Pomponius Mela Scientist of the Day
On July 18, 1482, the German printer Erhard Ratdolt published an edition of Pomponius Mela's De situ orbis libri III, Three Books on the Situation of the World.
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This is the view that you get from the terrace bar at the SkyLounge in the Hilton hotel in Tower Hill. They were nice enough to let me come by and set up my tripod at sunset and capture the evening view. I got the pink haze at the top of the frame as the sunlight reflected off the horizon.
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3 stop underexposure and a cross screen filter produced this silhouette effect on the river at Greenwich.
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City of London as seen from Greenwich Park
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When doctors hurl toxic death at cancer cells, often a few will survive and come back. A family of enzymes called KDM5 histone demethylases is emerging as important for this resilience and drugs that inhibit KDM5 enzymes could be active in treating several types of cancer. A team of investigators obtained detailed structural information, showing how inhibitors of the KDM5 family interact with their targets by building a molecular model of the KDM5A enzyme, along with an inhibitor bound in the active site. Their findings could inform efforts to design more potent and selective anticancer drugs.
Image credit: From Horton et al, Cell Chem Bio (2016)
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This is the first image ever captured of blue jet lightning. It was taken at Arecibo Observatory in Chile. A team of researchers at Arecibo captured video evidence from the ground of this lightning phenomenon known as blue jet. The discovery is the first ground-based evidence linking the ionosphere with cloud tops in blue jet events. According to Victor Pasko of Penn State University, an electrical engineer working at Arecibo, pilots and others reported observations of red sprites and blue jets long before the first one was captured on video, and numerous undocumented reports of similar phenomena have appeared in scientific literature for over a century.
Image credit: Victor Pasko, Penn State University
All being well, NASA will launch the successor to Curiosity Rover in 2020. And this time the agency hopes to prepare samples for an as-yet-blue-sky manned mission that could one day return them to Earth for analysis.…
One of the seminal developments in modern telecommunications turns 50 years old this month: the paper that bootstrapped the world of optical fibre communications.…
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The operators of the MeerKAT radio telescope in South Africa have switched on its first 16 dishes and, pretty much immediately, spotted more than 1,200 new galaxies.…
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I took another walk to my new favourite local spot.
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VISIT: goo.gl/RX2WI1
I felt everything that this poor creature was feeling right then. He just wanted to be loved; he just wanted a home and a family.
I know what's in those eyes: It's love, compassion and gratitude. Things I never thought that a pit bull was capable of.
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London
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View from the 72 floor of the Shard, looking towards St Pauls Cathedral. What a place.
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Houses of Parliament with the famous clock
Check out this incredible shot of tankers tied up at the Port of Rotterdam in Holland. From 1962 until 2002, Rotterdam was the world's busiest port, but was overtaken first by Singapore and later by Shanghai. This photo was captured via drone and shared with us by our friend @digitalanthill (at Port Of Rotterdam)
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Sunset in Knightsbridge Kensington London
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Sunset in Knightsbridge Kensington London
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Sunset in Kensington London - This was the true colour of the sky. No photoshop enhancement.
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Sunset in Knightsbridge Kensington London
Photographs by Basia Irland (unless otherwise noted)
I flood. That is what I — and all my cousins — do from time to time. It is part of our rhythm. In their hubris, humans build cities and towns right on our banks, then get upset with us when our waters rise and destroy some of their property. They try to control us by building dams and straightening our courses so that we no longer flow naturally, aiding the hydrologic cycle, creating meanders, spreading silt, and sustaining entire ecosystems of aquatic life, plants, and animals.
Concrete channelized Portneuf River as it flows through Pocatello, Idaho.
Buildings on edge of channelized Portneuf River.
End of 1.6-mile concrete channel.
I am the 124-mile long (200 km) Portneuf River, a tributary of the Snake River, in southeastern Idaho, United States. I begin and end on the ancestral lands of the Shoshone/Bannock Tribe, and I will tell you a story of just one reach of my body as it flows through Pocatello, Idaho, a town founded in 1889, and named for a Shoshone Chief. It is a sad tale of how people cannot think of me as a living being, but rather as a nuisance. Here is how they have mistreated me: They have encased my body in 1.6 miles of concrete, putting me in a straightjacket so that there is nothing natural about me any more. I am not even called a river, but rather a “channel”. Locals sometimes refer to me as “the moat” or “the bunker”. One long-time resident who grew up along my bank remembers that when she was young, her siblings would flush the toilet and then run outside to watch the waste dump directly into my bloodstream.
Raster Grid depicting river flow over many years. Designed and rendered by Mark Stone, Civil Engineering, University of New Mexico. Image may be enlarged by clicking on it.
French Canadian fur traders gave me my name in the early 1800's. Historic photographs depict me meandering through broad meadows in the semi-arid lands upstream of Pocatello. But a series of events happened that would change my fate. In 1877, the Portneuf Valley became the site of the first railroad in Idaho. The straight line of the raised track bed cut off segments of my flow, and the town was built around the railroad, not around me.
