jueves, 18 de abril de 2013

NASA: US - Earth Science Lifts off from the California Coast - 18.04.13

Earth Science Lifts off from the California Coast
acquired March 22, 2013 download large image (17 MB, JPEG, 6827x6826)
acquired March 22, 2013 download large full scene image (28 MB, JPEG, 15161x15101)
Earth Science Lifts off from the California Coast
acquired March 22, 2013
Earth Science Lifts off from the California Coast
acquired March 22, 2013
The majority of Earth science research satellites developed or operated by NASA in the past few decades have been launched from Vandenberg Air Force Base. The newest satellite in the venerable Landsat program launched from this spot along the central California coast on February 11, 2013, following the path of its seven predecessors. The Landsat Data Continuity Mission (LDCM) is extending and expanding a 41-year record of land observations of the United States and of every continent.
The Operational Land Imager (OLI) on LDCM captured these views of its launch site, the nearby city of Lompoc, and the surrounding landscape on March 22, 2013. The two inset images were made from the top image, as the OLI can resolve surface features down to a scale of 15 meters per pixel. All of the images are considered engineering data, helping scientists and engineers ensure that the satellite and its instruments are operating as designed. The satellite is not expected to be completely operational until early summer, when control is officially handed off from NASA to the U.S. Geological Survey.
Vandenberg is NASA’s preferred launch site for satellites that are headed into polar orbits. The Air Force base sits on a parcel of land that juts out into the Pacific Ocean, allowing rockets to launch to the south without flying over populated areas. (Satellites that are headed into a west-east orbit are typically launched from Kennedy Space Center.) LDCM lifted off from Space Launch Complex 3 East (SLC-3E), visible in the middle image. To the west, SLC-4W was the site of more than 90 rocket launches from 1963 to 2003. Note that the scene is clear and resolved enough to show ocean waves offshore.
Beyond the military reservation, a Mediterranean climate supports oak and other hardwood trees, sagebrush, and coastal prairie-scrub grasses, while Lompoc boasts extensive vegetable and seed-flower farms. To the southeast, Rufugio State Beach sits on protected public land that is popular with campers. The LDCM imager is sensitive enough to detect the underwater kelp forests growing offshore, west of Refugio.
The OLI instrument is designed to observe Earth’s surface in the visible, near infrared, and short-wave infrared portions of the spectrum. Its images have 15-meter (49 foot) panchromatic and 30-meter multi-spectral spatial resolutions along a 185 km (115 miles) wide swath. OLI can take measurements in two new spectral bands: one to observe high-altitude cirrus clouds and another to observe atmospheric aerosols, as well as water quality in lakes and shallow coastal waters. The entire surface of Earth will fall within LDCM’s view once every 16 days.
Read more about LDCM’s birthplaces—the locations in the United States where Landsat missions have been conceived, built, and controlled—by clicking here.
Images by Robert Simmon, using data from the U.S. Geological Survey and NASA. Caption by Mike Carlowicz and Holli Riebeek.
Instrument: 
Landsat 8 - OLI

NASA: US - Earth Science Lifts off from the California Coast - 18.04.13

Poetry: Ingeborg Bachmann - The Surprise - The Young that Died in Beauty - Easter Zunday - Links


The Surprise

As there I left the road in May,
And took my way along a ground,
I found a glade with girls at play,
By leafy boughs close-hemmed around,
And there, with stores of harmless joys,
They plied their tongues, in merry noise:
Though little did they seem to fear
So queer a stranger might be near;
Teeh-hee! Look here! Hah! ha! Look there!
And oh! so playsome, oh! so fair.

And one would dance as one would spring,
Or bob or bow with leering smiles,
And one would swing, or sit and sing,
Or sew a stitch or two at whiles,
And one skipped on with downcast face,
All heedless, to my very place,
And there, in fright, with one foot out,
Made one dead step and turned about.
Heeh, hee, oh! oh! ooh! oo!—Look there!
And oh! so playsome, oh! so fair.

Away they scampered all, full speed,
By boughs that swung along their track,
As rabbits out of wood at feed,
At sight of men all scamper back.
And one pulled on behind her heel,
A thread of cotton, off her reel,
And oh! to follow that white clue,
I felt I fain could scamper too.
Teeh, hee, run here. Eeh! ee! Look there!
And oh! so playsome, oh! so fair.


