of the group Gastrodia produce potato-like tubers and were consumed as food by native peoples in Australia and can be successfully cultivated, notably Gastrodia sesamoides. Wild stands of these plants can still be found in the same areas as early Aboriginal settlements, such as Ku-ring-gai Chase National Park in Australia. Aboriginal peoples located the plants in habitat by observing where bandicoots had scratched in search of the tubers after detecting the plants underground by scent.
CULTURAL SYMBOLISM
Orchids have many associations with symbolic values. For example, the orchid is the City Flower of Shaoxing, China. Cattleya mossiae is the national Venezuelan flower, while Cattleya trianae is the national flower of Colombia. Vanda 'Miss Joaquim' is the national flower of Singapore, Guarianthe skinneri is the national flower of Costa Rica and Rhyncholaelia digbyana is the national flower of Honduras. Prosthechea cochleata is the national flower of Belize, where it is known as the black orchid. Lycaste skinneri has a white variety (alba) that is the national flower of Guatemala, commonly known as Monja Blanca (White Nun). Panama's national flower is the Holy Ghost orchid (Peristeria elata), or 'the flor del Espiritu Santo'. Rhynchostylis retusa is the state flower of the Indian state of Assam where it is known as Kopou Phul.
Orchids native to the Mediterranean are depicted on the Ara Pacis in Rome, until now the only known instance of orchids in ancient art, and the earliest in European art.
WIKIPEDIA