вторник, 24 октября 2017 г.

Атмосферные явления в одном фильме от Mike Olbinski



Потрясающий таймлапс и новый фильм от Майка Олбински – фотографа и видеографа, охотящегося за непогодой. Этот фильм Майк начал снимать с начала лета 2017 года, на что было потрачено огромное количество времени. Более 110 тысяч фотографий, и лишь половина из всех в этом фантастическом таймлапсе. Объехав десятки штатов, он добился того результата, к которому шёл. Спасибо Майку Олбински за его творения и за возможность увидеть это своими глазами.  © Mike Olbinski | 2017 год.



Rip-up clasts The tiniest sedimentary grains are clay minerals….


Rip-up clasts


The tiniest sedimentary grains are clay minerals. The little grain fragments are so small that when one clay mineral grain touches another, electrostatic forces are enough to help them stick together. Clay minerals can literally stick to each other based on the forces between electrons and protons in 2 adjacent grains. A pile of clay minerals will stick together due to electrostatics and it will take a lot of energy to pull it apart.

Dish with Peony

Dish with Peony


Terracotta chalice

Terracotta chalice


Transparent solar technology represents ‘wave of the future’

See-through solar materials that can be applied to windows represent a massive source of untapped energy and could harvest as much power as bigger, bulkier rooftop solar units, scientists report in Nature Energy.



Led by engineering researchers at Michigan State University, the authors argue that widespread use of such highly transparent solar applications, together with the rooftop units, could nearly meet U.S. electricity demand and drastically reduce the use of fossil fuels.


“Highly transparent solar cells represent the wave of the future for new solar applications,” said Richard Lunt, the Johansen Crosby Endowed Associate Professor of Chemical Engineering and Materials Science at MSU. “We analyzed their potential and show that by harvesting only invisible light, these devices can provide a similar electricity-generation potential as rooftop solar while providing additional functionality to enhance the efficiency of buildings, automobiles and mobile electronics.”


Mars Rover Mission Progresses Toward Resumed Drilling


NASA – Mars Science Laboratory (MSL) patch.


October 24, 2017


NASA’s Mars rover Curiosity team is working to restore Curiosity’s sample-drilling capability using new techniques. The latest development is a preparatory test on Mars.


The five-year-old mission is still several months from the soonest possible resumption of drilling into Martian rocks. Managers are enthusiastic about successful Earth-based tests of techniques to work around a mechanical problem that appeared late last year and suspended use of the rover’s drill.



Image above: NASA’s Curiosity Mars rover conducted a test on Oct. 17, 2017, as part of the rover team’s development of a new way to use the rover’s drill. Image Credits: NASA/JPL-Caltech.


“We’re steadily proceeding with due caution to develop and test ways of using the rover differently from ever before, and Curiosity is continuing productive investigations that don’t require drilling,” said Deputy Project Manager Steve Lee, of NASA’s Jet Propulsion Laboratory, Pasadena, California.


Curiosity touched its drill to the ground Oct. 17 for the first time in 10 months. It pressed the drill bit downward, and then applied smaller sideways forces while taking measurements with a force sensor.


“This is the first time we’ve ever placed the drill bit directly on a Martian rock without stabilizers,” said JPL’s Douglas Klein, chief engineer for the mission’s return-to-drilling development. “The test is to gain better understanding of how the force/torque sensor on the arm provides information about side forces.”


This sensor gives the arm a sense of touch about how hard it is pressing down or sideways. Avoiding too much side force in drilling into a rock and extracting the bit from the rock is crucial to avoid having the bit get stuck in the rock.



Image above: The team operating NASA’s Curiosity Mars rover is developing techniques that the rover might be able to use to resume drilling into rocks on Mars. Image Credits: NASA/JPL-Caltech.


Curiosity has used its drill to acquire sample material from Martian rocks 15 times so far, from 2013 to 2016. It collected powdered rock samples that were delivered to laboratory instruments inside the rover. On each of those occasions, two contact posts — the stabilizers on either side of the bit — were placed on the target rock while the bit was in a withdrawn position. Then a motorized feed mechanism within the drill extended the bit forward, and the bit’s rotation and percussion actions penetrated the rock.