The Young that Died in Beauty

If souls should only sheen so bright
In heaven as in e’thly light,
An’ nothen better wer the cease,
How comely still, in sheape an’ feace,
Would many reach thik happy pleace, -
The hopevul souls that in their prime
Ha’ seem’d a-took avore their time, -
The young that died in beauty.

But when woone’s lim’s ha’ lost their strangth
A-tweilen drough a lifetime’s langth,
An’ over cheaks a-growen wold
The slowly-weasten years ha’ roll’d
The deep’nen wrinkle’s hollow vwold;
When life is ripe, then death do call
Vor less ov thought, than when do vall
On young vo’ks in their beauty.

But pinen souls, wi’ heads a-hung
In heavy sorrow vor the young,
The sister ov the brother dead,
The father wi’ a child a-vled,
The husband when his bride ha’ laid
Her head at rest, noo mwore to turn,
Have all a-vound the time to murn
Vor youth that died in beauty.

An’ yeet the church, where prayer do rise
Vrom thoughtvul souls, wi’ downcast eyes,
An’ village greens, a-beat half beare
By dancers that do meet, an’ wear
Such merry looks at feast an’ feair,
Do gather under leatest skies,
Their bloomen cheaks an’ sparklen eyes,
Though young ha’ died in beauty.

But still the dead shall mwore than keep
The beauty ov their early sleep;
Where comely looks shall never wear
Uncomely, under tweil an' ceare.
The feair at death be always feair,
Still feair to livers’ thought an’ love,
An’ feairer still to God above,
Than when they died in beauty.  



Easter Zunday

Last Easter Jim put on his blue
Frock cwoat, the vu'st time-vier new;
Wi' yollow buttons all o' brass,
That glitter'd in the zun lik' glass;
An' pok'd 'ithin the button-hole
A tutty he'd a-begg'd or stole.
A span-new wes-co't, too, he wore,
Wi' yellow stripes all down avore;
An' tied his breeches' lags below
The knee, wi' ribbon in a bow;
An' drow'd his kitty-boots azide,
An' put his laggens on, an' tied
His shoes wi' strings two vingers wide,
Because 'twer Easter Zunday.

An' after mornen church wer out
He come back hwome, an' stroll'd about
All down the vields, an' drough the leane,
Wi' sister Kit an' cousin Jeane,
A-turnen proudly to their view
His yollow breast an' back o' blue.
The lambs did play, the grounds wer green,
The trees did bud, the zun did sheen;
The lark did zing below the sky,
An' roads wer all a-blown so dry,
As if the zummer wer begun;
An' he had sich a bit o' fun!
He meade the maidens squeal an' run,
Because 'twer Easter Zunday.


Poetry: Ingeborg Bachmann - The Surprise - The Young that Died in Beauty - Easter Zunday - Links



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Music: Till Bronner - Little Sunflower - Pat Metheny - Till Bronner - Diavolo - Till Bronner's data




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Till Brönner - Little Sunflower

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Pat Metheny - Till Bronner - Diavolo

 Music: Till Bronner - Little Sunflower - Pat Metheny - Till Bronner - Diavolo - Till Bronner's data

Till Brönner |

tillbroenner.com/ - Traducir esta página
Der deutsche Trompeter stellt sich vor, präsentiert aktuelle Projekte und informiert über Tourneedaten. Neben einer Diskografie mit Tracklists und einer ...

Till Brönner - Wikipedia, la enciclopedia libre

es.wikipedia.org/wiki/Till_Brönner
Till Brönner (1971, Viersen, Alemania, 1971) es un trompetista de jazz alemán. También se desempeña como cantante, productor y compositor. Su estilo ...


Till Brönner - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Till_Brönner - Traducir esta página
Till Brönner (b. 6 May, 1971 in Viersen, Germany is a jazz musician, trumpet player, singer, composer, arranger and producer. He has a unique jazz approach ...

