miércoles, 28 de agosto de 2013

NASA: Russia - Tracking the Chelyabinsk Meteor Plume - 08.28.13



Tracking the Chelyabinsk Meteor Plume
acquired February 15, 2013
Color bar for Tracking the Chelyabinsk Meteor Plume
Shortly after dawn on February 15, 2013, a 18-meter-wide (59 foot) meteor screamed into Earth's atmosphere at 18.6 kilometers per second (41,600 miles per hour). Burning from friction with the air, the 11,000-metric-ton space rock exploded 23.3 kilometers (14.5 miles) above Chelyabinsk, Russia. The explosion released 30 times more energy than the atomic bomb that destroyed Hiroshima.
Some of the surviving pieces of the Chelyabinsk meteor (or bolide) fell to the ground near Chebarkul, Russia. But the explosion also injected hundreds of tons of dust into the stratosphere, allowing a NASA-NOAA satellite to make unprecedented measurements of a thin but cohesive and persistent dust belt.
“We wanted to know if our satellite could detect the meteor dust,” said Nick Gorkavyi, an atmospheric physicist at NASA’s Goddard Space Flight Center who grew up in Chelyabinsk. “Indeed, we saw the formation of a new dust belt in Earth's stratosphere, and achieved the first space-based observation of the long-term evolution of a bolide plume.”
About 3.5 hours after the meteor explosion, the Suomi National Polar-orbiting Partnership (Suomi NPP) satellite flew over the area and detected a plume high in the atmosphere, as shown in the image above. The limb profiler instrument in the Ozone Mapping Profiling Suite (OMPS) sensed a mass of aerosols at an altitude of 40 kilometers (25 miles) and moving east at more than 300 kilometers (190 miles) per hour. The cross-section above shows the level of aerosol extinction, or how much the dust and debris blocked sunlight.
On February 16, 2013, OMPS detected the plume continuing its eastward flow and reaching the Aleutian Islands. Larger, heavier particles began to lose altitude and speed, while their smaller, lighter counterparts stayed aloft and retained speed—consistent with wind speed variations at the different altitudes. By February 19, the faster, higher portion of the plume had snaked its way entirely around the northern hemisphere and back to Chelyabinsk.
Building on these initial, direct measurements, Gorkavyi and colleagues combined their data with a series of atmospheric models to simulate how the plume from the explosion would evolve as the stratospheric jet stream carried it around the Northern Hemisphere. The model simulations agreed with the observed evolution of the plume. And indeed the plume’s evolution continued: at least three months later, a detectable belt of meteor dust was still swirling around the planet, according to OMPS measurements.
To view an animation of the meteor-dust model, visit the NASA homepage.
NASA Earth Observatory image by Jesse Allen, using OMPS data from the Suomi National Polar-orbiting Partnership. Suomi NPP is the result of a partnership between NASA, the National Oceanic and Atmospheric Administration, and the Department of Defense. Caption based on a story by Kathryn Hansen, NASA Earth Science News Team.
Instrument: 
Suomi NPP - OMPP






NASA: Russia - Tracking the Chelyabinsk Meteor Plume - 08.28.13






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(::)


Poetry: Conrad Aiken - All Lovely Things - Beloved. Let Us Once More Praise The Rain - Chiarascuro: Rose - Links





All Lovely Things

All lovely things will have an ending,
All lovely things will fade and die,
And youth, that's now so bravely spending,
Will beg a penny by and by.

Fine ladies soon are all forgotten,
And goldenrod is dust when dead,
The sweetest flesh and flowers are rotten
And cobwebs tent the brightest head.

Come back, true love! Sweet youth, return!—
But time goes on, and will, unheeding,
Though hands will reach, and eyes will yearn,
And the wild days set true hearts bleeding.

Come back, true love! Sweet youth, remain!—
But goldenrod and daisies wither,
And over them blows autumn rain,
They pass, they pass, and know not whither.



