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The water would not stick on the surface of the lotus leaf. A tiny drop would form the shape of the spherical globule and roll over repeatedly without sticking leaving the surface of the leaf totally dry.
With the information of how well the leaves and flowers maintain the non-stickyness, humans can create the following and get the benefits:
1. Waterproof suits for diving.
2. Self-washable dresses that would be easy to clean up.
2. Waterproof paintings that can be safe from the rains and other water sources.
3. Vessels that are waterproof to ensure that cleaning is easier.
4. Waterproof gloves and aprons for doctors and nurses to ensure blood does not stick to them.
5. Faster boats and submarines with waterproof under-parts to reduce friction while sailing.
6. Waterproof polymer-coated leathers and other fabric items that can be used in many areas.
7. Toilets that can do away with flushing of water.
There are so many other advantages that the waterproofing provides, which can be explored once the nanoscopic hairy structures on the lotus leaves can be synthesized.
Mubarak Abdullahi (Nigeria/UK) - Aircraft engineer who, at 24, built a homemade helicopter out of old car and bike parts
Milena Boniolo (Brazil) - Chemist and PhD student at Federal University of São Carlos, Brazil, who is developing methods to detect emerging contaminants in the environment
Premesh Chandran (Malaysia) - Co-founder and CEO of Malaysiakini.com, an independent Malaysian news website
Perry Chen (US) - Co-founder and CEO of Kickstarter, a web platform offering people a new way to fund their creative ideas and endeavors
Anita Doron (Ukraine/Canada) - Surrealist filmmaker and documentarian
Ndubuisi Ekekwe (Nigeria/US) - Engineer, inventor, author and founder of the African Institution of Technology, an organization seeking to develop microelectronics in Africa
Saeed Taji Farouky (Palestine/UK) - Documentary filmmaker, photographer and writer focusing on human rights in the Middle East and North Africa
Jessica Green (US) - Professor at the University of Oregon’s Center for Ecology and Evolutionary Biology whose research focuses on microbial diversity
Benjamin Gulak (Canada/US) - Inventor of the Uno, the “green” electric street bike, and founder of BPG Motors
Robert Gupta (US) - Violinist, youngest member of the Los Angeles Philharmonic
Cesar Harada (Japan/France/UK) - Coordinator of the Open_Sailing project, working to develop open-source technologies to intelligently inhabit the oceans
Susie Ibarra (US/Philippines) - Composer, percussionist and co-founder of Song of the Bird King, a production company using music and film to preserve indigenous culture and ecology
Jennifer Indovina (US) - Founder of Tenrehte Technologies, a semiconductor company developing wireless smart-grid applications
Mitchell Joachim (US) - Architect and co-founder of Terreform ONE + Terrefuge, non-profit design groups that promote ecological design in cities
Raffael Lomas (Israel) - Sculptor and teacher of creative workshops for the blind
Kate Nichols (US) - Artist-in-residence at the Alivisatos Lab who synthesizes nanoparticles that exhibit structural color and incorporates them into macroscale art pieces
Sharmeen Obaid-Chinoy (Pakistan/Canada) - Documentary filmmaker and founder of The Citizens Archive of Pakistan, an educational institution and heritage center established to preserve Pakistan's history
Sarah Jane Pell (Australia) - Artist-researcher, diver and founder of Aquabatics Research Team initiative (ARTi)
Manu Prakash (India/US) - Junior Fellow at Harvard Society of Fellows, physicist and inventor pursuing research in the field of physical biology
Kellee Santiago (US) - President and co-founder of thatgamecompany, a video game company working to create video games that communicate different emotional experiences
Durreen Shahnaz (Bangladesh/Singapore/US) - Founder and Chairperson of Impact Investment Exchange Asia (IIX), a social stock exchange for Social Enterprises to raise growth capital
Gavin Sheppard (Canada) - Founder of I.C. Visions and co-founder of The Remix Project, a youth program acting as an arts and cultural incubator in Toronto, Cananda
Hugo Van Vuuren (South Africa/US) - Fellow at the Harvard School of Engineering and Applied Sciences and at The Laboratory at Harvard, co-founder of Lebone – a social enterprise working on off-grid technologies in Africa
Angelo Vermeulen (Belgium) - Biologist, filmmaker, and visual artist creating large-scale collaborative art installations
Daniel Zoughbie (US/UK) - Founder and CEO of the Global Micro-Clinic Project (GMCP), an organization working to prevent and manage diseases in the developing world using low-cost behavioral interventions
CeO2 nanoparticles synthesized by the co-precipitation method in the presence of nonionic surfactant (PEG400-polyethylene glycol) and sintered at 550 °C in normal atmosphere. The sample was deposited on Si substrate and covered with a thin gold layer by electron beam evaporation.
Original image taken with FEI Nova NanoSEM 630.
The sample was obtained by Dr. Alina Matei – IMT Bucharest, Ambiental Technology Laboratory.
Courtesy of Dr. Marian Popescu , National Institute for R&D in Microtechnologies - IMT Bucharest
Image Details
Instrument used: Nova NanoSEM
Magnification: 160000x
Horizontal Field Width: 1.50 µm
Vacuum: High, 10-6 mbar
Voltage: 20 kV
Spot: 3.0
Working Distance: 5.4 mm
Detector: TLD (SE) – Immersion Mode
As part of the eCampusOntario Virtual Learning Strategy digital fluency grant, led by OCADU, in partnership with Windsor, Nippissing, Mohawk, UofT, Trent we are hosting biweekly co-design conversations around the four modules.
Each module will have two topics and each of those topics will include a discussion to investigate, "what? so what? now what?" These conversations will be recorded and through the week participants will be invited to watch the discussion and come back to analyze and synthesize our reflections from the viewing.
Module 1: Unlearning and Unsettling
Questioning (Sept 2, Sept 9)
Reflection (Sept 16, Sept 23)
Module 3: Co-creating inclusive communities
Trust (Oct 28, Nov 4)
Context (Nov 11, Nov 18)
Module 2: Students as agents of diverse destiny
vulnerability (Sept 30, Oct 7)
failure (Oct 14, Oct 21)
Module 4: Sustaining Change
critique (Nov 25, Dec 2)
care (Dec 9, Dec 16)
Blue calcitic marble from the Precambrian of New York State, USA. (8.0 centimeters across at its widest)
This remarkable specimen of blue marble comes from the Valentine Mine in New York State, an active wollastonite mine/quarry. Wollastonite is a calcium pyroxenoid mineral, formed by hydrothermal metamorphism (metasomatism) of marble by hot, silica-rich fluids. Blue calcitic marble is the proximal host rock to the Valentine Wollastonite Skarn Deposit; white calcitic marble occurs distally.
Published analysis shows that blue marble host rocks around the Valentine Wollastonite Skarn Deposit are >98% calcite with minor diopside and graphite. The bluish color may be due to the presence of sub-microscopic graphite inclusions in the calcite crystals.
The Valentine Mine is located at the intrusive contact between Grenvillian marbles and syenites of the Diana Complex (1.118 Ga). The wollastonite skarn is synchronous with the intrusion of Diana Complex syenites (see Gerdes & Valley, 1994), so it also dates to 1.118 Ga (late Mesoproterozoic). The blue marble host rock is slightly older, at about 1.13 to 1.16 Ga.
Age: late Mesoproterozoic, 1.13-1.16 Ga (granulite facies metamorphism to marble during a phase of the Grenville Orogeny)
Locality: Valentine Mine (Gouverneur Talc Company No. 4 Quarry) (wollastonite mine), ~0.75 to 1 mile from the southern side of Lake Bonaparte, ~3.5 air miles southwest of Harrisville, northern Lewis County, northern Adirondack Mountains (northwestern Lowlands, near the Lowlands-Highlands boundary), northern New York State, USA
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Info. partly synthesized from:
Basu, A.R. & W.R. Premo. 2001. U-Pb age of the Diana Complex and Adirondack granulite petrogenesis. Proceedings of the Indian Academy of Sciences (Earth and Planetary Sciences) 110: 385-395.
Gerdes, M.L. & J.W. Valley. 1994. Fluid flow and mass transport at the Valentine wollastonite deposit, Adirondack Mountains, New York State. Journal of Metamorphic Geology 12: 589-608.
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.
Mubarak Abdullahi (Nigeria/UK) - Aircraft engineer who, at 24, built a homemade helicopter out of old car and bike parts
Milena Boniolo (Brazil) - Chemist and PhD student at Federal University of São Carlos, Brazil, who is developing methods to detect emerging contaminants in the environment
Premesh Chandran (Malaysia) - Co-founder and CEO of Malaysiakini.com, an independent Malaysian news website
Perry Chen (US) - Co-founder and CEO of Kickstarter, a web platform offering people a new way to fund their creative ideas and endeavors
Anita Doron (Ukraine/Canada) - Surrealist filmmaker and documentarian
Ndubuisi Ekekwe (Nigeria/US) - Engineer, inventor, author and founder of the African Institution of Technology, an organization seeking to develop microelectronics in Africa
Saeed Taji Farouky (Palestine/UK) - Documentary filmmaker, photographer and writer focusing on human rights in the Middle East and North Africa
Jessica Green (US) - Professor at the University of Oregon’s Center for Ecology and Evolutionary Biology whose research focuses on microbial diversity
Benjamin Gulak (Canada/US) - Inventor of the Uno, the “green” electric street bike, and founder of BPG Motors
Robert Gupta (US) - Violinist, youngest member of the Los Angeles Philharmonic
Cesar Harada (Japan/France/UK) - Coordinator of the Open_Sailing project, working to develop open-source technologies to intelligently inhabit the oceans
Susie Ibarra (US/Philippines) - Composer, percussionist and co-founder of Song of the Bird King, a production company using music and film to preserve indigenous culture and ecology
Jennifer Indovina (US) - Founder of Tenrehte Technologies, a semiconductor company developing wireless smart-grid applications
Mitchell Joachim (US) - Architect and co-founder of Terreform ONE + Terrefuge, non-profit design groups that promote ecological design in cities
Raffael Lomas (Israel) - Sculptor and teacher of creative workshops for the blind
Kate Nichols (US) - Artist-in-residence at the Alivisatos Lab who synthesizes nanoparticles that exhibit structural color and incorporates them into macroscale art pieces
Sharmeen Obaid-Chinoy (Pakistan/Canada) - Documentary filmmaker and founder of The Citizens Archive of Pakistan, an educational institution and heritage center established to preserve Pakistan's history
Sarah Jane Pell (Australia) - Artist-researcher, diver and founder of Aquabatics Research Team initiative (ARTi)
Manu Prakash (India/US) - Junior Fellow at Harvard Society of Fellows, physicist and inventor pursuing research in the field of physical biology
Kellee Santiago (US) - President and co-founder of thatgamecompany, a video game company working to create video games that communicate different emotional experiences
Durreen Shahnaz (Bangladesh/Singapore/US) - Founder and Chairperson of Impact Investment Exchange Asia (IIX), a social stock exchange for Social Enterprises to raise growth capital
Gavin Sheppard (Canada) - Founder of I.C. Visions and co-founder of The Remix Project, a youth program acting as an arts and cultural incubator in Toronto, Cananda
Hugo Van Vuuren (South Africa/US) - Fellow at the Harvard School of Engineering and Applied Sciences and at The Laboratory at Harvard, co-founder of Lebone – a social enterprise working on off-grid technologies in Africa
Angelo Vermeulen (Belgium) - Biologist, filmmaker, and visual artist creating large-scale collaborative art installations
Daniel Zoughbie (US/UK) - Founder and CEO of the Global Micro-Clinic Project (GMCP), an organization working to prevent and manage diseases in the developing world using low-cost behavioral interventions
If you're one of those people whom mosquitoes tend to favor, maybe it's because you aren't sufficiently stressed-out.
