Freeze frame from video shot by Linden Hudson. (amateur photographer, cheap cameras, photo fluorescent lights, just having fun)

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 El​iminator 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.

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MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):

However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “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”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Merumite from Guyana (British Guiana). (the long axis of the largest specimen is 8.5 millimeters across)

Merumite is the "rarest rock on Earth". It only occurs as small, loose alluvial grains in the upper branches of Director Creek in northwestern Guyana (= northern South America).

Merumite rocks are finely crystalline mixes of chromium minerals of inferred hydrothermal origin. The principal minerals in merumite are eskolaite (Cr2O3), guyanaite (CrO·OH), bracewellite (CrO·OH), grimaldiite (CrO·OH), mcconellite (CuCrO2), chromian pyrophyllite, and quartz. Trace minerals include chromium gahnite (Zn(Al0.7Cr0.3)2O4) and native gold (Au).

The geologic provenance of merumite rocks is uncertain, but they are possibly derived from the Roraima Formation, a Paleozoic? succession of coarse-grained siliciclastic sedimentary rocks and volcanic ash beds. The Roraima Formation is now eroded away in the Director Creek area.

Locality: loose alluvial grains in the upper branches of Director Creek (a small tributary of the Merume River) (possibly from a 3 to 4.5 meter wide & 3 kilometer long stretch of Director Creek along the eastern base of Robello Ridge), north of the Pakaraima Plateau/Karanang Mountains, ~16 km southwest of Kamakusa, northwestern Guyana (British Guiana), northern South America

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Info. synthesized from:

Milton et al. (1976) - Merumite - a complex assemblage of chromium minerals from Guyana. United States Geological Survey Professional Paper 887. 29 pp. 6 pls.

"Verde Bamboo Granite" - epidote-rich metasandstone from the Precambrian of Brazil.

This beautiful, green-and-black decorative stone is an odd metamorphic rock that was originally a siliciclastic deposit (the Ipuçaba Formation) in a deltaic-lacustrine environment, interpreted in part as turbiditic rhythmites. The Ipuçaba Formation principally consists of metamorphosed arkoses, calcareous arkoses, and rhythmites (= alternating sandstones & fine-grained siliciclastic beds). Hornfels-grade metamorphism (high-temperature, low-pressure) occurred at ~1.5 Ga during the intrusion of nearby mafic igneous rocks. Subsequent regional metamorphism occurred during the Brazilian-Pan African Orogenies in the late Neoproterozoic (550-650 Ma). The rock is rich in metamorphic minerals - epidote (= pistachio green), actinolite, tremolite, chlorite, muscovite mica, and biotite mica. Despite the metamorphism, the original sedimentary structures are preserved - ripple marks are sometimes present.

Stratigraphy: Ipuçaba Formation, middle Pajeú Synthem, Oliveira dos Brejinhos Group, Espinhaço Supergroup, Mesoproterozoic, ~1.6 to 1.7 Ga

Locality: commercial quarry in Bahia State, eastern Brazil

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Info. synthesized from:

Arcanjo (2008) - O Grupo Oliveira dos Brejinhos no setor norte da Serra do Espinhaço, com enfase aos hornfelses da Formação Pajeú, Bahia.

Danderfer et al. (2009) - New geochronological constraints on the geological evolution of Espinhaço Basin within the São Francisco Craton - Brazil. Precambrian Research 170: 116-128.

Siddall (2016) - There's an awful lot of conglomerates in Brazil: 'Monolith & Shadow' revisited. Geology Today 32: 205-207.

Deservedly one of the most famous places in the world, the Sistine Chapel is the site where the conclave for the election of the popes and other solemn pontifical ceremonies are held.

Built to the design of Baccio Pontelli by Giovannino de Dolci between 1475 and 1481, the chapel takes its name from Pope Sixtus IV, who commissioned it.

It is a large rectangle with a barrel-vaulted ceiling and it is divided into two unequal parts by a marble screen.

The screen and the transenna were built by Mino da Fiesole and other artists.

The frescoes on the long walls illustrate parallel events in the Lives of Moses and Christ and constitute a complex of extraordinary interest executed between 1481 and 1483 by Perugino, Botticelli, Cosimo Rosselli and Domenico Ghirlandaio, with their respective groups of assistants, who included Pinturicchio, Piero di Cosimo and others; later Luca Signorelli also joined the group.

The barrel-vaulted ceiling is entirely covered by the famous frescoes which Michelangelo painted between 1508 and 1512 for Julius II.

The original design was only to have represented the Apostles, but was modified at the artist's insistence to encompass an enormously complex iconographic theme which may be synthesized as the representation of mankind waiting for the coming of the Messiah.