Beloved, Let Us Once More Praise The Rain

Beloved, let us once more praise the rain.
Let us discover some new alphabet,
For this, the often praised; and be ourselves,
The rain, the chickweed, and the burdock leaf,
The green-white privet flower, the spotted stone,
And all that welcomes the rain; the sparrow too,—
Who watches with a hard eye from seclusion,
Beneath the elm-tree bough, till rain is done.
There is an oriole who, upside down,
Hangs at his nest, and flicks an orange wing,—
Under a tree as dead and still as lead;
There is a single leaf, in all this heaven
Of leaves, which rain has loosened from its twig:
The stem breaks, and it falls, but it is caught
Upon a sister leaf, and thus she hangs;
There is an acorn cup, beside a mushroom
Which catches three drops from the stooping cloud.
The timid bee goes back to the hive; the fly
Under the broad leaf of the hollyhock
Perpends stupid with cold; the raindark snail
Surveys the wet world from a watery stone...
And still the syllables of water whisper:
The wheel of cloud whirs slowly: while we wait
In the dark room; and in your heart I find
One silver raindrop,—on a hawthorn leaf,—
Orion in a cobweb, and the World.



Chiarascuro: Rose

He

Fill your bowl with roses: the bowl, too, have of crystal.
Sit at the western window. Take the sun
Between your hands like a ball of flaming crystal,
Poise it to let it fall, but hold it still,
And meditate on the beauty of your existence;
The beauty of this, that you exist at all.

She

The sun goes down,—but without lamentation.
I close my eyes, and the stream of my sensation
In this, at least, grows clear to me:
Beauty is a word that has no meaning.
Beauty is naught to me.

He

The last blurred raindrops fall from the half-clear sky,
Eddying lightly, rose-tinged, in the windless wake of the sun.
The swallow ascending against cold waves of cloud
Seems winging upward over huge bleak stairs of stone.
The raindrop finds its way to the heart of the leaf-bud.
But no word finds its way to the heart of you.

She

This also is clear in the stream of my sensation:
That I am content, for the moment, Let me be.
How light the new grass looks with the rain-dust on it!
But heart is a word that has no meaning,
Heart means nothing to me.

He

To the end of the world I pass and back again
In flights of the mind; yet always find you here,
Remote, pale, unattached . . . O Circe-too-clear-eyed,
Watching amused your fawning tiger-thoughts,
Your wolves, your grotesque apes—relent, relent!
Be less wary for once: it is the evening.

She

But if I close my eyes what howlings greet me!
Do not persuade. Be tranquil. Here is flesh
With all its demons. Take it, sate yourself.
But leave my thoughts to me.











Poetry: Conrad Aiken - All Lovely Things - Beloved. Let Us Once More Praise The Rain - Chiarascuro: Rose - Links






Ricardo M Marcenaro - Facebook
Blogs in operation of The Solitary Dog:

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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)


Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)



(::)


martes, 27 de agosto de 2013

Music: Friedrich Gulda - Light my Fire (The Doors cover) - Links





Friedrich Gulda - Light my Fire




Links:










Music: Friedrich Gulda - Light my Fire (The Doors cover) - Links







Ricardo Marcenaro
Argentina





You have an alphabetical guide in the foot of the page in the blog: solitary dog sculptor
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Thanks

Usted tiene una guía alfabética al pie de la página en el blog: solitary dog sculptor
En el blog: Solitary Dog Sculptor I, la guia alfabética está en el costado derecho de la página
Gracias




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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)





Photos - Fotos: Micha Bar Am - 1956-1957 Sinai War - Bio English-Espanol - Links


Micha Bar Am
The Sinai Campaign, also known as OPERATION KADESH brokeout in October 1956. Follow in the nationalisation of the Suez Canal by Egyptian President Gamal Abdul NASSER, an agreement was reached between Israel and the governments of Great Britain and France, who decided to take control of the Canal byforce. Within 100 hours the Israeli Defense Forces (IDF) capturedthe Gaza Strip and the Sinai Peninsula and, in line with the agreement, stopped 18 kilometers from the Suez Canal. Under Soviet threat and the pressure from the United States and the UN, the IDF with drew from Sinai early in 1957.
Here a group of Israeli soldiers are bogged in the sands of the Sinai desert.1956


SINAI. Sinai campaign 1956.
The Sinai Campaign, also known as OPERATION KADESH brokeout in October 1956. Follow in the nationalisation of the Suez Canal by Egyptian President Gamal Abdul NASSER, an agreement was reached between Israel and the governments of Great Britain and France, who decided to take control of the Canal byforce. Within 100 hours the Israeli Defense Forces (IDF) capturedthe Gaza Strip and the Sinai Peninsula and, in line with the agreement, stopped 18 kilometers from the Suez Canal. Under Soviet threat and the pressure from the United States and the UN, the IDF with drew from Sinai early in 1957.
These are Egyptian prisoners of war captured by the IDF in the Sinai campaign.