Insects have very keen powers of smell that direct them to their targets. But for researchers trying to figure out what attracts or repels the pests, sorting through the 300 to 400 distinct chemical odors that the human body produces has proved daunting.
Michael C. Witte
Now scientists at Rothamsted Research in the U.K. have been making headway at understanding why some people can end up with dozens of bites after a backyard barbecue, while others remain unscathed. The researchers have identified a handful of the body's chemical odors—some of which may be related to stress—that are present in significantly larger concentrations in people that the bugs are happier to leave alone. If efforts to synthesize these particular chemicals are successful, the result could be an all-natural mosquito repellent that is more effective and safer than products currently available.
"Mosquitoes fly through an aerial soup of chemicals, but can home in on those that draw them to humans," says James Logan, a researcher at Rothamsted, one of the world's oldest agricultural-research institutions. But when the combination of human odors is wrong, he says, "the mosquito fails to recognize this signal as a potential blood meal."
The phenomenon that some people are more prone to mosquito bites than others is well documented. In the 1990s, chemist Ulrich Bernier, now at the U.S. Department of Agriculture's Agricultural Research Service, began looking for what he calls the "magic compounds" that attract mosquitoes. His research helped to show that mosquitoes are attracted to humans by blends of common chemicals such as carbon dioxide, released from the skin and by exhaling, and lactic acid, which is present on the skin, especially when we exercise. But none of the known attractant chemicals explained why mosquitoes preferred some people to others.
Rothamsted's Dr. Logan says the answer isn't to be found in attractant chemicals. He and colleagues observed that everyone produces chemicals that mosquitoes like, but those who are unattractive to mosquitoes produce more of certain chemicals that repel them.
Misguided Mosquitoes
"The repellents were what made the difference," says Dr. Logan, who is interested in the study of how animals communicate using smell. These chemicals may cloud or mask the attractive chemicals, or may disable mosquitoes from being able to detect those attractive odors, he suggests.
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Besides delivering annoying bites, mosquitoes cause hundreds of millions of cases of disease each year. As many as 500 million cases of malaria are contracted globally each year, and more than one million people die from it, according to the Centers for Disease Control and Prevention. Mosquitoes can also spread West Nile virus, dengue fever, yellow fever and other illnesses.
Currently the most effective repellents on the market often contain a chemical known as DEET, which has been associated in some studies with potential safety concerns, such as cancer and Gulf War syndrome. It also damages materials made of plastic. The federal Environmental Protection Agency has determined that DEET, when used as directed, is safe.
The Rothamsted team set out to get the mosquitoes' viewpoint. The researchers separated human volunteers into two groups—those who were attractive to mosquitoes and those who weren't. They then put each of the volunteers into body-size foil bags for two hours to collect their body odors. Using a machine known as a chromatograph, the scientists were able to separate the chemicals. They then tested each of them to see how the mosquitoes responded. By attaching microelectrodes to the insects' antennae, the researchers could measure the electrical impulses that are generated when mosquitoes recognize a chemical.
Dr. Logan and his team have found only a small number of body chemicals—seven or eight—that were present in significantly different quantities between those people who were attractive to mosquitoes and those who weren't. They then put their findings to the test. For this they used a so-called Y-tube olfactometer that allows mosquitoes to make a choice and fly toward or away from an individual's hand. After applying the chemicals thought to be repellant on the hands of individuals known to be attractive, Dr. Logan found that the bugs either flew in the opposite direction or weren't motivated by the person's smell to fly at all.
The chemicals were then tested to determine their impact on actual biting behavior. Volunteers put their arms in a box containing mosquitoes, one arm coated with repellent chemicals and the other without, to see if the arm without the coating got bitten more.
Significant Repellency
The group's latest paper, published in March in the Journal of Medical Entomology, identified two compounds with "significant repellency." One of the compounds, 6-methyl-5-hepten-2-one, is a skin-derived compound that has the odor of toned-down nail-polish remover, according to George Preti, an organic chemist at the Monell Chemical Senses Center in Philadelphia, who is involved in a separate line of research into insect-biting behavior. The other, identified in the paper as geranylacetone, has a pleasant odor, though there is some question about whether the chemical is formed by the human biochemical process or is picked up in the environment, Dr. Preti says.
Dr. Logan declined to comment about the specific chemicals because of proprietary concerns. He says the findings have been patented and the group is working with a commercial company to develop the compounds into a usable insect repellent. One issue that still needs to be resolved: how to develop a formulation of the repellent chemicals that will stay on the skin, rather than quickly evaporating as they do naturally. The hope is to get a product to market within a year or two, he says.
Some of the chemicals researchers identified are believed to be related to stress, Dr. Logan says. Previous research has shown that these particular chemicals could be converted from certain other molecules and this could be as a result of oxidation in the body at times of stress, he says. However, it's not clear if the chemicals observed by the Rothamsted researchers were created in this way, and research is continuing to answer this and other questions.
Dr. Logan suggests that mosquitoes may deem hosts that emit more of these chemicals to be diseased or injured and "not a good quality blood meal." Proteins in the blood are necessary for female mosquitoes to produce fertile eggs, and Dr. Logan says it might be evolutionarily advantageous for mosquitoes to detect and avoid such people.
Other Research
Other research includes an effort by scientists at the University of California, Riverside, who published a paper in the journal Nature last week identifying a recently discovered class of molecules that inhibit fruit flies' and mosquitoes' ability to detect carbon dioxide. Mosquitoes can detect carbon dioxide emissions from long ranges, so turning off the ability to detect the gas, perhaps by releasing the inhibiting molecules into the environment, may be a way of keeping the bugs at bay, the researchers suggest. Another team, at the Monell Chemical Senses Center, is launching a study into whether the taste of human skin and blood are related to the insects' interest in biting certain individuals.
Article quoted from :
santiagoarde.wordpress.com/tag/bonifacio-haza/
June 21, 2017
This photo was published in Santiago de Cuba, in the first days of January 1959. Many other pages revealed the faces or corpses of men, women, youngsters almost children, murdered by Batista's tyranny in this city, where one of the Criminals, the commander Bonifacio Haza-father of the mediocre violinist of Donald Trump, was the chief police.
President Trump Speech in Miami On U.S. Policy Towards Cuba. Miami. FL. June 16, 2017
www.youtube.com/watch?v=mh31MLrWebI
President Trump greeted several of these individuals by name, and was surrounded or accompanied by others at the time of the signing. These included a terrorist arrested in 1995 in California, with an arsenal of weapons to be used to commit violent actions, and who was implicated in an assassination attempt on President Fidel Castro Ruz in 1997. Another was part of a 1974 armed infiltration in Cuba; a third was the author of terrorist actions and pirate attacks at sea on Cuban fishing boats, between 1972 and 1975.
Also present was the spouse of a sergeant who committed acts of torture during the Batista dictatorship, and one of those responsible for financing the planting of bombs at tourist locations in Cuba which exploded in 1997, as revealed by infamous terrorist Posada Carriles in an interview with the New York Times. As we know, Posada Carriles was the author of the mid-flight bombing of a Cubana de Aviación civilian aircraft in 1976, the first terrorist act against an aircraft in flight.
Many of these individuals worked for the CIA at some point.
I strongly protest the United States government given such derision, and implore it to confirm or deny if the terrorists I have mentioned were beside President Trump or not. This is an affront to the Cuban people, to the people of the world, and to the victims of international terrorism across the globe.
When, during this show, the President of the United States alluded to the father of the out-of-tune violinist who played the U.S. national anthem, he failed to state that Captain Bonifacio Haza, mentioned on several occasions by the President of the United States, was directly responsible for the murders of Carlos Díaz and Orlando Carvajal toward the end of the Batista dictatorship, and personally participated in the murder of well-known revolutionary fighter Frank País, as well as his comrade Raúl Pujol, and later, Frank País’ younger brother, who was only 19 years of age at the time.
This is an outrage our people will never forget.
The packed audience was completed by several foreign agents who are paid by U.S. government agencies in Cuba. These are the new mercenaries.
The "heroism" of Trump's violinist's father
This photo was published in Santiago de Cuba, in the first days of January 1959. Many other pages revealed the faces or corpses of men, women, youngsters almost children, murdered by Batista's tyranny in this city, where one of the Criminals, the commander Bonifacio Haza-father of the mediocre violinist of Donald Trump, was the chief police.
This individual, famous for the persecution of the revolutionaries, for the crimes, tortures and disappearance of Santiago, participated in the assassination of the hero of the clandestine fight in this city, Frank País García and also underground fighter Raul Pujol, on July 30 Of 1957. By that date, the henchman was only captain. Trump will continue to reap losses, Cubans will continue cementing the victory
The history of the "victim" of the Cuban government, distorted by the president of the United States, has details that must be known by those who heard him in his recent anti-Cuban speech.