More than twenty years later, Michelangelo was summoned back by Paul III (1534-49) to paint the Last Judgement on the wall behind the altar. He worked on it from 1536 to 1541.

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Rigor and experience, says science, and triumphs. Today we write MATERIAL and ENERGY in capital letters; EVOLUTION has also long since suspended fate. Hades brings the light of the souls out of the underworld and transposes their radiance into chemical luminescence. While the light glows, people’s assumptions about the world are synthesized in an artificial neural network (ANN) and modified into a machine discourse.

credit: Maex Decker

Analog of LSD developed by the team led by David E. Nichols at Purdue University. It was developed as a rigid analog of LSD with the diethylamide group constrained into an azetidine ring in order to map the binding site at the 5-HT2A receptor. There are three possible stereoisomers around the azetidine ring, with the (S,S)-(+) isomer being the most active, slightly more potent than LSD itself in drug discrimination tests using trained rats.

There have been several unconfirmed reports of lysergic acid 2,4-dimethylazetidide being synthesized in illicit laboratories and distributed on blotter paper or in liquid solution under names such as "diazedine" and "λ"

Blotters bought from online vendor based in the Untied Kingdom

LSZ - 3 x 150mcg Blotters

vintage-blotter-acid.blogspot.co.uk/

Q-Bar is located inside Hotel Albuquerque at Old Town

© 2009 Photo by Lloyd Thrap Photography for Halo Media Group

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

"A Voice In The Desert", 2012, by Roberto Pugliese as part of "Data Deluge" at Ballroom Marfa

Robert Pugliese

A Voice in the Desert, 2012

Steel, speakers, aluminum cables, audio wire, computer, custom software

10 x 10 x 26 feet

Commissioned by Ballroom Marfa

Courtesy of the artist

The sculptural "bio-acoustic" installations of artist Roberto Pugliese explore the phenomena of sound and the relationship between man, art and technology. In a work commissioned for the exhibition, Pugliese has created an outdoor sculpture that transforms Marfa’s current weather conditions—temperature, humidity, wind speed, barometric pressure—into digital sound.

Variously arranged within large steel frames that evoke the Minimalist forms of Donald Judd, the audio speakers emit what Pugliese describes as a “sound-carpet,” which is synthesized by software that collects real-time weather data from the Web. The program for A Voice in the Desert was created using Max, a visual programming language for music and multimedia, and MSP, a Max add-on that allows digital audio signals to be manipulated in real-time.

Data Deluge, March 3 – July 8, 2012

Curated by Rachel Gugelberger & Reynard Loki

Photograph(s) by Fredrik Nilsen

Courtesy of Ballroom Marfa

ballroommarfa.org/archive/event/data-deluge-2/

Merumite from Guyana (British Guiana). (the long axis of the largest specimen is 8.5 millimeters across)

Merumite is the "rarest rock on Earth". It only occurs as small, loose alluvial grains in the upper branches of Director Creek in northwestern Guyana (= northern South America).

Merumite rocks are finely crystalline mixes of chromium minerals of inferred hydrothermal origin. The principal minerals in merumite are eskolaite (Cr2O3), guyanaite (CrO·OH), bracewellite (CrO·OH), grimaldiite (CrO·OH), mcconellite (CuCrO2), chromian pyrophyllite, and quartz. Trace minerals include chromium gahnite (Zn(Al0.7Cr0.3)2O4) and native gold (Au).

The geologic provenance of merumite rocks is uncertain, but they are possibly derived from the Roraima Formation, a Paleozoic? succession of coarse-grained siliciclastic sedimentary rocks and volcanic ash beds. The Roraima Formation is now eroded away in the Director Creek area.

Locality: loose alluvial grains in the upper branches of Director Creek (a small tributary of the Merume River) (possibly from a 3 to 4.5 meter wide & 3 kilometer long stretch of Director Creek along the eastern base of Robello Ridge), north of the Pakaraima Plateau/Karanang Mountains, ~16 km southwest of Kamakusa, northwestern Guyana (British Guiana), northern South America

---------------

Info. synthesized from:

Milton et al. (1976) - Merumite - a complex assemblage of chromium minerals from Guyana. United States Geological Survey Professional Paper 887. 29 pp. 6 pls.

Flammulina velutipes (Curtis) Singer

Velvet Shank, DE: Gemeiner Samtfussrübling, Gewonlicher Samtfüssrubling

Slo.: zimska panjevka

Dat.: Nov. 28. 2014

Lat.: 46.36066 Long.: 13.70907

Code: Bot_851/2014_DSC4924

Habitat: at the bottom of alpine valley, sawmill depot, next to the main road, flat terrain, full sun, humid place next to a river, exposed to direct rain, average precipitations ~ 3.000 mm/year, average temperature 7 - 9 deg C, elevation 550 m (1.800 feet), alpine phytogeographical region.