 
Micha Bar Am
Following the October 1956 Sinai Campaign, when with the blessing of Great Britain and France the Israeli Defence Forces made their way to the Suez Canal to capture the region from nationalisation by President Nasser, their troops remained there until 1957 but came under bitter international criticism. The Israeli government decision to with draw from the Sinai, dueb to this international pressure, caused disputes and demonstrations throughout the country.
Policeforces prepare for a demonstration against the Sinai with drawal in Zion Square, Jerusalem.1957

 
Micha Bar Am
ISRAEL. A Border Guard armed car evacuates workers from the disputed territories in the Upper Galilee on the north ernborder of Israel. The machine-gun fire came from Tel-Azazi at outpost, which was part of the Syrian army fortification son the western slopes of the Golan Heights. 1957

 

 




Micha Bar Am 
EGYPT. Sinai. 
Bedouin woman. 1956.

 


Micha Bar Am 
ISRAEL. 
Protest against with drawal from occupied Sinai peninsula. 
Street demonstrations along Ben Yehuda Street, Jerusalem.1957

 
 
 
Micha Bar Am 
Moshe Dayan


Micha Bar-Am (Hebrew: מיכה בר-עם) (born 1930 Berlin, Germany) is a renowned Israeli journalistic photographer. His images cover every aspect of life in Israel in the past sixty years.

Since 1968 he has been a correspondent with Magnum, the photographic cooperative. From 1968 to 1992, he was the New York Times photographic correspondent from Israel. He has published several books of photography, beginning in 1957. His work is held in numerous international museums and institutes throughout the world.

Early life

Born in Berlin to a Jewish family, as a child, Bar-Am moved with his parents in 1936 to then British Mandate of Palestine. He attended local schools.

He was drafted in 1948 and served during Israel's War of Independence, when he was part of the Palmach Unit. Afterward, he worked several jobs, including as a locksmith and a mounted guard, before becoming a photographer. In 1949 he co-founded the kibbutz Malkia in Galilee. Later he became a member of Kibbutz Gesher HaZiv.[1]
Photography career

In the early 1940s, Bar-Am started taking pictures of life on a kibbutz; he used borrowed cameras until he bought a Leica. After his military service, he began photographing more seriously.

After publishing his first book, Across Sinai (1957), Bar-Am gained work as a photographic reporter and in the editorial staff of the Israeli Army magazine, Ba-Mahaneh, from 1957 to 1967. In 1961 he covered the Eichmann trial.

In 1967 he covered the Six-Day war, during which time he met Cornell Capa. Many of his war images brought him renown. Since 1968, he has been a correspondent for Magnum Photos. In 1974 he helped Capa found the International Center of Photography in New York.

In 1968, Bar-Am also became the photographic correspondent from Israel for the New York Times, a position he held until 1992. From 1977-92, he was head of the department of photography at the Tel Aviv Museum of Art.

He continues to work on his photography. He writes about his work:

    "I keep my internal eye open for that other, metaphorical image that transcends illustration to achieve a wholeness of its own. I strive for the elusive entity that is both evidence and evocation, public record and personal vision."

He says that he has adopted Robert Capa's saying, "If your photographs aren't good enough, you weren't close enough," but has added a caveat:

    "If you're too close you lose perspective. It is not easy to be fair with the facts and keep your own convictions out of the picture. It is almost impossible to be both a participant in the events and their observer, witness, interpreter. The effort brings great frustration, and equally great reward." [1]

Personal life

Bar-Am is married to Orna, an artist. Together they have three sons: Ahuvia, a professor of classics; Barak, an artist; and Nimrod, a Doctor of Philosophy.

Awards

    2000--Israel Prize for photography.[2][3]
    1993—Enrique Kavlin Prize, Israel Museum, Jerusalem, Israel
    1985-86--Nieman Fellow, Harvard University, Cambridge, Massachusetts, USA
    1985—IBM Fellowship, Aspen, Colorado, USA
    1985—Golden Flamingo Award for Photographic Poster, Arles, France
    1985--Fulbright Grant