The drill’s feed mechanism stopped working reliably in December 2016. After exploring possibilities of restoring the feed mechanism’s reliability or using it despite unreliability, the project set a priority to develop an alternative method of drilling without use of the feed mechanism. The promising alternative uses motion of the robotic arm to directly advance the extended bit into a rock.


“We’re replacing the one-axis motion of the feed mechanism with an arm that has five degrees of freedom of motion,” Klein said. “That’s not simple. It’s fortunate the arm has the force/torque sensor.”


The sensor’s main use until now has been to monitor for a force so excessive of expectations that it would automatically halt all arm motion for the day. The new “feed-extended” drilling uses it to compensate for side loads. This test will help engineers determine how data from the sensor can be used most effectively.



Image above: This photo taken in the “Mars Yard” at NASA’s Jet Propulsion Laboratory, Pasadena, California, on Aug. 1, 2017, shows a step in development of possible alternative techniques that NASA’s Curiosity Mars rover might be able to use to resume drilling into rocks on Mars. Image Credits: NASA/JPL-Caltech.


Using this method, a near-twin of Curiosity at JPL has collected drilled samples from Earth rocks. The team has also developed methods to deliver drilled samples to the laboratory-instrument inlets on the test rover’s deck without use of the drill’s feed mechanism. Development of this alternative sample-transfer technique is needed because the process used previously depended on having the bit in a withdrawn, rather than extended, position.


“The development work and testing here at JPL has been promising,” Lee said. “The next step is to assess the force/torque sensor on Mars. We’ve made tremendous progress in developing feed-extended drilling, using the rover’s versatile capabilities beyond the original design concepts. While there are still uncertainties that may complicate attempts to drill on Mars again, we are optimistic.”



Mars Curiosity Rover selfie. Image Credits: NASA/JPL-Caltech

The rover’s current location is on “Vera Rubin Ridge” on lower Mount Sharp. Curiosity is nearing the top of the 20-story-tall ridge. It has been studying the extent and distribution of the iron-oxide mineral hematite in the rocks that make up the erosion-resistant ridge.


During the first year after Curiosity’s landing near Mount Sharp, the mission accomplished a major goal by determining that, billions of years ago, a Martian lake offered conditions that would have been favorable for microbial life. Curiosity has since traversed through a diversity of environments where both water and wind have left their imprint. Vera Rubin Ridge and layers above it that contain clay and sulfate minerals provide tempting opportunities to learn even more about the history and habitability of ancient Mars. For more about Curiosity, visit: https://mars.jpl.nasa.gov/msl


Images (mentioned), Text, Credits: NASA/Laurie Cantillo/Dwayne Brown/JPL/Guy Webster.


Greetings, Orbiter.ch


Sunrise looking east at Olympos Antalya, Turkey





Sunrise looking east at Olympos Antalya, Turkey


Jumping into a torrent at Wadi Mujib Slot Canyon, Jordan






A post shared by Mohammed Shams (@plates2planes) on





Jumping into a torrent at Wadi Mujib Slot Canyon, Jordan


Crab lunch.





Crab lunch.


Roundel, disk, Greek and Roman ArtMedium: GoldThe Cesnola…


Roundel, disk, Greek and Roman Art


Medium: Gold


The Cesnola Collection, Purchased by subscription, 1874–76

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/243082


Glass revetment plaque fragment, Greek and Roman ArtMedium:…


Glass revetment plaque fragment, Greek and Roman Art


Medium: Glass


The Cesnola Collection, Purchased by subscription, 1874–76

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/239914


Burgonet for the Guard of the Counts Khevenhüller zu Aichelberg,…


Burgonet for the Guard of the Counts Khevenhüller zu Aichelberg, Arms and Armor


Medium: Steel, lead, paint, leather


Bashford Dean Memorial Collection, Gift of Edward S. Harkness, 1929

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/26513


met-photos: [Photogenic Drawing from Leaf] by Sebastiano…


met-photos:



[Photogenic Drawing from Leaf] by Sebastiano Tassinari, The Met’s Photography Department