Substratum: a big log of Juglans regia lying on ground in a pile of timber in a sawmill depot.

Place: Lower Trenta valley, between villages Soča and Trenta, sawmill Otokar, Trenta 4, East Julian Alps, Posočje, Slovenia EC

Comments: Flammulina velutipes is a striking fungus in several senses in spite of the fact that it is a widespread, common and easy to recognize. First, it is very beautiful mushroom displaying a vibrant contrast between its like fire orange, shiny and half translucent hut and deep black velvety stipe. Its rich colors exemplify an eye-catching contrast to often dull gray-brown mood of late autumn and winter nature in my country or to snow covered habitats. Its pilei withstand very low temperatures. Even completely frozen they recover and grow and sporulate after temperature again rises above freezing point. One can find them from October to March being most frequent in January (Ref.:2.). Another interesting thing is that they need short wavelength light (blue 470 nm and above) to develop pilei and to sporulate (Ref.:2.). I haven't found an explanation why they need it. Generally fungi do not need light since they have no chlorophyll to synthesize their own food.

Flammulina velutipes grows as a saprobiont on wood of wide range of broadleaf trees, vast majority of them on Salix sp. and Fagus sylvatica. Fungi I found grew on Juglans regia, which is very seldom recorded. Only four of about thousand observations analyzed in Ref.:2. state Juglans regia as substratum. Taxonomy of this species is complex. Several taxa on f. and var. levels have been described. But, authors do not agree on them and Index Fungorum does not recognize them as valid names. The situation is well illustrated by the fact that there exist about 40 synonyms out of six genera. Also large differences in spore dimensions one can find in literature (see Fig. 2M) somehow confirm this.

Pilei photographed grew in several clusters, more than 80 pilei altogether were present; pileus diameter 1.8 - 4.5 cm and height 1.2 - 1.8 cm, upper surface very slimy, stipe diameter 3 - 4 mm above and 3.5 - 7 mm at the base, hollow when mature, tough, fairly fibrous and often flattened or twisted; taste mild slightly on soap; smell very mild but distinct, on bleach?, SP abundant white, oac909.

Spores dimensions: 7,0 [7,7 ; 8] 8,7 x 4,2 [4,6 ; 4,8] 5,2 microns; Q = 1,5 [1,6 ; 1,7] 1,8; N = 33; C = 95%; Me = 7,9 x 4,7 microns; Qe = 1,7. Olympus CH20, NEA 100x/1.25, magnification 1.000 x, oil, in water, Congo red. AmScope MA500 digital camera.

Herbarium: Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute, Večna pot 2, Ljubljana, Index Herbariorum LJF

Ref.:

(1) C. Bas, Flammulina in Western Europe, Persoonia (1983) 12 (1), pp 51-66 (cited in Ref.:2.)

(2) G.J. Krieglsteiner (Hrsg.), Die Grosspilze Baden-Württembergs, Band 3., Ulmer (2001), p 245.

(3) M. Bon, Parey's Buch der Pilze, Kosmos (2005), p 170.

(4) R. M. Dähncke, 1200 Pilze in Farbfotos, AT Verlag (2009), p 389.

(5) S. Buczacki, Collins Fungi Guide, Collins (2012), p 192.

(6) R. Lueder, Grundkurs Pilzbestimmung, Quelle & Meyer (2008), p 388.

(7) trace.tennessee.edu/cgi/viewcontent.cgi?article=1006&...

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Integrated Stereo Amplifier.

Digital Synthesized AM/FM Stereo Tuner.

Digital High Speed Dubbing Stereo Cassette Deck.

The radio plays great with the amplifier with no problem.

I haven't tested the cassette deck yet, i don't think i have any tapes.

The speakers are Realistic-Optimus 600 with a 8" Subwoofer, 2" Tweeter, and 4" Midrange, only thing they need is refoaming for the subwoofers

I only paid 35 dollars for all of it. Including the CD player.

Astro-Tech 65EDQ 65mm f/6.5 telescope, Starlight Xpress MX-716 CCD camera, Astronomik H-Alpha and OIII filters, Losmandy G11 mount. Guided using an Orion StarShoot autoguider attached to a 9x50 finderscope and PHD software.

21 x 10 minute integrations for H-Alpha, 16x10 minute integrations for OIII, 10 x 10 minute darks, 10 x 1/10th second bias frames.