At the time of the assassination of Frank País, who was only 22 years old and the head of the 26th of July Revolutionary Movement in the plain, was prominent in Santiago de Cuba the henchman José María Salas Cañizares, known by the people of Santiago and Cubans as "slaughter". Frank's chase was in his charge.
In his book Frank, between the sun and the mountain, the also clandestine fighter and the Rebel Army, Brigadier General William Gálvez Rodriguez, synthesizes that tragic moment.
"Massacre" to one of his pack: "I will be moving around the area and anything will call me by the car, if I am not, call Haza, who will also go with us. He is waiting for us in the Provincial Government. But listen well: at the slightest sign of resistance or flight, the order is fire against anyone. We will see later".
Then the murderer, accompanied by two others of his own kind, went to pick up another of his own kind, Bonifacio Haza. On the way, "Masacre" asks the captain if he has already chosen the houses that will be registered. Haza says yes. The operation was beginning; It was only a few minutes by 4 in the afternoon.
Once completely surrounded, Frank and Pujol decide to leave, trying to go unnoticed, but are intercepted by a soldier. When they are registered, Frank is given a 38-gun. Both are taken before the bosses. And an informer, who had studied with Frank, identifies him. Immediately, the outrage. The corpse of Frank País, had 38 gunshot wounds. At his side, the pistol, to make public opinion believe that he had rebelled and attacked authority. It was the justification for the barbaric murder. Mariano Randich, the informant, was executed shortly afterwards.
As early as mid-April 1956, the "hero of Trump" had shot down a group of students who, before the Audiencia, asked for the freedom of their fellow judges. On that occasion, it was the murderer of the Moncada, Colonel Chaviano, who gave the order of repression. "If you order it, it will be so," answered Haza. And so he did.
Two students were seriously injured. And to the amusement of another henchman for the crime, Haza exclaimed: "Let us drink by the strong hand of General Batista in the East, by our beloved colonel and future general Alberto del Río Chaviano."
Before the aggression to the students, the answer of the revolutionaries was the combat, under the direction of Frank Pais. On April 20, 1956, Carlos Díaz and Orlando Carvajal were injured. Recluded in a hospital, they were taken out and taken to a group of military assassins, including Bonifacio Haza. And the two young men were killed, after barbaric torture, among them pure alcohol application in wounds and punctures with punches.
Then, Bonifacio Haza, followed his career and increased his history of torture and crimes. Until the triumph of the Revolution arrived.
Some time ago, I interviewed a clandestine fighter from Santiago de Cuba, who, recalling the first day of the victory, referred to his meeting, in the middle of the street, with Bonifacio Haza, still armed. His indignation was such that he went to the henchman to stop him. However, Haza replied that the agreements of El Escandel, where the military command of Moncada had surrendered to Commander in Chief Fidel Castro, established that the officers were free and armed.
Campos Miguel, although he could not understand that freedom for those who hours before murdered the revolutionaries and the population, did not take him prisoner, but he stripped him of the weapon. He relied on revolutionary justice, announcing that those who were not responsible for any crime would be released, but criminals would be tried and punished by the courts.
The revolutionaries and the people acted with serenity and ethics. And in those early days of January 1959, Commander Bonifacio Haza was tried by a Revolutionary Court and paid for his crimes. He was shot, along with other famous assassins.
I do not think that the president of the United States is totally turned away from the history of this one, one of his Cuban "heroes", father of his violinist, also cataloged as a victim. The son was not guilty of the crimes of his father, but the truth can not be faked, much less for petty interests.
In Cuba, many military or civilian children who were punished for their crimes have enjoyed and enjoyed all the rights and benefits of the Revolution. Even the relatives of the military who died in combat against the revolutionaries. That principle was expressed by Fidel from October 16, 1953, before the court that tried him for the events of July 26 of that year.
Fidel said: "When Cuba is free, it must respect, protect and help also the women and children of the brave who fell before us. They are innocent of the misfortunes of Cuba, they are so many victims of this dire situation. " And that has been totally fulfilled. If Bonifacio Haza's son lived in Cuba, he would be no exception. And he would be, at least, a better violinist.
Nothing, that the Yankee president follows the tradition of his predecessors, in his mania to manufacture Cuban "heroes", to choose the worst raw materials. Bonifacio Haza is a clear example of that failure.
It is not the whole story of this character, but something helps to know it as it was.
OM PARVAT 2017 HD
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Benjamín Palencia
Title :Figura tumbada
Medium : gouache on paper
Overall Size : h: 23 x w: 30 cm / h: 9.1 x w: 11.8 in
Spanish painter. based in madrid from 1909, he was self-taught and began by copying pictures by diego velázquez and el greco in the prado. he received support from the poet juan ramón jiménez and established links with such young poets and artists as federico garcía lorca, rafael alberti, salvador dalí and luis buñuel. in 1925, when he participated in the artistas ibéricos exhibition (madrid, casón buen retiro), his work consisted of mildly abstracted landscapes and cubist still-lifes. after several lengthy spells in paris between 1926 and 1928, where he met picasso, he held a one-man exhibition at the palacio de bibliotecas y museos in madrid (1928), his unconventional choice of material—including combinations of oils, soil and sand—scandalizing both critics and visitors. his work developed towards abstraction under the influence of joan miró and was marked also by surrealism in an effort to synthesize the iberian spirit with the avant-garde.
Model's: Melanie and Kaleigh.
Location: model shop studio. Albuquerque, New Mexico.
© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
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I photographed this Zebra Longwing Butterfly at the Arthur R. Marshall Loxahatchee National Wildlife Refuge located on Boynton Beach, near Florida's Atlantic Coast. Jan Nagalski was visiting Florida on his annual birding trip from the frozen north, had heard of Loxahatchee, and wanted to see it for himself. This El-Niño-Wintered Loxahatchee was less than optimal, but then it was close to the Wakodahatchee Wetlands which were outstanding. Jan and I were at Loxahatchee mainly for the birds, but is something else worth shooting shows up, well we shoot it. So was with this Zebra Longwing.
Zebra Longwing or Zebra Heliconian is a species of butterfly belonging to the subfamily Heliconiinae of the family Nymphalidae. It was first described by Carl Linnaeus in his 1767 12th edition of Systema Naturae. The boldly striped black and white wing pattern is aposematic, warning off predators. The species is distributed across South and Central America and as far north as southern Texas and peninsular Florida; there are migrations north into other American states in the warmer months. Zebra longwing adults roost communally at night in groups of up to 60 adults for safety from predators. The adult butterflies are unusual in feeding on pollen as well as on nectar; the pollen enables them to synthesize cyanogenic glycosides that make their bodies toxic to potential predators. Caterpillars feed on various species of passionflower, evading the plants' defensive trichomes by biting them off or laying silk mats over them. The zebra longwing, Heliconius charithonia, was designated the state butterfly of Florida in 1996. However, mass spraying of naled has decimated the zebra longwing population in Miami-Dade County, Florida. There has been mass collapse of the colonies with impacts on the balance of the ecosystem. Further studies are needed to evaluate any potential for recolonization. The caterpillars are white with black spots and have numerous black spikes along their body. Adult butterflies are monomorphic of medium size with long wings. On the dorsal side, the wings are black with narrow white and yellow stripes, with a similar pattern on the ventral side, but paler and with red spots. The wingspan ranges from 72 to 100 mm.
Info above was extracted from Wikipedia.
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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.
Model: Chelsea, Damm ™ & Nick.
"There is no remedy for love but to love more."
-Thoreau
Location: model shop studio, Albuquerque, NM. USA
© 2009 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
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Anyolite from the Precambrian of Tanzania. (public display, Field Museum of Natural History, Chicago, Illinois, USA)
Green = Cr-zoisite
Black = amphibole
Reddish = ruby (corundum)
This attractive rock is called anyolite, or corundum-amphibole zoisitite (or corundum-amphibole zoisite metamorphite). Anyolite is a metamorphic rock consisting of finely-crystalline chromian zoisite (green, Ca2Al3(Si2O7)(SiO4)O(OH) - calcium aluminum hydroxy-oxysilicate with Cr impurity) with minor pargasite amphibole (black), and some large porphyroblasts of red corundum (ruby) (Al2O3 - aluminum oxide with Cr impurity). There’s also minor Ca-rich plagioclase feldspar (anorthite, CaAl2Si2O8) in this rock.
Origin: Published mineralogy studies indicate that this chromian zoisite-ruby combination is the result of very high-grade metamorphism of anorthosite, an intrusive igneous rock dominated by Ca-rich plagioclase feldspar. The chromium (Cr) in the zoisite and the corundum (ruby = corundum with chromium impurity) is derived from metamorphic alteration of chromite crystals (FeCr2O4 - iron chromium oxide) in the original anorthosite unit. Chromite and chromitite (= chromite-dominated igneous rock) are commonly associated with anorthosites in LLIs (= large layered igneous intrusions, such as Montana’s Stillwater Complex).
Geologic Context & Age: This Tanzanian anyolite is hosted in gneisses exposed in the Mozambique Collision Belt, an ancient, north-south trending, tectonic collision zone in eastern Africa. It dates to the Pan-African Orogeny (Neoproterozoic), during which the ancient continents of West Gondwana (~modern-day South America & Africa) and East Gondwana (~modern-day India-Australia-Antarctica) collided, forming the long-lived, small supercontinent Gondwana.
Locality: Mundarara Mine, ~27 km west of Longido, northeastern Tanzania, southeastern Africa (2° 37.876’ South latitude, 36° 28.421’ East longitude)
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Mostly synthesized from:
Game, P.M. 1954. Zoisite-amphibolite with corundum from Tanganyika. Mineralogical Magazine 30: 458-466.
Mercier, A., P. Debat & J.M. Paul. 1999. Exotic origin of the ruby deposits of the Mangari area in SE Kenya. Ore Geology Reviews 14: 83-104.
宇宙-生命-粒子-人类世界科学，哲学经典论坛（Smith-Fangruida 科学-哲学经典论语）
Universe-Life-Particles-Human World Science, Philosophy Classics Forum (Smith-Fangruida Science-Philosophy Classical Analects)
地球的一山一水，美丽和富饶广阔。自然，在月球，在火星，在木星卫星，在金星，水星，土星等等，以及其他类地星球特别是遥远广袤的星际，银河，银河之外，不能说没有这些地质元素存在。几千年以后，几万年以后，几十万年以后，只要人类尚存，他照样展现出同样的精致和美丽。
The mountains and waters of the earth are beautiful and rich. Naturally, on the moon, on Mars, on Jupiter satellites, on Venus, Mercury, Saturn, etc., and other terrestrial planets, especially distant and vast interstellar, galaxy, and galaxy, it cannot be said that these geological elements exist. After thousands of years, after tens of thousands of years, hundreds of thousands of years later, as long as human beings still exist, he still shows the same exquisiteness and beauty.