Medium: Photogenic drawing


Harris Brisbane Dick Fund, 1936

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/289234



Plaque with a bird of prey and winged beasts

Plaque with a bird of prey and winged beasts


Foundation peg in the form of the forepart of a lion, Ancient…


Foundation peg in the form of the forepart of a lion, Ancient Near Eastern Art


Medium: Copper alloy


Purchase, Joseph Pulitzer Bequest, 1948

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/329078


50 simulations of the ‘Really Big One’ show how a 9.0 Cascadia…


50 simulations of the ‘Really Big One’ show how a 9.0 Cascadia earthquake could play out http://www.geologypage.com/2017/10/50-simulations-really-big-one-show-9-0-cascadia-earthquake-play.html


Mongolian microfossils point to the rise of animals on Earth…


Mongolian microfossils point to the rise of animals on Earth http://www.geologypage.com/2017/10/mongolian-microfossils-point-rise-animals-earth.html


New magma pathways after giant lateral volcano collapses…


New magma pathways after giant lateral volcano collapses http://www.geologypage.com/2017/10/new-magma-pathways-giant-lateral-volcano-collapses.html


Diamonds deliver insights into the chemistry of the deep Earth’s…


Diamonds deliver insights into the chemistry of the deep Earth’s interior http://www.geologypage.com/2017/10/diamonds-deliver-insights-chemistry-deep-earths-interior.html


How do we know the age of the Earth?…


How do we know the age of the Earth? http://www.geologypage.com/2017/10/how-do-we-know-the-age-of-the-earth.html


Shoot Em Up – Serie 02 by Nicolas Ferrand



Shoot Em Up – Serie 02 by Nicolas Ferrand


begin of journey by J.C Park



begin of journey by J.C Park


ancientpeoples: Bull-leaping (also taurokathapsia, from…




ancientpeoples:



Bull-leaping (also taurokathapsia, from Greek ταυροκαθάψια) is a motif of Middle Bronze Age figurative art, notably of Minoan Crete, but also found in Hittite Anatolia, the Levant, Bactria and the Indus Valley. It is often interpreted as a depiction of a ritual performed in connection with bull worship. This ritual consists of an acrobatic leap over a bull; when the leaper grasps the bull’s horns, the bull will violently jerk his neck upwards giving the leaper the momentum necessary to perform somersaults and other acrobatic tricks or stunts.


Younger classifies bull-leaping depictions as follows:



  • Type I: the acrobat approaches the bull from the front, grabs the horns, and somersaults backwards

  • Type II: the acrobat approaches the bull from the front, dives over the horns without touching them and pushes himself with his hands from the bull’s back into a backward somersault

  • Type III: the acrobat is depicted in mid-air over the bull’s back, facing the same way as the animal


The Type III depictions are often found in Late Minoan IIIB artwork (14th to 13th centuries BC). Frescoes in Tell el Dab’a (Avaris, Egypt) dating to the 18th dynasty (16th to 14th centuries BC) show similar designs besides genuinely Egyptian motives, for which reason they have usually been ascribed to Minoan-taught Egyptian craftsmen (rather than to Minoan ones directly). They could also have been included as palace decorations because the palace was built for an Aegean princess diplomatically married to a Hyksos pharaoh.


Other examples of bull-leaping scenes have been found in Syria, such as a cylinder seal impression found in level VII at Alalakh (Old Babylonian period, 19th or 18th century BC) showing two acrobats performing handstands on the back of a bull, with an ankh sign placed between them, another seal belonging to a servant of Shamshi-Adad I (c. 1800 BC), besides other Syrian examples. Furthermore a vase was discovered in Hüseyindede in 1997, dating to the Hittite Old Kingdom (18th to 15th centuries BC).


Bull leaping and bulls in general are believed to have been an important part of Minoan culture; excavations at Knossos have revealed several frescos depicting bull-leaping. As in the case of other Mediterranean civilizations, the bull was the subject of veneration and worship. It has been suggested bulls may have had some religious significance to them for example the large, exaggerated size of the bull compared to the human leaper may give an idea of the Minoans’ reverence for the power of the animals.  In every medium imaginable, from gold rings to terracotta figurines, from stone seals to frescoes in relief, the image of the bull permeates the Minoan world and it’s culture. Furthermore, depictions of  bulls and bull-leaping figure prominently in the pictorial decoration of Neopalatial Knossos. Major entrances leading to the centre of the palace complex were adorned with wall paintings of bulls and bull-leaping. 