Color image synthesized using the OIII data for both the blue and green channels and the clipping layer mask tutorial at the following link:

www.youtube.com/watch?v=_aIT_FAH_sI&x-yt-cl=84503534&...

This 2-day workshop brought representatives from countries across Africa, Asia and Latin America in order to share their experiences in developing plans for the agriculture and livestock sector, in order to synthesize lessons learned and identify future research and capacity needs for national adaptation plans (NAPs). The workshop discussed lessons from the CCAFS’ report, “Meta Synthesis of National Adaptation Plans and Policies: West and East Africa and South Asia,” testing an analytical framework to measure country needs and progress. The key audience included national-level adaptation and agriculture decision-makers.

More information on the CCAFS report can be found here: New report highlights lessons from national adaptation planning .

Photo: C. Peterson (CCAFS)

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Model Alexandria Morrow

www.imdb.com/media/rm274904576/nm3019118

© 2009 Photo by Lloyd Thrap Photography for Halo Media Group

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

Blocked image for comment, is part of the series on 11 June 2012 -

There are several species known as cotton tree in Brazil, almost all belonging to the genus Ceiba (formerly Chorisia family Malvaceae (previously Bombacaceae)In all, the best known species is the cotton tree Ceiba speciosa (St.-Hill.) Ravenna, native forests of Brazil and Bolivia, initially described as Chorisia speciosa St. Hilaire 1828.FEATURES: -It is a tree with up to twenty feet tall, gray-green stem with grooves and photosynthetic strong blunt spines, very sharp in the younger branches.The trunk of Painswick has a good ability to synthesize chlorophyll (photosynthesis) and greenish to have when you have a good size, that helps growth even when the tree is bare of leaves, is also common Paineiras present a kind of enlargement on base of the stem, hence the nickname "paunchy". Detail of the trunk, with photosynthetic tissues (photographed in Portugal)The leaves are composed slaps and fall during flowering. The flowers are large, with five pink petals with red spots and white edges. There are a variety of less common, with white flowers. Paineira-white, less common variety, with white flowers in the park Ceret, in Sao Paulo, Brazil Their reproductive organs are united in a long androginóforo.The fruits are green capsules which, when ripe, burst (dehiscent), exposing the seeds wrapped in fine white fibers that aid in flotation and which are called kapok. From twenty years old, approximately (southeastern Brazil), the spines usually start to fall in the lower stem and gradually also fall in the higher parts of the tree, with thickening of the shell. It is said, in Brazil, this allows the tree to get birds' nests, which would be impossible to happen when it had long, sharp thorns, so flowers and fruits are no longer present, but the tree continues to give its contribution to Nature hosting the birds. This is not a rule for all Painswick, Painswick some with more than twenty meters, for example, still have very large thorns on the lower, probably as a defense of the local insects.

Há várias espécies conhecidas como paineira no Brasil, quase todas pertencendo ao gênero Ceiba (antes, Chorisia da família Malvaceae (antes, Bombacaceae)

De todas, a mais conhecida é a paineira da espécie Ceiba speciosa (St.-Hill.) Ravenna, nativa das florestas brasileiras e da Bolívia, inicialmente descrita como Chorisia speciosa St. Hilaire 1828.

A partir dos vinte anos de idade, aproximadamente (sudeste brasileiro), os espinhos costumam começar a cair na parte baixa do caule e, gradualmente, também caem nas partes mais altas da árvore, com o engrossamento da casca. Diz-se, no Brasil, que isto permite à árvore receber ninhos de pássaros, o que seria impossível de acontecer quando esta tinha espinhos longos e pontiagudos; assim, flores e frutos já não estão presentes, mas a árvore continua a dar sua contribuição à natureza hospedando os passarinhos. Esta não é uma regra para todas as paineiras; algumas paineiras com mais de vinte metros, por exemplo, continuam com espinhos muito grandes na parte baixa, provavelmente como defesa de insetos do local.

From: pt.wikipedia.org/wiki/Paineira

60 x 55 x 40 cm, aluminium, wood, programmed light 2017.

Himeji.

Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Steinheil 50mm lens, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.

Cellular vesicles in homogenate of spruce needles. With permission of co-authors: Jeran M, Hočevar M, Novak U, Božič D, Romolo A, Iglič A, Kralj-Iglič V; European spruce (Picea abies) as a possible sustainable source of extracellular vesicles and biologically active compounds, in preparation.

Plants have an incredible power and ability to synthesize many of the active ingredients on which today’s medicines and therapies are based. Large scale production of vesicles requires simple, robust and low cost procedures. Here we report on preliminary results on vesicles from spruce needles. By homogenization of fresh spruce needles (A) we produced amorphous material and sub-micron sized particles that are likely to be colloidal cellular vesicles (yellow arrows). The isolates were obtained by centrifugation and post-treated by ultrasound (B, C). Addition of lecithin in the process increased the amount of colloidal material (D, E).