Throughout Pocatello's history I have periodically flooded. As early as 1938 the Works Progress Administration (WPA) put in riprap piles of rocks on my shore to lessen the damage I might do to agricultural fields when I overflow. In 1962 and 1963, I created havoc in the valley again, so in 1967 the Army Corps of Engineers built a concrete channel to “keep me in my place”. Upstream and downstream of the channel, my body is confined by a series of levees. Trees are removed and even small critters such as marmots, who love to sun on my banks, are relocated because the holes they dig might inadvertently breach the levee system.
Geese and goslings swim in the levee segment of the river.
Marmot sunning on rock rip-rap in the levee.
Due to many factors, they say I have a “complex biogeochemistry”. Stormwater runoff dumps directly into me through a series of large pipes, and droppings from resident pigeons living under bridges, dog waste, and livestock manure upstream add to the build up of E.coli bacteria in my guts. Additionally, discharge from the municipal wastewater treatment facility, fertilizers from agricultural fields, and runoff from the nearby Simplot phosphorous processing plant create increased phosphorous loads leading to low dissolved oxygen (D.O.) levels. This can cause higher temperatures and algae growth, which reduces insect and fish populations.
Storm-water outflow.
Simplot phosphorous processing plant with mountainous slag heap.
As with most of my relatives around the world, people think that they can just dump unwanted trash directly into our bodies, with no thought of the consequences. They think our flow will simply take it away, out of sight and out of mind, but there is no “away” anymore. All this trash ends up someplace. Certain people cause the mess and then others must come along and help with cleanup. The effort expended on these cleanups would not be necessary if each person took it upon her or him self to be careful about how they dispose of trash. There is no reason at all for shopping carts, plastic water bottles, food wrappers, and mattresses to be dumped into us, anywhere in the world! A little good housekeeping goes a long way to create a better environment.
River trash being hauled out of the Portneuf by canoe. Photo by Hannah Sanger (Science and Environment Division Manager, City of Pocatello)
A display of river trash at the Idaho Museum of Natural History.
However, there are plenty of thoughtful humans along my banks who work tirelessly to envision a better future for me. Numerous restoration projects are happening in the Pocatello reach, thanks to local governmental, environmental, housing, health, economic development, and transportation organizations; residents and businesses; nearby schools, and the Idaho State University.
Watershed meeting.
Community members are asking questions about what is possible for this disfiguring concrete channel: Can it be removed? Are there sections that could be replaced by gently sloping grassy areas? If some of the channel must remain, what measures would aid in restoring the aesthetic pleasure of visiting me? How can the amount of pollution be reduced? Are there ways to restore me to even a semblance of how I appear upstream, where I meander freely through meadows of the high desert? I hope the answers to these questions will soon turn into action on my behalf.
Portneuf River upstream of the concrete channel.
Natural meanders in Portneuf River upstream of Pocatello. Aerial photo by John Sigler, 2006.
Fulbright Scholar, Basia Irland is an author, poet, sculptor, installation artist, and activist who creates global water projects. She is Professor Emerita, Department of Art and Art History, University of New Mexico, where she established the Arts and Ecology Program. Irland works with scholars from diverse disciplines building rainwater harvesting systems; connecting communities and fostering dialogue along the entire length of rivers; filming and producing water documentaries; and creating waterborne disease projects around the world. She lectures and exhibits internationally and is regularly commissioned to do artistic river restoration projects. Check out her work at basiairland.com
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The afternoon was quite cloudy on London yesterday, a few hours before the sunset, a lot of dark clouds appeared, and the light was really not good.
I gave it a try and moved to the River Thames edges near the city hall in the end of the afternoon after a burger at Shake shack.
The London Bridge City Summer Festival helped a lot to wait until the sunset with DJs, music and drinks !
During 20 minutes, when the sun was setting, the light was just amazing while the sun appeared between the clouds and the horizons.
Good light, music and fresh drinks, definitely can't ask for more :)
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Canon EOS 5D Mark III + EF16-35mm f/4L IS USM @33mm, f/8, 1/8, iso 200
When word first broke about a female-led reboot of Ivan Reitman's 1984 fantasy-comedy Ghostbusters, the internet reacted with a stream of sexist bile more foul than the slimy green ectoplasm spewed up by an angry demon. Like the shrieking anger that greeted news that 2014's Annie would have an African American star, Ghostbusters 2016 became the focus of hostility born of prejudice and disguised as reverence for the source material. And as with Will Gluck's flawed but serviceable musical (which I enjoyed more than many), it would have been great to report that the finished film is good enough to shut the bigoted naysayers up once and for all.
The harsh truth is that it isn't at least, not quite. Although infinitely more crowd-pleasing than the poisonous trolls had hoped, the new Ghostbusters is at best a qualified success, an often entertaining, generally likable, but also uneven affair that doesn't maintain the high-jinks high notes of director Paul Feig's finest work, Bridesmaids. Reuniting Feig with stars Kristen Wiig and Melissa McCarthy and drawing upon the skills of The Heat screenwriter Katie Dippold (whose CV includes the much-loved TV series Parks and Recreation), Ghostbusters provides several chuckles and a couple of belly laughs. But given the stellar talent involved, one might have hoped for a little more ho-ho and a little less ho-hum.