A deep-rooted tension between the wildness of the bull and the need to master it also appears to underlie the most famous Minoan institution involving bulls: bull-leaping. The details of this practice are a hotbed of for scholars in the field. At one extreme are those who deny such performances ever took place, while at the other are those who offer a detailed breakdown of how the ritual was performed. The latter base their conclusions on the various depictions of bull-leaping shown on ceramics, seals, rings, ivory figurines, and frescoes. Based on these artistic representations, Sir Arthur Evans, excavator at Knossos, believed that the process consisted of four clearly defined phases as the leaper approached, grasped the bull by the horns, vaulted over onto the animal’s back, and then sprang onto the ground. Subsequent studies by A. Sakellariou and John Younger assembled evidence for variations on Evans’ schema until a range of styles was identified and associated with specific periods in Late Minoan culture. These changes in style make little sense divorced from an actual practice; they are therefore taken as evidence that a “sport” of bull-leaping did occur. The conclusion of Younger’s study sums up the connection between artistic representations and the performances they recall:


“In conclusion, bull-leaping begins to appear in artistic representations toward the beginning of the Late Bronze Age in Crete and on the Mainland. The main system of performance probably followed that of the Diving Leaper Schema. When bull-leaping itself was discontinued, perhaps towards the close of the LB IIIA or the beginning of the LB IIIB period, ca. 1340 BC, later representations depicted the leaper in the floating pose (Type III), a pose not copied directly from the sport.”


The ceremonial courts characteristic of Minoan palaces are often taken to be the locations for the sport, serving as Minoan bull-rings. Despite a reconstruction, or perhaps in reaction to it, there are those who seriously doubt whether it is at all possible to leap a charging bull, particularly when, as in most of the scenes depicted in Minoan art, the bull has its head up, with its horns vertical. Some scholars assert that no person ever jumped over a bull’s back on Crete or anywhere else. They suggest instead that the artistic depictions of bull- leaping are representations of a celestial drama. “Orion confronts Taurus, composed of the Hyades and Pleiades (the seven sisters), while Perseus somersaults with both arms extended over the bull’s back to rescue Andromeda.” Even if we were to suppose, reasonably, that the astrological traditions of the Near East were familiar to the Cretans, their existence alone would not be enough to dismiss bull-leaping as modern invention, or to read the scenes of bull-leaping as purely symbolic.


The only compelling objection to the existence of real bull leaping, in fact, is the assertion that it is physically impossible, a claim often made in discussions of contemporary bull sports. Yet in the southwest of France, a version of bull-jumping is still practiced regularly in a form that is an almost exact parallel of the Minoan version: the course landaise. The animals employed are not attacked, stabbed, or slaughtered by the participants. Instead, the emphasis is on athleticism. In one event, for example, the leaper vaults over the body of the charging cow. In a variation of this, the saut de l’ange (translated as “the angel’s leap”), the jumper leaps straight along the same axis as the charging animal. It looks exactly like the flying leap depicted in Minoan glyptics. Other leaps include a somersault over the cow’s back, the saut á pieds joints (“jump with feet tied together”), in which the leaper thrusts his legs forward while leaping vertically, and the most difficult of all, the saut vrillé (“twisting jump”), in which the sauteur performs a pike while leaping.


Whatever the case the bull and rituals/events surrounding it were clearly an intrinsic part of Minoan society and ritual and still inspires and captures the imagination of people today.


For more information please see Jeremy McInerney’s article on Bull leaping in the Minoan world. The majority of information in this post comes from there. 



Dressing Up Science: Richard Feynman And The Costume Parties Of…











Dressing Up Science: Richard Feynman And The Costume Parties Of Al Hibbs



“One year, the challenge was to “come dressed as a character from myth or legend.“ Feynman cloaked himself in a flowing, white robe and donned a long gray beard. Someone asked him if he was supposed to be Moses. “No,” Feynman responded, “I’m God.” Hibbs quipped that everyone knew that all along.


Another year, the theme was “regions of the Earth.” Gweneth put together a wonderful outfit for her husband that resembled the traditional garb of a Ladakhi monk from the Himalayas. Local artist Sylvia Posner was so impressed that she painted a portrait of him in that costume, embellishing it with him holding a Feynman diagram in his hand that looked somewhat like lightning bolts.”