© 2009 2024 Photo by Lloyd Thrap Photography for Halo Media Group

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

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Detail view of the window display at the Old World Imports shop in the Nob Hill Distric in Albuquerque, New Mexico. Night shot.

Lloyd-Thrap-Creative-Photography

10 years in the same location next to the LOBO theatre...

www.oldworldimports.net

© 2009 Photo by Lloyd Thrap Photography for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

Where the feck did these ones come from?

Ununpentium is the temporary name of a synthetic superheavy element in the periodic table that has the temporary symbol Uup and has the atomic number 115.

It is placed as a heavier homologue to bismuth and the heaviest member of group 15 (VA). It was first observed in 2003 and about 50 atoms of ununpentium have been synthesized to date, with about 25 direct decays of the parent element having been detected. Four consecutive isotopes are currently known, 287–290Uup, with 289Uup having the longest measured half-life of ~200 ms.[4] On August 27, 2013, researchers at GSI from Lund University in Sweden reported confirming the existence of the element.[5][6] On September 10, 2013, researchers from the same research group working in Darmstadt, Germany reported synthesis as well.

en.wikipedia.org/wiki/Ununpentium

Ununseptium is the superheavy artificial chemical element with temporary symbol Uus and atomic number 117. The element, also known as eka-astatine or simply element 117, is the second-heaviest of all the elements that have been created so far and is the second-to-last element of the 7th period of the periodic table. Its discovery was first announced in 2010—synthesis was claimed in Dubna, Russia, by a joint Russian-American collaboration, thus making it the most recently discovered element. Another experiment in 2011 created one of its daughter isotopes directly, partially confirming the results of the discovery experiment, and the original experiment was repeated successfully in 2012. However, the IUPAC/IUPAP Joint Working Party (JWP), which is in charge of examining claims of discovery of superheavy elements, has made no comment yet on whether the element can be recognized as discovered. Once it is so recognized, it may receive a permanent name which will be suggested for the element by its discoverers; "ununseptium" is a temporary systematic element name that is intended to be used before a permanent one is established. It is commonly called "element 117" by researchers and in the literature instead of "ununseptium".

In the periodic table, ununseptium is located in group 17,[a] all previous members of which are halogens. However, ununseptium is likely to have significantly different properties from the halogens, although a few key properties such as the melting and boiling points, as well as the first ionization energy are expected to follow the periodic trends.

en.wikipedia.org/wiki/Ununseptium

Ununoctium is the temporary IUPAC name[11] for the transactinide element having the atomic number 118 and temporary element symbol Uuo. It is also known as eka-radon or element 118, and on the periodic table of the elements it is a p-block element and the last one of the 7th period. Ununoctium is currently the only synthetic member of group 18. It has the highest atomic number and highest atomic mass of all the elements discovered so far.

The radioactive ununoctium atom is very unstable, due to its high mass, and since 2005, only three or possibly four atoms of the isotope 294Uuo have been detected.[12] While this allowed for very little experimental characterization of its properties and possible compounds, theoretical calculations have resulted in many predictions, including some unexpected ones. For example, although ununoctium is a member of Group 18, it may possibly not be a noble gas, unlike all the other Group 18 elements.[1] It was formerly thought to be a gas but is now predicted to be a solid under normal conditions due to relativistic effects.

en.wikipedia.org/wiki/Ununoctium

Joseph Stella ( 1877 – 1946 )

Spring (The Procession), ca. 1914–1916

Oil on canvas

Yale University Art Gallery, gift of Collection Société Anonyme, 1941.692

This painting’s arabesques and kaleidoscopic composition announced Stella’s embrace of the new modes of abstraction he encountered in Paris. Although the glamor of the modern American city became a natural muse for his new style, with Spring, he turned unexpectedly to nostalgic themes of pastoral Italy. The painting evoked his childhood memories of the festive religious processions that wound through the village streets, flowers everywhere, and is among his earliest efforts to synthesize themes of Italy and nature, a recipe he would follow throughout the next twenty years of his career.

________________________________________________

Joseph Stella: Visionary Nature

February 24 – May 21, 2023

Italian-born American modernist Joseph Stella (1877–1946) is primarily recognized for his dynamic Futurist-inspired paintings of New York, especially the Brooklyn Bridge and Coney Island. Lesser known, but equally as ambitious, is his work dedicated to the natural world, a theme that served as a lifelong inspiration. Throughout his career, Stella produced an extraordinary number of works—in many formats and in diverse media—that take nature as their subject. These lush and colorful works are filled with flowers, trees, birds, and fish—some of which he encountered on his travels across continents or during his visits to botanical gardens, while others are abstracted and fantastical. Through these pictures, he created a rich and variegated portrait of nature, a sanctuary for a painter in a modern world.