世界上没有永恒存在的生命（生物活性大分子以及其他高级），但是确有永久存在的永久存在的“物质体”。不论宇宙如何演变，也不论星球，天体，黑洞，暗物质，尘埃，粒子等等之类；也不论宇宙和粒子的产生隐没如何相互转化复变，宇宙之所以称其宇宙，就是宇宙本体就是物质形体，完全空洞虚无缥缈的的所谓宇宙实际上并不存在。宇宙是物质体的的变化和转换形态。即使伟大的科学家在研究说明它的最基本原理和事态的时候，也往往会过于抽象或者过于迂腐甚至走向实证的偏激，因而导致它的理论和研究漏洞百出，即使能够自圆其说，但也会失去中心，堕入研究和阐述的漩涡之中。当然，就更不必被指那些所谓的头面人物哲学大师之类的名人了。宇宙是抽象的，又是具体的实体物质性存在，它和人类的生命系统并不等同，甚至南辕北辙。人类的智慧和愚笨同样存在，想当然地以为制造或合成一些生物机器人之类就可以改变宇宙，也是一种伟大而荒唐的创造和魔法。
There is no eternal life in the world (bioactive macromolecules and other high-level ones), but there is a permanent and permanent “material body”. No matter how the universe evolves, no matter whether it is a planet, a celestial body, a black hole, a dark matter, a dust, a particle, etc., no matter how the universe and the particle are hidden, how do they transform each other? The universe is called the universe, that is, the universe is the physical form. The so-called universe, which is completely empty and imaginary, does not actually exist. The universe is the transformation and transformation of matter. Even if a great scientist studies its most basic principles and state of affairs, it tends to be too abstract or too pedantic or even to empirically biased. As a result, its theory and research are full of loopholes. Even if it can be self-explanatory, it will lose its center. Into the whirlpool of research and elaboration. Of course, it is even less necessary to be referred to celebrities such as the so-called head philosophers. The universe is abstract, and it is a concrete physical material existence. It is not equivalent to the human life system, and even the south. Human wisdom and stupidity also exist, taking it for granted that creating or synthesizing some biological robots can change the universe, and it is also a great and absurd creation and magic.
几十年几百年几千年对于政治家，军事家，思想家和哲学家来说，的确身手不凡；但对于自然科学家来说，根本不值一提。自然科学并不会是永恒不变的真理；但是，它的严酷严谨严实需要千锤百炼，才能铸就永恒。
For decades, centuries and centuries for politicians, strategists, thinkers and philosophers, it is indeed extraordinary; but for natural scientists, it is not worth mentioning. Natural science is not an eternal truth; but its harshness, rigor, and rigorous need to be tempered to create eternity.
站在月球站在火星，你看到的不仅是地球的美貌和宇宙之阔，而是一个新生的具有特质性的星球世界和人类社会。不论人类的脚步能走多么遥远，也不论自然和上帝能否给人类提供多大的机遇和成功，对于高级生命来说已经足够了；当然，对于宇宙本身来说，这都无关紧要和无伤大体。
Standing on the moon standing on Mars, you see not only the beauty of the earth and the universe, but a new and traitual world of planets and human society. No matter how far the human footsteps can go, no matter whether nature and God can provide humans with much opportunity and success, it is enough for advanced life; of course, for the universe itself, this is irrelevant and harmless. .
人类的诞生与宇宙的生辰是反比；物质的存在与宇宙的生息永远是正比。
The birth of man is inversely proportional to the birth of the universe; the existence of matter is always proportional to the life of the universe.
高级生命对于自然宇宙来说仅仅是自然中的必然，而对于物质和有机体的演变来说，则是一种正崎变。倘若是相反，逆变就会发生。生命体和有机体的演变演化存满各种变数和多杂渠道和路径。
Advanced life is only a natural necessity for the natural universe, and a positive change for the evolution of matter and organisms. If it is the opposite, the inverter will happen. The evolution of living organisms and organisms is full of variables and channels and paths.
浩瀚的宇宙中，星球爆炸，天体缩变，在极其广阔的星际每每发生，包括超巨星，超黑洞之类，甚至包括有机物和生命体的灭绝和毁灭也会出现。这些并不是天下奇观。这是否等同于宇宙毁灭呢？二者并不趋同。几万亿颗星球天体极变，对于宇宙整体物质性毫发无损，对于人类太阳系来说恐怕就是万劫不复的灾难了。
In the vast universe, the planet explodes, the celestial body shrinks, and it occurs in extremely vast interstellars, including supergiants, superblack holes, and even the extinction and destruction of organic matter and living bodies. These are not the wonders of the world. Is this equivalent to the destruction of the universe? The two do not converge. The trillions of celestial bodies have changed dramatically, and the overall materiality of the universe is unscathed. For the human solar system, it is probably a disaster that never ends.
重复历史不如创造历史；改写历史不如铸就历史。
It is better to repeat history than to create history; to rewrite history is worse than to cast history.
与其把整个人类历史描绘成智慧辉煌，倒真不如把它理解为双生的怪诞复杂的生灵之物------漫长艰难复杂的的自然原始生物性自然性和渐生渐长的智慧和高级理性。
Rather than portraying the entire human history as a wise glory, it is better to understand it as a bizarre and grotesque creature of the twins—long and difficult natural natural biological nature and gradually growing wisdom and Advanced rationality.
世界既是金碧辉煌，也是浑浑噩噩，历史的正反面或者多面体而已。
The world is both brilliant and embarrassing, the front and back of history or the polyhedron.
人的生命的尽头无异于动物生物的死亡，所不同的是，人类具有高端意识和智慧理性以及所能够创造和改造的整个自然世界。The end of human life is tantamount to the death of animal creatures. The difference is that human beings have high-end consciousness and wisdom rationality as well as the entire natural world that can be created and transformed.
生命动物，高级智慧动物，有机物-无机物集化而成的复合智能动物，在未来的世界和星球中会出现，并不为怪。It is not surprising that life animals, high-intelligence animals, and organic-inorganic integrated intelligent animals will appear in the future world and in the planet.
The Postcard
A postally unused carte postale published by L. B. of Dijon and distributed by Ch. Macé of Versailles. The card has a divided back.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
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Please send all photographs and contact info to: MODELS@VPXSPORTS.COM
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Image by Linden Hudson (amateur photographer). These are freeze frames from video.
Who is Linden Hudson?
CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)
(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden's career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It's just deeply fucked up.)
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Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: youtu.be/2QZ8WUTaS18
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Read Linden's story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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Follow this Wikipedia link and find Linden's name throughout the article & read the album songwriter credits about halfway down at: en.wikipedia.org/wiki/Eliminator_%28album%29
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LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP'S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
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MUSICRADAR DOT COM (2013 interview with ZZ Top's guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top's sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
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TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
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CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people's tempo" as it came to be known.
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP by David Blayney: (page 227): "...the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He's mentioned in at least 7 ZZ Top related Wikipedia pages.)
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP By David Blayney: "Linden found himself in the position of being Billy's (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
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FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
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FROM THE BOOK: ZZ TOP - BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn't even like to rehearse much. Their studio absence wasn't really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
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FROM THE BOOK: "SHARP DRESSED MEN - ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top's rehearsal hall theoretician, producer, and engineer." (end quote)
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FROM THE BOOK: "ZZ TOP - BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building Eliminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
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FROM THE BOOK: "TRES HOMBRES - THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard's house (ZZ's drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
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FROM THE BOOK: "SHARP DRESS MEN - ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80's. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
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FROM THE BOOK: SHARP DRESSED MEN - ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top's very first show).
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FROM THE BOOK: "SHARP DRESSED MEN - ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank's (ZZ Top drummer) place as ZZ's live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family... as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
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FROM THE BOOK "ZZ TOP - BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "... SHARP DRESSED MAN which employed Hudson's 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
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THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
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ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for EL LOCO ... ... Hudson helped construct ZZ Top drummer Frank Beard's home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983's ELIMINATOR.
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FIREDOGLAKE DOT COM: "I like Billy Gibbons' guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
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EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly's #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney's book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn't realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles... I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that's all. You have reached ZZ Top's biggest fan and I can let others know. Bummer. Cheers and good luck. James."
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VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
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INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
CABA - Ciudad Autonoma de Buenos Aires
Is it possible to synthesize the soul of a city through photographs of its buildings? The work of Michele Molinari heads in that direction, overlooking the Buenos Aires of historic monuments and focusing on the common dwellings that stud the skyline of the porteña city. They are boundary lines by day and by night, suburban intersections trying to spur on the vertical expansion of the city. Molinari’s interesting experiment is to go back to the same places after a period of time to crystalize the changes and witness the immanence of certain corners of the urban fabric. – Alessandro Trabucco
How emotional it is to admire Buenos Aires at dusk. The passers-by are hurrying along the sidewalks and distractedly look at the camera lens. With curious or perplexed glances. […] The essence of the obscurity is easier to enjoy in the quieter neighborhoods. […] The sense of calm even appears to reach the historic center in one of the few photos of monumental Buenos Aires included in the book. The circle closes. Every splintered scrap of the urban fabric is recomposed under the protective wing of the night. – Andrea Mauri
CABA - Ciudad Autonoma de Buenos Aires is a photobook. Photographs and essay by Michele Molinari, more essays by Andrea Mauri and Alessandro Trabucco. [essays are in English, Spanish and Italian]
CABA comes in 2 printed editions by Blurb, Pocket Edition [7x7in, 18x18cm, 132 pages, Standard Photo paper, Flexible High-Gloss Laminated cover, 106 color photos] and Deluxe Edition [8x10in, 20x25cm, 134 pages, ProLine Pearl Photo paper, Hardcover with Dust Jacket, 107 color photos], and one Digital Edition by Apple iBooks that features 107 + 7 bonus color photos.
CABA won Bronze Award at TIFA2020 Book/Documentary
Find it here: michelemolinari.info/2020/07/25/caba/
Illustration shows some common sources of the microbes in cheese.