Poesia: Pier Paolo Pasolini - Alla bandiera rossa - Il canto popolare - Links e galleria fotografica


Alla bandiera rossa

Per chi conosce solo il tuo colore,
bandiera rossa,
tu devi realmente esistere, perché lui
esista:
chi era coperto di croste è coperto di
piaghe,
il bracciante diventa mendicante,
il napoletano calabrese, il calabrese
africano,
l'analfabeta una bufala o un cane.
Chi conosceva appena il tuo colore,
bandiera rossa,
sta per non conoscerti più, neanche coi
sensi:
tu che già vanti tante glorie borghesi e
operaie,
ridiventa straccio, e il più povero ti
sventoli.





 Il canto popolare

Improvviso il mille novecento
cinquanta due passa sull'Italia:
solo il popolo ne ha un sentimento
vero: mai tolto al tempo, non l'abbaglia
la modernità, benché sempre il più
moderno sia esso, il popolo, spanto
in borghi, in rioni, con gioventù
sempre nuove - nuove al vecchio canto -
a ripetere ingenuo quello che fu.

Scotta il primo sole dolce dell'anno
sopra i portici delle cittadine
di provincia, sui paesi che sanno
ancora di nevi, sulle appenniniche
greggi: nelle vetrine dei capoluoghi
i nuovi colori delle tele, i nuovi
vestiti come in limpidi roghi
dicono quanto oggi si rinnovi
il mondo, che diverse gioie sfoghi...

Ah, noi che viviamo in una sola
generazione ogni generazione
vissuta qui, in queste terre ora
umiliate, non abbiamo nozione
vera di chi è partecipe alla storia
solo per orale, magica esperienza;
e vive puro, non oltre la memoria
della generazione in cui presenza
della vita è la sua vita perentoria.

Nella vita che è vita perché assunta
nella nostra ragione e costruita
per il nostro passaggio - e ora giunta
a essere altra, oltre il nostro accanito
difenderla - aspetta - cantando supino,
accampato nei nostri quartieri
a lui sconosciuti, e pronto fino
dalle più fresche e inanimate ère -
il popolo: muta in lui l'uomo il destino.

E se ci rivolgiamo a quel passato
ch'è nostro privilegio, altre fiumane
di popolo ecco cantare: recuperato
è il nostro moto fin dalle cristiane
origini, ma resta indietro, immobile,
quel canto. Si ripete uguale.
Nelle sere non più torce ma globi
di luce, e la periferia non pare
altra, non altri i ragazzi nuovi...

Tra gli orti cupi, al pigro solicello
Adalbertos komis kurtis!, i ragazzini
d'Ivrea gridano, e pei valloncelli
di Toscana, con strilli di rondinini:
Hor atorno fratt Helya! La santa
violenza sui rozzi cuori il clero
calca, rozzo, e li asserva a un'infanzia
feroce nel feudo provinciale l'Impero
da Iddio imposto: e il popolo canta.

Un grande concerto di scalpelli
sul Campidoglio, sul nuovo Appennino,
sui Comuni sbiancati dalle Alpi,
suona, giganteggiando il travertino
nel nuovo spazio in cui s'affranca
l'Uomo: e il manovale Dov'andastà
jersera... ripete con l'anima spanta
nel suo gotico mondo. Il mondo schiavitù
resta nel popolo. E il popolo canta.

Apprende il borghese nascente lo Ça ira,
e trepidi nel vento napoleonico,
all'Inno dell'Albero della Libertà,
tremano i nuovi colori delle nazioni.
Ma, cane affamato, difende il bracciante
i suoi padroni, ne canta la ferocia,
Guagliune 'e mala vita! in branchi
feroci. La libertà non ha voce
per il popolo cane. E il popolo canta.

Ragazzo del popolo che canti,
qui a Rebibbia sulla misera riva
dell'Aniene la nuova canzonetta, vanti
è vero, cantando, l'antica, la festiva
leggerezza dei semplici. Ma quale
dura certezza tu sollevi insieme
d'imminente riscossa, in mezzo a ignari
tuguri e grattacieli, allegro seme
in cuore al triste mondo popolare.

Nella tua incoscienza è la coscienza
che in te la storia vuole, questa storia
il cui Uomo non ha più che la violenza
delle memorie, non la libera memoria...
E ormai, forse, altra scelta non ha
che dare alla sua ansia di giustizia
la forza della tua felicità,
e alla luce di un tempo che inizia
la luce di chi è ciò che non sa.


1953


Poesia: Pier Paolo Pasolini - Alla bandiera rossa - Il canto popolare - Links e galleria fotografica
 





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