Joseph Stella: Visionary Nature is co-organized by the High and the Brandywine River Museum of Art and is the first major museum exhibition to exclusively examine Stella’s nature-based works. The exhibition features more than one hundred paintings and works on paper that reveal the complexity and spirituality that drove Stella’s nature-based works and the breadth of his artistic vision. Through expanded in-gallery didactics, including a graphic timeline of Stella’s career and a short film, the exhibition digs deeply into the context of the works, exploring their inspirations, meanings, and stylistic influences.

Touring Dates:

Norton Museum of Art, West Palm Beach, Florida (October 15, 2022–January 15, 2023)

Brandywine Museum of Art, Chadds Ford, Pennsylvania (June 17, 2023–September 24, 2023)

www.nytimes.com/2022/11/30/arts/design/joseph-stella-flor...

www.forbes.com/sites/natashagural/2022/12/21/joseph-stell...

www.atlantamagazine.com/news-culture-articles/joseph-stel...

If you know the painter Joseph Stella, it’s probably from his famous urban landscapes like Brooklyn Bridge (1921), a futurist interpretation of New York’s dramatic 20th-century industrialization. But Stella was just as captivated by the botanical world as he was by cityscapes, and today, Atlantans can see that side of the artist in vivid color. Joseph Stella: Visionary Nature, an explosive new exhibit at the High Museum of Art, features dozens of his flower and plant-filled paintings and drawings. In Atlanta through May 21, the exhibit travels chronologically through Stella’s lifelong love-affair with the natural world, from an early study of a piece of bark to the epic, intricate Tree of My Life.

Visionary Nature was a joint effort between the High; the Norton Museum in West Palm Beach, Florida; and the Brandywine Museum in Chadds Ford, Pennsylvania, where it heads next. “They were really focused on [Stella’s] nature works, and we have a great work by Stella here at the High,” said Stephanie Heydt, the museum’s Margaret and Terry Stent Curator of American Art. “It was a great collaboration.”

Stella was born in 1877 in Muro Lucano, a hilly city in southern Italy. He immigrated to New York originally intending to follow his brother into medicine, but after a uninspired stint in medical school, he pivoted to painting. Stella studied briefly under the impressionist painter William Merritt Chase at the New York School of Art and soon developed a reputation as a sensitive interpreter of the urban working class.

The High’s exhibit features of some of these early works, in which the natural world spills out amidst the smokestacks and steel mills of America’s industrial revolution. “This is the Progressive Era at the turn of the twentieth century,” Heydt explained. “And he’s looking at the people in his own community, specifically the Italian immigrants.”

Traveling back in Europe, Stella was inspired by the contemporary artists he saw there: the cubism of Pablo Picasso and early futurism of Umberto Boccioni. He drew on these sources back in the U.S, earning acclaim for his dynamic geometric paintings of the metropolis; several choice selections, including American Landscape (1929), and Smoke Stacks (1921), are on view in this exhibit.

But even as Stella built his career on the towering achievements of urban industry, he yearned for the sunny landscapes of his youth. He frequented havens like the Bronx Botanical Gardens, which opened in 1891 and offered escape from New York’s sooty streets. Walking through Brooklyn one day, he later wrote in an essay, he stumbled across a sapling.

“This little tree is coming up from a crack in the sidewalk, shadowed by a factory, and he sees himself in this tree,” Heydt said. “He says, This is me.”

That encounter inspired Tree of My Life (1919) a florid aria sung to the natural world. A sturdy olive tree—Stella himself—anchors the canvas, surrounded by a vortex of tropical plants, birds, and, in the background, Stella’s native Italian hills. Brandywine Museum Director Thomas Padon envisaged the exhibit after seeing Tree of My Life in a private collection. “I was transfixed,” Padon told the New York Times.

Stella painted Tree of My Life and Brooklyn Bridge within a year of each other, announcing a duality that would define the rest of this career. While he painted flowers throughout his life, it was his moody, futurist treatments of New York that made him an art-world celebrity. European artists fleeing World War I were landing in New York in droves, sparking a new creative fascination with the cutting-edge American city. “(Marcel) Duchamp says the art of Europe is dead, and this century is about America,” explained Heydt. “Stella’s understood to be one of the first American-based painters to figure out . . . how to paint the new modern city.”