The microbes that colonize cheese come from many places. Some are intentionally added to the milk, while others drift there from the environment and from the cheesemakers themselves. Details of temperature, salt, acidity and other variables determine which of the colonists survive and dominate as the cheese matures.
Read more in Knowable Magazine
Blessed are the (tiny) cheesemakers
Cheese is not just a tasty snack — it’s an ecosystem. And the fungi and bacteria within that ecosystem play a big part in shaping the flavor and texture of the final product.
https://knowablemagazine.org/article/food-environment/2022/blessed-are-tiny-cheesemakers
Take a deeper dive: Selected scholarly reviews
New Insights into Cheese Microstructure
Microstructure plays an essential role in the development of cheese products and microscopy can help with that.
https://www.annualreviews.org/doi/10.1146/annurev-food-032519-051812
===
Knowable Magazine from Annual Reviews is a digital publication that seeks to make scientific knowledge accessible to all. Through compelling articles, beautiful graphics, engaging videos and more, Knowable Magazine explores the real-world impact of research through a journalistic lens. All content is rooted in deep reporting and undergoes a thorough fact-checking before publication.
The Knowable Magazine Science Graphics Library is an initiative to create freely available, accurate and engaging graphics for teachers and students. All graphics are curated from Knowable Magazine articles and are free for classroom use. Knowable Magazine is an editorially independent initiative produced by Annual Reviews, a nonprofit publisher dedicated to synthesizing and integrating knowledge for the progress of science and the benefit of society.
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This graphic is available for free for in-classroom use. Contact us to arrange permission for any other use: knowablemagazine.org/contact-us
Mubarak Abdullahi (Nigeria/UK) - Aircraft engineer who, at 24, built a homemade helicopter out of old car and bike parts
Milena Boniolo (Brazil) - Chemist and PhD student at Federal University of São Carlos, Brazil, who is developing methods to detect emerging contaminants in the environment
Premesh Chandran (Malaysia) - Co-founder and CEO of Malaysiakini.com, an independent Malaysian news website
Perry Chen (US) - Co-founder and CEO of Kickstarter, a web platform offering people a new way to fund their creative ideas and endeavors
Anita Doron (Ukraine/Canada) - Surrealist filmmaker and documentarian
Ndubuisi Ekekwe (Nigeria/US) - Engineer, inventor, author and founder of the African Institution of Technology, an organization seeking to develop microelectronics in Africa
Saeed Taji Farouky (Palestine/UK) - Documentary filmmaker, photographer and writer focusing on human rights in the Middle East and North Africa
Jessica Green (US) - Professor at the University of Oregon’s Center for Ecology and Evolutionary Biology whose research focuses on microbial diversity
Benjamin Gulak (Canada/US) - Inventor of the Uno, the “green” electric street bike, and founder of BPG Motors
Robert Gupta (US) - Violinist, youngest member of the Los Angeles Philharmonic
Cesar Harada (Japan/France/UK) - Coordinator of the Open_Sailing project, working to develop open-source technologies to intelligently inhabit the oceans
Susie Ibarra (US/Philippines) - Composer, percussionist and co-founder of Song of the Bird King, a production company using music and film to preserve indigenous culture and ecology
Jennifer Indovina (US) - Founder of Tenrehte Technologies, a semiconductor company developing wireless smart-grid applications
Mitchell Joachim (US) - Architect and co-founder of Terreform ONE + Terrefuge, non-profit design groups that promote ecological design in cities
Raffael Lomas (Israel) - Sculptor and teacher of creative workshops for the blind
Kate Nichols (US) - Artist-in-residence at the Alivisatos Lab who synthesizes nanoparticles that exhibit structural color and incorporates them into macroscale art pieces
Sharmeen Obaid-Chinoy (Pakistan/Canada) - Documentary filmmaker and founder of The Citizens Archive of Pakistan, an educational institution and heritage center established to preserve Pakistan's history
Sarah Jane Pell (Australia) - Artist-researcher, diver and founder of Aquabatics Research Team initiative (ARTi)
Manu Prakash (India/US) - Junior Fellow at Harvard Society of Fellows, physicist and inventor pursuing research in the field of physical biology
Kellee Santiago (US) - President and co-founder of thatgamecompany, a video game company working to create video games that communicate different emotional experiences
Durreen Shahnaz (Bangladesh/Singapore/US) - Founder and Chairperson of Impact Investment Exchange Asia (IIX), a social stock exchange for Social Enterprises to raise growth capital
Gavin Sheppard (Canada) - Founder of I.C. Visions and co-founder of The Remix Project, a youth program acting as an arts and cultural incubator in Toronto, Cananda
Hugo Van Vuuren (South Africa/US) - Fellow at the Harvard School of Engineering and Applied Sciences and at The Laboratory at Harvard, co-founder of Lebone – a social enterprise working on off-grid technologies in Africa
Angelo Vermeulen (Belgium) - Biologist, filmmaker, and visual artist creating large-scale collaborative art installations
Daniel Zoughbie (US/UK) - Founder and CEO of the Global Micro-Clinic Project (GMCP), an organization working to prevent and manage diseases in the developing world using low-cost behavioral interventions
Karen Evans, Assistant Secretary of DOE's Office of Cybersecurity, Energy Security and Emergency Response, visited Argonne on Friday June 14.
In this image, A/S Evans gets a behind-the-scenes look at how researchers at the Electrochemical Discovery Laboratory synthesize high-quality materials for testing in next-gen (beyond lithium-ion) batteries.
A/S Evans' visit included in-depth conversations about Argonne capabilities in materials synthesis, energy storage, infrastructure, preparedness and grid modernization.
Artist Against Deception music can be found on Spotify, i Tunes, Amazon, i heart and Pandora Radio Christian Trap Music is a sub-genre of Christian music that features worship songs that sound more country or pop than Christian music. Its main goal is to attract people of all ages through its Christian theme and appeal to their " Christian "ness." Christian Trap Music can be hard for the non-Christians to understand. It has very distorted lyrics that are aimed at enticing people to listen to its worship songs. It seems to have taken elements from worship songs of various religions but Christian Trap Music takes references from only one religion, Christianity.
Christian Trap Music gained popularity in the late eighties and early nineties with the rise of Christian rap music. The early Christian Rap artists such as Ice Cube and Boyz II Men made Christian Trap Music a hit among teenagers and children who identify with Christian values. Christian Trap Music is characterized by overuse of synthesized sounds that mimic hip-hop and electronica-based music. Christian Trap Music was popularized by groups such as Cee-Lo, Akon, Luther Vandross, Scott Storch, Nancy Sinatra, and Luther Vandross with their hit single "Trapped In My Mind."
There has been a resurgence of Christian Trap Music in modern times with the rise of Christian rappers like Eminem and Lil Kim. Christian rappers draw on traditional worship songs of various religions while creating their own lyrics and tunes. Christian Trap Music often makes use of heavy metal and hard rock influences to produce its sound. Christian rappers also tend to be outspoken about their faith in songs, many of which are popular among teens and children.
Christian Trap Music is distinct in that it draws on traditional worship songs of Christianity, mixed with other styles of music. These genres of music vary widely in style and genre. Some of the most popular Christian Trap genres include Christian rap, Christian dance music, Christian rock, Christian soul, country, Latin music, and hard rock. The music can be quite loud and abrasive, but Christian Trap Music is still popular with many listeners today. One of the most distinctive features of this type of music is that the artists tend to speak out about issues in society like drug abuse and teen pregnancy.
Christian Trap Music often plays on the radio in music stations across the country. Christian rappers and musicians often refer to topics such as abortion, teenage pregnancy, and the death penalty. Christian trap songs generally have a very hard rock sound to them. The lyrics often talk about living in the Christian community and going to church.
Christian Trap Music is often promoted by Christian rappers and musicians who have themselves been ex-gang members. A good example of this is Cee-Lo, who was once in the prison after being incarcerated for his part in a prison gang. He now has his own Christian rap-music career. Another great artist who has made his own Christian trap music is Kris Strokes who is well known as an artist who pens Christian songs. Christian Trap Music uses a lot of hard rock lyrics as well as Christian songs which are well suited to the Christian sub-culture.
Another artist who has a Christian trap music career is SPY KID. Spy KID is well known for her hit songs such as "She's Not Your Typical Popstar". She has made Christian Trap Music in past albums as well. She has also been married to her now ex-husband DJ Pauly D, while she was still signed to his record label. Christian Trap Music is very popular among teenagers as well as older adults.
Christian Trap Music is all about using hard-hitting Christian music to reach out to people who may not be able to fully understand the kind of music that Christian Trap Music is. Christian trap music is all about using catchy Christian songs and music to reach out to people who may not be able to understand the kind of lyrics that Christian songs and music are written with. Christian songs are written with the help of Christian musicians who have a Christian background. One can look for a song that fits their need. Christian songs are also available in different styles. They are available as rock, pop, country, jazz, metal, and Christian rap.
Oil on canvas; 92.7 x 73 cm.
Gino Severini was an Italian painter who synthesized the styles of Futurism and Cubism.
Severini began his painting career in 1900 as a student of Giacomo Balla, an Italian pointillist painter who later became a prominent Futurist. Stimulated by Balla’s account of the new painting in France, Severini moved to Paris in 1906 and met leading members of the French avant-garde, such as the Cubist painters Georges Braque and Pablo Picasso and the writer Guillaume Apollinaire. Severini continued to work in the pointillist manner—an approach that entailed applying dots of contrasting colors according to principles of optical science—until 1910, when he signed the Futurist painters’ manifesto.
The Futurists wanted to revitalize Italian art (and, as a consequence, all of Italian culture) by depicting the speed and dynamism of modern life. Severini shared this artistic interest, but his work did not contain the political overtones typical of Futurism. Whereas Futurists typically painted moving cars or machines, Severini usually portrayed the human figure as the source of energetic motion in his paintings. He was especially fond of painting nightclub scenes in which he evoked the sensations of movement and sound by filling the picture with rhythmic forms and cheerful, flickering colors. In Dynamic Hieroglyph of the Bal Tabarin (1912), he retained the nightlife theme but incorporated the Cubist technique of collage (real sequins are fixed to the dancers’ dresses) and such nonsensical elements as a realistic nude riding a pair of scissors.