Books

    Southward: Micha Bar-Am, Photographs, Israel: The Negev Museum of Art, 2013
    Insight: Micha Bar-Am's Israel, London: Koenig Books / Israel: Open Museums, 2011
    Israel: A Photobiography, USA: Simon & Schuster, 1998
    The Last War, Israel: Keter Publishers, 1996
    Painting With Light: The Photographic Aspect in the Work of E.M. Lilian, Israel: Tel Aviv Museum of Art/Dvir Publishing, 1991
    Jewish Sites in Lebanon, USA: Moreshet Erets-Yisrael/Ariel, 1984
    The Jordan, Israel: Massada Ltd., 1981
    Portrait of Israel, USA: New York Times/American Heritage Press, 1970
    Across Sinai, Israel: Hakibbutz Hameuhad, 1957

Collections

    Israel Museum, Jerusalem, Israel
    Tel Aviv Museum of Art, Tel Aviv, Israel
    Haifa Museum, Haifa, Israel
    Diaspora Museum, Tel Aviv, Israel
    The Museum of Photography at Tel Hai, Tel Hai Kibbutz, Israel
    International Center of Photography, New York, USA
    The Museum of Modern Art, New York, USA
    Museum of Fine Arts, Houston, USA
    International Museum of Photography at George Eastman House, Rochester, USA
    Skirball Museum, Los Angeles, USA
    Minneapolis Institute of Arts, Minneapolis, USA
    Henry Buhl Collection, New York, USA
    Ludwig Museum, Cologne, Germany
    Folkwang Museum, Essen, Germany
    Bibliothèque Nationale, Paris, France
    Musée d'Art et d'Histoire du Judaïsme, Paris, France
    Collection FNAC, Paris, France
    Fundacion “La Caixa”, Barcelona, Spain
    National Maritime Museum, London, UK
    Magnum Photos: Photographic Collection, Harry Ransom Center, University of Texas at Austin, USA

http://en.wikipedia.org/wiki/Micha_Bar-Am


Micha Bar Am


 Leica M3 Black Paint  Summicron Original camera used by photographer Micha Bar-Am.

 Micha Bar-Am (n. 26 de agosto de 1930) es un fotógrafo israelí perteneciente a la agencia Magnum.1

Nació en Berlín pero cuando tenía seis años sus padres se trasladaron a Haifa donde estuvo residiendo hasta 1948 y trabajó en su puerto de marinero en 1944. Se integró en la Palmach y estuvo luchando por la independencia, siendo miembro fundador en 1949 del kibutz de Malkiya aunque en 1953 se trasladó al de Gesher-Haziv donde comenzó a realizar fotografías con una cámara prestada. Durante la Guerra del Sinai realizó un reportaje que vendió y le permitió adquirir una Leica dedicándose a la fotografía de modo profesional. Hasta 1966 estuvo trabajando en la revista Bahmahane y en 1961 cubrió el juicio a Adolf Eichmann.2

En 1966 inició su trabajo como fotógrafo independiente y un año después conoció a Cornell Capa con quien realizó reportajes de la Guerra de los Seis Días, por lo que desde 1968 forma parte de la agencia Magnum y se convirtió en el corresponsal del New York Times, lo que ejerció hasta 1992. En 1973 también realizó fotografías de la Guerra del Yom Kippur y en 1977 fue nombrado conservador en el departamento de fotografía del Museo de Tel-Aviv hasta su jubilación en 1992.

En el año 2000 recibió el Premio de Israel a las Artes Visuales. Su trabajo se puede encontrar en el Centro internacional de Fotografía (ICP), en la Biblioteca Nacional de Francia, en el Museo Ludwig, en el Museo de Arte de Tel-Aviv y en el Museo de Arte Moderno de Nueva York entre otros.

http://es.wikipedia.org/wiki/Micha_Bar-Am


Leica M3 Black Paint  Summicron Original camera used by photographer Micha Bar-Am.







Photos - Fotos: Micha Bar Am - 1956-1957 Sinai War - Bio English-Espanol - Links







Ricardo Marcenaro
Argentina





You have an alphabetical guide in the foot of the page in the blog: solitary dog sculptor
In the blog: Solitary Dog Sculptor I, the alphabetical guide is on the right side of the page
Thanks

Usted tiene una guía alfabética al pie de la página en el blog: solitary dog sculptor
En el blog: Solitary Dog Sculptor I, la guia alfabética está en el costado derecho de la página
Gracias




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Blogs of The Solitary Dog:

solitary dog sculptor:
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http://byricardomarcenaroi.blogspot.com

Para:
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enviar materiales para publicar,
propuestas comerciales:
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For:
contact me,
submit materials for publication,
commercial proposals:
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Diario La Nación
Argentina
Cuenta Comentarista en el Foro:
Capiscum

My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)