But Stella’s love of the natural world—and of Europe—endured. He returned to botanical themes throughout his life, infused with the Old Master styles of the Italian Renaissance. Many works in this exhibit invoke the sun-drenched vistas and towering cathedrals of Italy, overrun by sumptuous flowers that are decidedly not native to the Iberian peninsula. Stella—a native turned immigrant—seems to delight in the contradiction: in Dance of Spring (1924), tropical orchids and calla lilies burst open in a beam of beatific light, like Jesus rising to the heavens in a Raphael. Purissima (1927), part of the High’s own collection, evokes the iconic Renaissance Madonna, here transformed by Stella’s whimsy: the stamens of a lily serve as her celestial crown, while snowy egrets (the Florida kind) grace her sides.

With saturations of color abounding in every room, Visionary Nature enjoys an added depth through words. Stella was a prolific writer, and the exhibit makes canny use of text to explore his passion for the living world. “My devout wish,” reads one such diary segment on view, “That my every working day might begin and end . . . with the light, gay painting of a flower.” In a unique addition to their exhibition, the High created a short video featuring more of Stella’s own thoughts. “We wanted to end with his voice telling us how he felt about various paintings in the show . . . or his ideas about art,” explained Heydt.

Stella, who died in 1946, spent the last years of his life in ill health, largely confined to his studio. He never stopped painting the natural world; a few of those last works, modest trees still full of flair, are on view here. A few years before his death, his friend and fellow artist Charmion von Wiegand paid a visit to his studio. She found Stella amidst a riot of color, studiously painting his favorite subject. “Flower studies of all kinds litter the floor,” wrote von Wiegand, “and turn it into a growing garden.”

What a fun day we had at Tinker Town in Sandia Park, New Mexico. USA.

Lloyd-Thrap-Creative-Photography

Community is our reason to exist, the most essential element to Talking Fountain flow, letting expression go where ever it wants to.From arts&crafts with receptions, fundraising& weekly events, our doors and arms are open to the needs of our people.

TalkingFountain (12.01.11)

www.thetalkingfountain.com

© 2011 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.

tinkertown.com/

See Beadle and Tatum Experiment: 1 and Beadle and Tatum Experiment: 2.

Having established that the mutant is an amino acid auxotroph, to determine which amino acid it was unable to synthesize, they cultured spores on minimal media supplemented with individual amino acids. The mutant shown grew only when arginine was added to the medium, indicating that it was an arginine auxotroph.

Like this figure? Check out the others in my Teaching set. Use them for any non-commercial purpose, but please provide a link back to the Flickr image.

This is an ionized HII region sorrounding the star HIP 35378, a WN Wolf-Rayet star, located closed to the bubble on the "fore-head" of the helmet, shinning with magnitude 11.0.

The visible nebula is part of a large neutral gas cloud, the HII region is due to the ionizing radiation from the Wolf-Rayet star. By the way, the stellar wind of this star has blown out the mentioned bubble in the HII region.

The distance of the nebula to Earth is around 16 thousands light years and its apparent size is 10 x 5 arc minutes.

Image taken during Full Moon using narrowband filtering centered in Ha and O3, unbinned, 18 frames of 17 minutes for each channel. The green channel has been synthesized.

Tao Wei, ChE PhD Student, synthesizes proteins in the NCRC on North Campus of the University of Michigan in Ann Arbor, MI on May 26, 2017.

Wei is part of Timothy Scott's, Assistant ChE Professor, laboratory that focuses on polymer synthesis. This device helps synthesize proteins quickly and efficiently.

Photo: Joseph Xu/Michigan Engineering Senior Producer, University of Michigan

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55 x 55 x 55 cm, aluminium, pine wood, programmed lighting, 2015.

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.

bioLogic is growing living actuators and synthesizing responsive bio-skin in the era where bio is the new interface. Natto bacteria are harvested in a bio lab, assembled by a micron-resolution bio-printing system, and transformed into responsive fashion, a “Second Skin”. The synthetic bio-skin reacts to body heat and sweat, causing flaps around heat zones to open, enabling sweat to evaporate and cool down the body through an organic material flux.

credit: Florian Voggeneder

www.pacegallery.com/exhibitions/james-turrell-9/

James Turrell’s recent Constellation works, the focal point of this exhibition, are the culmination of Turrell's lifelong pursuit. Generating what the artist has called “spaces within space,” these luminous portals are instruments for altering our perception; gazing into them results in the slow dissolution of the boundaries of the surrounding room, enveloping the viewer in the radiance of pure color. Fusing the temporal, sensuous, and illusory qualities of his projection works and architectural installations, the Constellations synthesize several aspects of Turrell’s practice. Unlike his early projection pieces, however, they are not about generating an illusion; instead, they greet the viewer with the actual materiality of light, what Turrell calls “the physical manifestation of light, which we have trained our eyes too readily to look through rather than to look at.”