Only briefly, in wartime works such as Red Cross Train Passing a Village (1914), did Severini paint subjects that conformed to the Futurist glorification of war and mechanized power. Over the next few years, he turned increasingly to an idiosyncratic form of Cubism that retained decorative elements of pointillism and Futurism, as seen in the abstract painting Spherical Expansion of Light (Centrifugal) (1914).
About 1916 Severini embraced a more rigorous and formal approach to composition; instead of deconstructing forms, he wanted to bring geometric order to his paintings. His works from this period were usually still lifes executed in a Synthetic Cubist manner, which entailed constructing a composition out of fragments of objects. In portraits such as Maternity (1916), he also began to experiment with a Neoclassical figurative style, a conservative approach that he embraced more fully in the 1920s. Severini published a book, Du cubisme au classicisme (1921; “From Cubism to Classicism”), in which he discussed his theories about the rules of composition and proportion. Later in his career he created many decorative panels, frescoes, and mosaics, and he became involved in set and costume design for the theater. The artist’s autobiography, Tutta la vita di un pittore (“The Life of a Painter”), was published in 1946.
Mubarak Abdullahi (Nigeria/UK) - Aircraft engineer who, at 24, built a homemade helicopter out of old car and bike parts
Milena Boniolo (Brazil) - Chemist and PhD student at Federal University of São Carlos, Brazil, who is developing methods to detect emerging contaminants in the environment
Premesh Chandran (Malaysia) - Co-founder and CEO of Malaysiakini.com, an independent Malaysian news website
Perry Chen (US) - Co-founder and CEO of Kickstarter, a web platform offering people a new way to fund their creative ideas and endeavors
Anita Doron (Ukraine/Canada) - Surrealist filmmaker and documentarian
Ndubuisi Ekekwe (Nigeria/US) - Engineer, inventor, author and founder of the African Institution of Technology, an organization seeking to develop microelectronics in Africa
Saeed Taji Farouky (Palestine/UK) - Documentary filmmaker, photographer and writer focusing on human rights in the Middle East and North Africa
Jessica Green (US) - Professor at the University of Oregon’s Center for Ecology and Evolutionary Biology whose research focuses on microbial diversity
Benjamin Gulak (Canada/US) - Inventor of the Uno, the “green” electric street bike, and founder of BPG Motors
Robert Gupta (US) - Violinist, youngest member of the Los Angeles Philharmonic
Cesar Harada (Japan/France/UK) - Coordinator of the Open_Sailing project, working to develop open-source technologies to intelligently inhabit the oceans
Susie Ibarra (US/Philippines) - Composer, percussionist and co-founder of Song of the Bird King, a production company using music and film to preserve indigenous culture and ecology
Jennifer Indovina (US) - Founder of Tenrehte Technologies, a semiconductor company developing wireless smart-grid applications
Mitchell Joachim (US) - Architect and co-founder of Terreform ONE + Terrefuge, non-profit design groups that promote ecological design in cities
Raffael Lomas (Israel) - Sculptor and teacher of creative workshops for the blind
Kate Nichols (US) - Artist-in-residence at the Alivisatos Lab who synthesizes nanoparticles that exhibit structural color and incorporates them into macroscale art pieces
Sharmeen Obaid-Chinoy (Pakistan/Canada) - Documentary filmmaker and founder of The Citizens Archive of Pakistan, an educational institution and heritage center established to preserve Pakistan's history
Sarah Jane Pell (Australia) - Artist-researcher, diver and founder of Aquabatics Research Team initiative (ARTi)
Manu Prakash (India/US) - Junior Fellow at Harvard Society of Fellows, physicist and inventor pursuing research in the field of physical biology
Kellee Santiago (US) - President and co-founder of thatgamecompany, a video game company working to create video games that communicate different emotional experiences
Durreen Shahnaz (Bangladesh/Singapore/US) - Founder and Chairperson of Impact Investment Exchange Asia (IIX), a social stock exchange for Social Enterprises to raise growth capital
Gavin Sheppard (Canada) - Founder of I.C. Visions and co-founder of The Remix Project, a youth program acting as an arts and cultural incubator in Toronto, Cananda
Hugo Van Vuuren (South Africa/US) - Fellow at the Harvard School of Engineering and Applied Sciences and at The Laboratory at Harvard, co-founder of Lebone – a social enterprise working on off-grid technologies in Africa
Angelo Vermeulen (Belgium) - Biologist, filmmaker, and visual artist creating large-scale collaborative art installations
Daniel Zoughbie (US/UK) - Founder and CEO of the Global Micro-Clinic Project (GMCP), an organization working to prevent and manage diseases in the developing world using low-cost behavioral interventions
The Sultan Ahmed Mosque is an historical mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built from 1609 to 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.
Architecture
The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour. It has one main dome, six minarets, and other eight secondary domes.
Interior
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 20,000 tiles were made under the supervision of the Iznik master potter Kasap Haci and Baris Efendi from Avanos (Cappadocia). The price to be paid for each tile was fixed by the sultan's decree, while tile prices in general increased over time. As a result, the quality of the tiles used in the building decreased gradually. Their colours have faded and changed (red turning into brown and green into blue, mottled whites) and the glazes have dulled. The tiles on the back balcony wall are recycled tiles from the harem in the Topkapı Palace, when it was damaged by fire in 1574. [Wikipedia.org]
Mubarak Abdullahi (Nigeria/UK) - Aircraft engineer who, at 24, built a homemade helicopter out of old car and bike parts
Milena Boniolo (Brazil) - Chemist and PhD student at Federal University of São Carlos, Brazil, who is developing methods to detect emerging contaminants in the environment
Premesh Chandran (Malaysia) - Co-founder and CEO of Malaysiakini.com, an independent Malaysian news website
Perry Chen (US) - Co-founder and CEO of Kickstarter, a web platform offering people a new way to fund their creative ideas and endeavors
Anita Doron (Ukraine/Canada) - Surrealist filmmaker and documentarian
Ndubuisi Ekekwe (Nigeria/US) - Engineer, inventor, author and founder of the African Institution of Technology, an organization seeking to develop microelectronics in Africa
Saeed Taji Farouky (Palestine/UK) - Documentary filmmaker, photographer and writer focusing on human rights in the Middle East and North Africa
Jessica Green (US) - Professor at the University of Oregon’s Center for Ecology and Evolutionary Biology whose research focuses on microbial diversity
Benjamin Gulak (Canada/US) - Inventor of the Uno, the “green” electric street bike, and founder of BPG Motors
Robert Gupta (US) - Violinist, youngest member of the Los Angeles Philharmonic
Cesar Harada (Japan/France/UK) - Coordinator of the Open_Sailing project, working to develop open-source technologies to intelligently inhabit the oceans
Susie Ibarra (US/Philippines) - Composer, percussionist and co-founder of Song of the Bird King, a production company using music and film to preserve indigenous culture and ecology
Jennifer Indovina (US) - Founder of Tenrehte Technologies, a semiconductor company developing wireless smart-grid applications
Mitchell Joachim (US) - Architect and co-founder of Terreform ONE + Terrefuge, non-profit design groups that promote ecological design in cities
Raffael Lomas (Israel) - Sculptor and teacher of creative workshops for the blind
Kate Nichols (US) - Artist-in-residence at the Alivisatos Lab who synthesizes nanoparticles that exhibit structural color and incorporates them into macroscale art pieces
Sharmeen Obaid-Chinoy (Pakistan/Canada) - Documentary filmmaker and founder of The Citizens Archive of Pakistan, an educational institution and heritage center established to preserve Pakistan's history
Sarah Jane Pell (Australia) - Artist-researcher, diver and founder of Aquabatics Research Team initiative (ARTi)
Manu Prakash (India/US) - Junior Fellow at Harvard Society of Fellows, physicist and inventor pursuing research in the field of physical biology
Kellee Santiago (US) - President and co-founder of thatgamecompany, a video game company working to create video games that communicate different emotional experiences
Durreen Shahnaz (Bangladesh/Singapore/US) - Founder and Chairperson of Impact Investment Exchange Asia (IIX), a social stock exchange for Social Enterprises to raise growth capital
Gavin Sheppard (Canada) - Founder of I.C. Visions and co-founder of The Remix Project, a youth program acting as an arts and cultural incubator in Toronto, Cananda
Hugo Van Vuuren (South Africa/US) - Fellow at the Harvard School of Engineering and Applied Sciences and at The Laboratory at Harvard, co-founder of Lebone – a social enterprise working on off-grid technologies in Africa
Angelo Vermeulen (Belgium) - Biologist, filmmaker, and visual artist creating large-scale collaborative art installations
Daniel Zoughbie (US/UK) - Founder and CEO of the Global Micro-Clinic Project (GMCP), an organization working to prevent and manage diseases in the developing world using low-cost behavioral interventions
Mackinaw City, MI.
Synthesized IRG --> RGB image from a single exposure. Full-spectrum camera, 525LP dichroic filter. Worked up in Pixelbender and Photoshop.
Notice the rare green color in the OPEN sign in the window: this is produced by red LEDs.
Denise Wither's Student Design Workshop worked through a really great process to get students to articulate what they want and need from online learning in Ontario. Presentations synthesizing the student prototypes & major takeaways will be during the eLearning Showcase Tuesday January 17 in the morning @ the Toronto Reference Library. www.ecampusontario.ca/Content/elearning-seminar-showcase-...
Quartz-gold hydrothermal vein rock (gold ore) from the Precambrian of Ontario, Canada.
This high-grade gold ore sample is from the famous Hollinger Mine in Timmins, Ontario, one of the richest gold mines on Earth. The whitish-gray material is quartz and the buttery, metallic-lustered material is native gold (Au). Occasional, very small pyrite crystals are present. Not sure what the blackish material is (it’s actually very dark brown) - other minerals reported from the quartz-gold veins in the area include ankerite, albite feldspar, pyrite and other sulfides, scheelite, tourmaline, and various tellurides. Several gold mines in the Timmins area, called the Porcupine Gold Camp, targeted auriferous rocks in and immediately adjacent to a hydrothermal vein system about 5 x 2 kilometers in areal extent. The vein system and its host rocks are Late Archean in age, between 2.8 and 2.6 billion years old.
The gold occurrence at the Hollinger Mine site was discovered in 1909 by Benjamin Hollinger as he removed vegetation from a mound on his claim - this exposed a vein with native gold. Mining occurred from 1909 to 1968. After a half-decade of inactivity, operations resumed at Hollinger in 1973. Gold mining continues today, after several corporate ownership changes in recent decades. The current operator of the Hollinger Mine is a company called Newmont. Remote-controlled, automated drilling equipment is currently used at the site.