Scientists have long had a reputation for being uptight, serious, and even killjoy personalities. But 50+ years ago, Richard Feynman was forcing everyone who felt that way to challenge their assumptions. With his brash attitude and fun-seeking personality, Feynman seemingly was most at home when he was at his most outrageous. With Halloween on its way, what better way to celebrate than to take a look back at Feynman’s costumed antics, often taking place at the April Fools costume parties of his friend and former student, Al Hibbs? From irreverently dressing as a Ladakhi monk, Queen Elizabeth II, or even God himself, Feynman was always game for pushing the envelope and having a good time.


Come celebrate Halloween in a unique way: with the costumes of one of the 20th century’s greatest physicists, thanks to the incredible storytelling of Paul Halpern!


Natrodufrénite NaFe2+Fe3+5(PO4)4(OH)6·2H2O Locality:La…


Natrodufrénite


NaFe2+Fe3+5(PO4)4(OH)6·2H2O


Locality:


La Commanderie mine, Le Temple, Deux-Sèvres, Nouvelle-Aquitaine, France


Field of View: 2 mm


Nearly black natrodufrénite crystals.


Collection and photo Stephan Wolfsried.


Natrodufrénite is the Na analogue of dufrénite (which is distinctly less common by comparison) and the ferrous iron analogue of gayite. A low-temperature secondary mineral.


The Prince and the Petitioner by Vali Jan, Islamic ArtMedium:…


The Prince and the Petitioner by Vali Jan, Islamic Art


Medium: Ink and gold on paper


Bequest of George D. Pratt, 1935

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/450605


String of 16 beads, Egyptian ArtMedium: GlassGift of Helen…


String of 16 beads, Egyptian Art


Medium: Glass


Gift of Helen Miller Gould, 1910

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/552104


Three Ornaments, Arts of Africa, Oceania, and the…


Three Ornaments, Arts of Africa, Oceania, and the Americas


Medium: Jadeite


The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/313037


Flying Panel Metate

Flying Panel Metate


Fragments of a Bowl, Islamic ArtMedium: Earthenware;…


Fragments of a Bowl, Islamic Art


Medium: Earthenware; glazed


Rogers Fund, 1933

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/448996


 Лентикулярное облако над вулканом Рейнир США, 16.10.2017

Лентикулярное облако над вулканом Рейнир США, 16.10.2017



Благодарим  🌈 Фобос. Катаклизмы и катастрофы природы


Радуга во время паводка в городе Бун Северная Каролина, США,...

Радуга во время паводка в городе Бун Северная Каролина, США, 23.10.2017



Благодарим  🌈 Фобос. Катаклизмы и катастрофы природы


Гроза над Коралловым морем Австралия октябрь 2017

Гроза над Коралловым морем рядом с Саншайн Бич Австралия, штат Квинсленд, октябрь 2017 Фотограф – Ardi Webber



 


Благодарим  🌈 Фобос. Катаклизмы и катастрофы природы


Storm on the horizonJust below the world’s limb outlined…


Storm on the horizon


Just below the world’s limb outlined by airglow (see http://tinyurl.com/ktjorzr for an explanation), a lightning storm flashes silently as viewed from above in the quietness of space.


Loz


Image credit: Luca Parmitano


justemoinue2:Freezing in October


justemoinue2:



Freezing in October



Medallion, Islamic ArtMedium: Leather, silk, and cottonRogers…


Medallion, Islamic Art


Medium: Leather, silk, and cotton


Rogers Fund, 1972

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/452406


Limestone plinth with the feet of a colossal male statue, Greek…


Limestone plinth with the feet of a colossal male statue, Greek and Roman Art


Medium: Limestone


The Cesnola Collection, Purchased by subscription, 1874–76

Metropolitan Museum of Art, New York, NY


http://www.metmuseum.org/art/collection/search/242234


Выдается за остывший вулкан Кратер Набийотум озера...


Фото Кратер Набийотум


Кратер Набийотум на юге озера Туркана. Великая Рифтовая долина, Кения.







Собраны фотографии различных мест на Земле ближе к идеальным кругу образованиям 


Благодарим  🌈 Фобос. Катаклизмы и катастрофы природы


 


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