65th Lindau Nobel Laureate Meeting, Lindau, Germany, Picture/Credit: Adrian Schröder/Lindau Nobel Laureate Meetings, 1 July 2015

Ei-ichi Negishi: How to Synthesize a Wide Variety of Optically Active Organic and Bioorganic Compounds of >99% Optical Purity. Lecture at the Stadttheater

No Model Release. No Property Release. Free use only in connection with media coverage of the 65th Lindau Nobel Laureate Meeting. For all other purposes subject to approval.

New Chemistry building on the Florida State University campus. Built around 2008. In large part paid for by the profits of the anti-cancer drug Taxol that was first synthesized at FSU.

Nikon D80, 24mm f/2.8D, Bogen/Manfrotto X190B tripod. 2s, f/14, ISO 640. No flash.

The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is a historical mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.

It was built between 1609 and 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.

The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.

More info at: en.wikipedia.org/wiki/Sultan_Ahmed_Mosque

© Eddie Chui

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Rock gypsum in the Pennsylvanian of Colorado, USA.

This is part of a large, loose block of rock gypsum ("gyprock"), a crystalline-textured, chemical sedimentary rock. The block is derived from the Eagle Valley Evaporite, a Middle Pennsylvanian unit dominated by rock salt (halite, NaCl), rock gypsum (CaSO4·2H2O), and rock anhydrite (CaSO4). These three rock types form by evaporation of seawater and the precipitation of dissolved minerals. With deep burial, evaporites tend to engage in upward, solid-state flow. A large area around the town of Gypsum, Colorado is extensively deformed by upward movement, dissolution, and collapse of various evaporite rocks - this is the Eagle Collapse Center, which covers about 2,500 square kilometers. Evaporite rock movement and deformation occurred principally in the late Cenozoic.

Eagle Valley Evaporite rock gypsum formed by hydration of rock anhydrite in near-surface environments. The rock anhydrite formed by dehydration of primary rock gypsum during deep burial and heating (see Mallory, 1971).

Locality: large block alongside 51 Road, just north of the town of Gypsum, western Eagle County, northwest-central Colorado, USA

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Info. synthesized from:

Chronic & Williams (2002) - Roadside Geology of Colorado.

Lidke et al. (2002) - Geological Society of America Abstracts with Programs 34(6): 288.

Mallory (1971) - The Eagle Valley Evaporite, northwest Colorado - a regional synthesis. United States Geological Survey Bulletin 1311-E. 37 pp.

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Entry in category 1. ©Adriano Boni; See also bit.ly/snsf_comp_copy

Image acquired with a Tecnai Spirit Transmission Electron Microscope, 120 kV LaB6 emitter featured with BioTwin lenses, detected by means of a Veleta 2048x2048 wide angle camera. The image was taken on October 20st, 2016 at a magnification of 50000x. The subject is a polystyrene particle synthesized by means of dispersion polymerization in ethanol and dried on a 300 mesh copper grid. The sample also contains Magnetic Magnetite nanoparticles synthesized by thermal decomposition of Iron Pentacarbonyl and dispersed in the Sample.

Something went wrong when trying to fill a large polymer particle with small magnetite ones. Too much energy caused an explosion of a myriad of small magnetic nanoparticles which are now floating in the air, partially hidden by the smoky organic matrix. ¦ Image#1_49

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Invocation Of My Demon Screen casts a cinematic spell by employing the techniques of the French filmmaker Jean Painleve. Painleve cinematically synthesized poetry and science in his surreal zoological films from the 1930s through to the 70s. Invocation Of My Demon Screen, emphasises the properties of time over the qualities of movement with a projection of the microscopic movie onto a living screen.

Produced to celebrate the 10th anniversary of SymbioticA, VISCERAL sees the world premiere of Bio-Kino’s most recent manifestation of The Living Screen project. Bio-Kino was established in 2004 as a collective of two artists (Tanya Visosevic and Guy Ben-Ary) and an optical engineer (Bruce Murphy).

Poster from the Dec 16th 2009 Show in Albuquerque.

© 2009 2012 Photo by Lloyd Thrap Photography for Halo Media Group

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

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The spleen drains to the liver. RBC breakdown metabolites go to liver. Note that the spleen also does unique immune surveillance. Note further than in animal models, the spleen has stem cell capability for pancreatic beta-cells (insulin producing). Note that mast cells are a specific leukocyte category now thought to be uniquely synthesized by spleen stem cells.

Model: Cyd Schulte

© 2010 2018 Lloyd Thrap Photography for Halo Media Group

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

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