The gold-bearing hydrothermal vein system in the Hollinger Mine area occurs in a northeast-southwest striking shear zone that has intensely deformed the vein’s host rocks. The stratigraphy of the area’s host rocks includes three major units (from youngest to oldest):
Porcupine Group
Tisdale Group
Deloro Group
The Porcupine Group is a ~3 kilometer thick succession of metamorphosed siliciclastic sedimentary rocks, including turbidites and coarse-grained fluvial deposits. The Tisdale Group is a ~4 kilometer thick succession of 2.703 billion year old ultramafic to intermediate volcanic rocks, including komatiites, basalts, and alkaline dacitic volcaniclastics. The Deloro Group is a ~4.5 to 5 kilometer thick succession of 2.725 billion year old mafic to felsic to alkaline volcanics, plus some iron formation. These rocks have been subjected to regional greenschist-facies metamorphism and structural folding - this occurred during an Archean mountain-building event (orogeny). Various igneous intrusions are also present. Diabase dikes cut, and therefore postdate, the quartz-gold veins. The diabase dikes are ~2.633 Ga, but that date has significant error bars. Albitite dikes in the Porcupine Gold Camp cut and are cut by the gold veins. Emplacement of the albitite dikes occurred at 2.673 Ga. Molybdenite samples from vein rocks at nearby mines date to 2.670-2.672 Ga. These ages are likely good approximate dates for emplacement of the gold veins - albitite dike intrusions apparently generated hydrothermal activity and gold mineralization.
Most gold at the Hollinger Mine (about 95%) comes from altered wall rocks adjacent to the quartz veins. It principally occurs as micron-scale blebs of native gold within pyrite masses. Macroscopic native gold in the veins themselves contributes about 5% of the mine’s gold production. Both vein gold and wall rock gold is naturally mixed with silver (Ag), plus traces of other elements such as iron (Fe) and copper (Cu). Hollinger Mine’s gold is about 10 weight percent silver.
Geologic unit: Hollinger-McIntyre-Coniaurum-Vipond-Moneta-Crown Gold-Quartz Vein System, Abitibi Greenstone Belt, Superior Province, Canadian Shield, Neoarchean, ~2.67 Ga
Locality: unrecorded site at the Hollinger Mine, eastern side of the town of Timmins, Porcupine Gold Camp (Porcupine Mining District), eastern Ontario, southeastern Canada (vicinity of 48º 28’ 15.85” North latitude, 81º 19’ 06.21” West longitude)
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Info. mostly synthesized from:
Brisbin (2000) - World class intrusion-related Archean vein gold deposits of the Porcupine Gold Camp, Timmins, Ontario. pp. 19-35 in Geology and Ore Deposits: the Great Basin and Beyond Symposium Proceedings.
MacDonald & Piercey (2019) - Geology, lithogeochemistry, and significance of porphyry intrusions associated with gold mineralization within the Timmins-Porcupine gold camp, Canada. Canadian Journal of Earth Sciences 56: 399-418.
Wood (1991) - The Hollinger-McIntyre Gold-Quartz Vein System, Timmins, Ontario: Geologic Characteristics, Fluid Properties and Light Stable Isotope Geochemistry. Ontario Geological Survey Open File Report 5756. 289 pp.
1959 Copper 686 x206 x35cm Commissioned by ICI (Imperial Chemical Industries) in 1956 for 61 Macquarie Street. In 1999, with the assistance of Mirvac, the sculpture was relocated to the north wall of Quay Grand Suites, adjacent to the Moore Steps, Sydney. It is a sculptural tribute to industry and scientific research. The crucible, held up by five figures, is the vessel in which the raw materials are synthesized. Each figure represent an agent of change to process those materials: electricity, radiation, chemical changes, heat and mechanical forces. The agents dip into the crucible to achieve change. The star represents the sun, a source of energy and transformation. The final product rises out of the crucible in the form of the ICI symbol.
After graduating from the National Art School, Tom Bass developed his philosophy of working as a sculptor as being the maker of totemic forms and emblems, that is, work expressing ideas of particular significance to communities or to society at large. Examples of his work include The Trial of Socrates and The Idea of a University at Wilson Hall, Melbourne University; The falconer on Main Building at UNSW, representing the conflict between beauty and the intellect; The winged figure of Ethos in Civic Square, Canberra, representing the spirit of the community and the Lintel Sculpture at the National Library, Canberra, representing the idea of Library. Over a twenty-five-year period this remained virtually the single focus of his work as he became the most sought after public sculptor in Australia. He is represented all over Australia and also overseas.
Source Wikipedia
Nephrite jade ventifact from the Precambrian of Wyoming, USA. (public display, Wyoming Geological Survey, Laramie, Wyoming, USA)
Nephrite jade (nephritite) is a crystalline-textured to felted-textured metamorphic rock principally composed of one or more amphibole minerals (tremolite to actinolite, Ca2Mg5Si8O22(OH)2 to Ca2(Mg,Fe)5Si8O22(OH)2).
This gorgeous piece of green nephrite jade has a lustrous polish, the result of natural abrasion polishing by winds. Any rock that has natural wind polish is called a ventifact.
Nephrite jade was discovered in Wyoming in the 1930s, resulting in a "jade rush" that lasted for several decades. Most recovered material is alluvial jade, produced by paleoerosion of jade outcrops. Eroded clasts of jade were transported downstream and subsequently buried with other poorly-sorted sediments. Some Wyoming jade has been collected from in-situ outcrops.
This 218 pound specimen of nephrite jade is a large paleoclast, ultimately derived from Precambrian outcrops in the southern end of the Wind River Range (most Wyoming nephrite jade has a geologic provenance in the Granite Mountains.). The Wind River Range mountains were uplifted in the Late Eocene and eroded, producing much fanglomerate debris, which was buried to form the Ice Point Conglomerate (Upper Eocene). The Ice Point Conglomerate itself was buried by post-Eocene sediments and later re-exposed during the Late Pliocene to Early Pleistocene by downfaulting of the Split Rock Syncline. Nephrite jade clasts from the Ice Point Conglomerate were eroded and surface-exposed to abrading-polishing winds during the Pleistocene and Holocene.
Age: Precambrian (probably Proterozoic)
Locality: unrecorded locality at Crooks Mountain, south of the Sweetwater River & south of the western end of the Granite Mountains, southeastern Fremont County, central Wyoming, USA
Provenance: collected by Ray Morgan & Irene Morgan in the 1940s; donated to the Wyoming Geological Survey in 2000.
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Mostly synthesized from:
Love, J.D. 1970. Cenozoic geology of the Granite Mountains area, central Wyoming. United States Geological Survey Professional Paper 495-C. 154 pp. 4 pls.
Fluorite from Illinois, USA. (Ben E. Clement Mineral Museum collection, Marion, Kentucky, 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 about 6100 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.
The halides are the "salt minerals", and have one or more of the following anions: Cl-, F-, I-, Br-.
Fluorite is a calcium fluoride mineral (CaF2). The most diagnostic physical property of fluorite is its hardness (H≡4). Fluorite typically forms cubic crystals and, when broken, displays four cleavage planes (also quite diagnostic). When broken under controlled conditions, the broken pieces of fluorite form double pyramids. Fluorite is a good example of a mineral that can be any color. Common fluorite colors include clear, purple, blue, green, yellow, orange, and brown. The stereotypical color for fluorite is purple. Purple is the color fluorite "should be". A mineral collector doesn't have fluorite unless it's a purple fluorite (!).
Fluorite occurs in association with some active volcanoes. HF emitted from volcanoes can react with Ca-bearing rocks to form fluorite crystals. Many hydrothermal veins contain fluorite. Much fluorite occurs in the vicinity of southern Illinois (Mississippi Valley-type deposits).
The fluorite specimen seen here is from a Mississippi Valley-type deposit in southern Illinois. Commonly abbreviated "MVT", Mississippi Valley-type deposits are named for a series of mineral deposits that occur in non-deformed platform sedimentary rocks along the Upper Mississippi River Valley, USA. Many specific minerals occur in MVT deposits, but are dominated by galena, sphalerite, barite, and fluorite. These minerals occur in caves and karst, paleokarst structures, in collapse fabrics, in pull-apart structures, etc. MVT deposits in America are mined as important, large sources of lead ore and zinc ore. The classic areas for MVT deposits are southern Illinois, the tristate area of Oklahoma-Missouri-Kansas, northern Kentucky, southwestern Wisconsin, and southeastern Missouri. The minerals are hydrothermal in origin and were precipitated from basinal brines that were flushed out to the edges of large sedimentary basins (e.g., the Illinois Basin and the Black Warrior Basin). In basin edge areas, the brines came into contact with Mississippian-aged carbonate rocks (limestone and dolostone), which caused mineralization. The brines were 15% to 25% salinity with temperatures of 50 to 200 degrees Celsius (commonly 100 to 150 degrees C). MVT mineralization usually occurs in limestone and dolostone but can also be hosted in shales, siltstones, sandstones, and conglomerates. Gangue minerals include pyrite, marcasite, calcite, aragonite, dolomite, siderite, and quartz. Up to 40 or 50 pulses of brine fluids are recorded in banding of mineral suites in MVT deposits (for example, sphalerite coatings in veins have a stratigraphy - each layer represents a pulse event). Each pulse of water was probably expelled rapidly - overpressurization and friction likely caused the water to heat up. Some bitumen (crystallized organic matter) can occur, which is an indication of the basinal origin of the brines. The presence of asphalt-bitumen indicates some hydrocarbon migration occurred. Some petroleum inclusions are found within fluorite crystals and petroleum scum occurs on fluorite crystals. MVT deposits are associated with oil fields and the temperature of mineral precipitation matches the petroleum window. The brines may simply have accompanied hydrocarbon fluids as they migrated updip.
The high temperatures of these basin periphery deposits weren't necessarily influenced by igneous hydrothermal activity. Hot fluids can occur in basins that are deep enough for the geothermal gradient to be ~100 to 150 degrees Celsius. If a permeable conduit horizon is present in a succession of interbedded siliciclastic sedimentary rocks, migration of hot, deep basinal brines may be quick enough to get MVT deposit conditions at basin margins.
MVT deposits occur in the Upper Mississippi Valley of America as well as in northern Africa, Scandinavia, northwestern Canada, at scattered sites in Europe, and at some sites in the American Cordillera. Some of these occurrences are in deformed host rocks. MVT deposits have little to no precious metals - maybe a little copper (Cu). Mineralization is usually associated with limestone or dolostone in fracture fillings and vugs. Little host rock alteration has occurred - usually only dolomitization of limestones.
The age of the host rocks in the Mississippi Valley area varies - ages range from Cambrian to Mississippian. Dating of mineralization has been difficult, but published ages indicate a near-latest Paleozoic to Mesozoic timing.
MVT deposits in the Upper Mississippi River area are often divided into three subtypes based on the dominant mineral: 1) lead-rich (galena dominated); 2) zinc-rich (sphalerite dominated); and 3) fluorite-rich.
The fluorite seen here is from the Illinois-Kentucky Fluorspar District ("fluorspar" is a very old name for fluorite), which is an MVT fluoritic subtype. Fluorite and fluorite-rich rocks are mined for the fluorine, which is principally used by the chemical industry to make HF - hydrofluoric acid. Fluorite mineralization in this district occurred at about 277 Ma, during the Early Permian, according to one published study (Chesley et al., 1994). Another study concluded that fluorite mineralization was much later, during the Late Jurassic (see Symons, 1994).
Locality: Rosiclare / Sub-Rosiclare Level of the Hill-Ledford Mine, north of the town of Cave-in-Rock, Hardin County, southern Illinois, USA
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Photo gallery of fluorite:
www.mindat.org/gallery.php?min=1576
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Some info. on Mississippi Valley-type deposits was synthesized from:
Chesley et al. (1994) - Direct dating of Mississippi Valley-type mineralization: use of Sm-Nd in fluorite. Economic Geology 89: 1192-1199.
Symons (1994) - Paleomagnetism and the Late Jurassic genesis of the Illinois-Kentucky fluorspar deposits. Economic Geology 89: 438-449.
Rakovan (2006) - Mississippi Valley-type deposits. Rocks & Minerals 81(January/February 2006): 69-71.
Fisher et al. (2013) - Fluorite in Mississippi Valley-type deposits. Rocks & Minerals 88(January/February 2013): 20-47.
Digital Abstract Painting
BP Pen drawings and photo manipulated images in an attempt to synthesize drawing with digital processing.
This project is part of the Ars Electronica Garden Prague. Photosynthetic Landscapes is to present algae as photosynthetic organism against greenery loss in the urban environment, with its related growth in CO2 and impact on diminished quality of public space. The spaces in Kepler's gardens and their flora contrast with the technologically grounded Photosynthetic Landscapes prototype: a modular, organic system that pushes the boundaries of thinking about the penetration of nature and technology in the context of an environmentally-oriented spatial installation.
For more informations please visit:
ars.electronica.art/keplersgardens/en/synthesizing-distan...
Credit: Filip Němeček
Over recent years Zinc Oxide (ZnO), a wide band gap semiconductor material, is finding increased attention due to its unique properties and versatile applications in several technologically important fields such as transparent electronics, ultraviolet light emitters, piezoelectric devices, toxic gas sensors, spintronics, radiation detectors and solar cells. Scientists from the Environmental and Molecular Sciences Laboratory (EMSL), Oakridge National Laboratory (ORNL) and University of Tennessee at Knoxville are working on synthesizing and characterizing different ZnO nanostructure for radiation detectors and solar cell applications. Helium ion microscope images of several different ZnO nanostructures synthesized at EMSL are shown here.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
Location photo from the set of the Holly Adams Movie "PLOTS".Filmed in Albuquerque, New Mexico USA.
Lloyd-Thrap-Creative-Photography
Olympus E 510.
© 2010 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.
New video from Versace
“This collection introduces Versace Men’s 2.0. Launching this new chapter on the second day of the second month in 2022 feels right. It represents a next step and move forward, not focusing on the singular but on multiplicity, progression, and diversity—exactly what I see valued by the new generation and the way they express their masculinity in so many refreshing ways. This collection embraces that by looking not at the Versace Man but to the Versace Men.” – Donatella Versace The Fall-Winter 2022 Men’s collection proposes a modern opulence rooted in the reality of now. Clean forms, fluid lines, and adaptable designs define this contemporary take on luxury. THE VERSACE MEN Designs are sensitive and intimate to the individual, while likewise proudly calling out to a plurality of Versace Men in celebration of who they truly are. Sensuality comes from an enhancement of the human body, encouraging an embrace of personal realness as the true source of confidence and attitude. A collection film embodies this sentiment by looking at the personal ritual of dressing and the performative and transformative ability of clothing. ESSENTIAL VERSACE Brand codes are synthesized to their fundamentals. Versace’s heritage of suiting is seen anew in soft, unstructured finishes which allow for ease of movement and create a fluid silhouette. Typically sartorial pinstripe and checks have a painterly finish, as if hazily drawn in pastel or watercolor across voluminous suit pants and unlined jackets. Wool jacquard knitwear and formal coats reimagined in brushed wool, cashmere, and silk blends revel in hand-feel. Bright, positive colors of cerise, pink, and orange are worn as solid blocks of color, while the brand’s heritage ornate prints are honed, rendered as stenciled bicolors like the new Barocco Silhouette. La Greca continues as a brand monogram, interplayed through cable knit sweaters and vivid lurex cardigans. Shoes and accessories encapsulate the collection’s proposal of modern opulence; with wide totes and belt bags in soft grained leather which molds to the shape of the body, and structured options in brushed leather. Subtle La Greca print emboss, ‘V’ motif finishes, and the line’s new hardware are a refinement of brand codes, while the La Greca Signature line in a new gray colorway is finished with a crisp white logo. New Column boots and shoes are an elevated take on an archival style, while options with Baroque rubber-injection are rooted in Versace imagination and innovation. The Odissea sneaker acts as a confident exclamation point at the foot of an outfit. Discover the full collection at Versace.com: e-versace.com/mfw_22
Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn't really do it, they just saw something. It seemed obvious to them after a while. That's because they were able to connect experiences they've had and synthesize new things.
~ Steve Jobs
Mixed media on cardboard; 35 x 50 cm.
Spanish painter. based in madrid from 1909, he was self-taught and began by copying pictures by diego velázquez and el greco in the prado. he received support from the poet juan ramón jiménez and established links with such young poets and artists as federico garcía lorca, rafael alberti, salvador dalí and luis buñuel. in 1925, when he participated in the artistas ibéricos exhibition (madrid, casón buen retiro), his work consisted of mildly abstracted landscapes and cubist still-lifes. after several lengthy spells in paris between 1926 and 1928, where he met picasso, he held a one-man exhibition at the palacio de bibliotecas y museos in madrid (1928), his unconventional choice of material—including combinations of oils, soil and sand—scandalizing both critics and visitors. his work developed towards abstraction under the influence of joan miró and was marked also by surrealism in an effort to synthesize the iberian spirit with the avant-garde.
Set Detail.
Upper Nob Hill District. Albuquerque New Mexico .USA
kitty
cat
cats
meow
puss
pussy cat
© 2013 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
The work is my expression in photography and video art, through the improvisational dance moves and voice of performance artist Vicki Tansey.
My concerns are in the ambiguity and imperfection of language and the complexity of communication. Words that have been the accepted tool for expression either spoken or written, have often fallen short when it came to understanding between individuals or groups. Differences in culture, religion, social status or even gender, have contributed to misunderstanding and often causing conflict.
The photographs deliver a complex message that is not so much from the head as it is from the gut. Images that are left to the viewer’s interpretation,
they are the result of combining deliberate camera shake to continuous and expressive dance moves. With minimal direction, Vicki improvises dance to the sound of her own recorded voice.
As does dance, so my visual dictionary of body language transcends spoken or written word. It traverses intellectual boundaries.
This is a selection of photographs, which is the result of extensive editing from several hundred images.
Along with the material of this package, I propose to include a short video film (not yet produced). This will be my creation with the collaboration of Vicki, whereby I will film her as she dances to one of her own, improvised musical recordings. This will further investigate the expression in movement and sound. It will be a montage of imagery with Vicki at the center, as she gestures expressively in her improvised dance. The film will take place at a selection of locations that will be chosen for their personal significance in her life.
The work is my expression in photography and video art, through the improvisational dance moves and voice of performance artist Vicki Tansey.
My concerns are in the ambiguity and imperfection of language and the complexity of communication. Words that have been the accepted tool for expression either spoken or written, have often fallen short when it came to understanding between individuals or groups. Differences in culture, religion, social status or even gender, have contributed to misunderstanding and often causing conflict.
The photographs deliver a complex message that is not so much from the head as it is from the gut. Images that are left to the viewer’s interpretation,
they are the result of combining deliberate camera shake to continuous and expressive dance moves. With minimal direction, Vicki improvises dance to the sound of her own recorded voice.
As does dance, so my visual dictionary of body language transcends spoken or written word. It traverses intellectual boundaries.
This is a selection of photographs, which is the result of extensive editing from several hundred images.
Along with the material of this package, I propose to include a short video film (not yet produced). This will be my creation with the collaboration of Vicki, whereby I will film her as she dances to one of her own, improvised musical recordings. This will further investigate the expression in movement and sound. It will be a montage of imagery with Vicki at the center, as she gestures expressively in her improvised dance. The film will take place at a selection of locations that will be chosen for their personal significance in her life.
A graphic represents the main steps of how a vaccine simulates an infection, stimulating the immune system and triggering longer-term protection against a virus.
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Read more in Knowable Magazine
An old problem: How immune responses weaken with age
The body’s defenses lose flexibility and diversity over time, and protective responses to vaccines weaken as well. Scientists are working on ways to boost seniors’ protections against influenza, the novel coronavirus and other pathogens.
www.knowablemagazine.org/article/health-disease/2020/agin...
Read more from Annual Reviews
Age-Associated B Cells, Annual Review of Immunology
Age-associated changes in B cell populations are linked with autoimmune and inflammatory diseases. Understanding these changes may one day allow scientists to reverse them.
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Knowable Magazine from Annual Reviews is a digital publication that seeks to make scientific knowledge accessible to all. Through compelling articles, beautiful graphics, engaging videos and more, Knowable Magazine explores the real-world impact of research through a journalistic lens. All content is rooted in deep reporting and undergoes a thorough fact-checking before publication.
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