Related: Why Ghostbros on Twitter are monstering my Ghostbusters review
Continue reading...where can you find the fine art masters in one place? the louvre? the guggenheim? your sock-drawer?
The post artist sock set lets you wear world famous painters on your feet appeared first on designboom | architecture & design magazine.
Infamous for flaming a million pounds in the KLF, Jimmy Cauty is now smashing miniature windows in model villages. As the artist tours his tiny riot scenes, we caught up with him in Tottenham to talk Stonehenge and substandard graffiti
“Makes you think, doesn't it?” says a mechanic, nodding towards the graffiti-daubed shipping container parked in the road outside the Styx theatre. It's clocking-off time on a muggy summer's evening and passersby are milling about, peering through peepholes scattered like bulletholes along the container's sides. Up close, the crackle of police radios can be heard, but the voices sound like they're on helium, because they've been speeded up to make them fit in with the model-railway scale (1/87) of the scene inside.
The apocalyptic, post-riot townscape filling the 40ft-long container is part of an even bigger work, called Aftermath Dislocation Principle (ADP), by James Cauty. It's hard to mention Cauty without raising the spectre of his former life as half of the KLF, who in 1992 deleted their back catalogue before burning a million quid they'd earned from it. However, there is no performance element to this. Dwarfed by his shipping container, Cauty cuts a quiet, humble figure in a raver's bucket hat.
I think of myself as an outsider artist, not involved in the gallery system, not involved in anybody buying anything
Cauty points to some graffiti scrawled on the container - 'Damien Hirst is an Egg' - That's quite nice isn't it?
Continue reading...Barbican, London
Prepare to be enchanted by the playful, melancholy, sociable art of Iceland's Ragnar Kjartansson
On the still waters of the Barbican lake drifts a boat bearing two girls in Edwardian costume. The reflection of their puffed sleeves and wasp waists makes a strangely familiar white blur. These are the summer beauties from many a Monet; indeed they are floating towards a waterlily reef. But it's a scene fit for Courbet too, for these girls have cast aside the oars to lean together, lips meeting in a kiss.
It is the most sensuous surprise in the middle of this brutalist enclave. Passers-by stop walking to look. And this kiss goes on and on, so that the moment appears both endless and still just like a painting, in fact.
Here is Kjartansson impersonating Death in a graveyard, impotently arguing about fate with a group of passing children
For the broken-hearted, Ragnar Kjartansson offers consolation; for lovers he conjures a mirror of their blessed state
Continue reading...on the exterior, the artist has incorporated a prototype of one of her future projects: a life-size print of driftwood from vancouver island.
The post janka bertelsen creates carved kebony wood façade for her munich studio appeared first on designboom | architecture & design magazine.
A video animation from the Square Kilometre Array (SKA) shows how the system of satellite dishes work within a network of infrastructure in South Africa to rely images of distant galaxies to scientists around the world. The MeerKat will eventually consist of 64 dishes, but the current contingent of 16 are already revealing hundreds of galaxies which were previously unknown
Continue reading...Around the giant pool of the Mediterranean Palace hotel in Tenerife hundreds of people are focused on a familiar star. As pounding bass-filled music booms out of the PA, a great mass of the young, the middle-aged and the old are all glazed with submission as they appear to seek the meaning of the universe in the transformative process of ultraviolet radiation.
A few yards away in a darkened auditorium beneath a strange mock pinkish pyramid the Starmus festival is under way. Dedicated to celebrating a synthesis between astronomy and music that is of a more transcendent kind than that practised around the Mediterranean Palace pool, it has drawn hundreds of people focused on very different but no less familiar stars: Brian Cox, Richard Dawkins, Brian May and, the greatest scientific supernova of them all, Stephen Hawking.
Related: Prof Brian Cox: ‘Being anti-expert that's the way back to the cave'
David Bowie loved the result and said it was the most poignant version ever
Should human exploration stop? That's a ridiculous expectation because human exploration is innate
Continue reading...At only a quarter of its eventual capacity, the MeerKat radio telescope captures 1,300 galaxies in tiny corner of universe where only 70 were known before
Even operating at a quarter of its eventual capacity, South Africa's MeerKat radio telescope showed off its phenomenal power on Saturday, revealing 1,300 galaxies in a tiny corner of the universe where only 70 were known before.
The image released on Saturday was the first from MeerKat where 16 dishes were formally commissioned the same day.
Related: Africa could host the world's most powerful telescope
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Big Ben just after sunset
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London Bus route #243 Waterloo Bridge River Thames Sunset
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London Bus route #243 Waterloo Bridge River Thames Sunset
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London Bus route #243 Waterloo Bridge River Thames Sunset
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Unesco urges two-year moratorium on new development at world heritage site but Joe Anderson says it would stifle development
The world heritage site status of Liverpool's waterfront is in jeopardy after the city's mayor, Joe Anderson, rejected a plea by UN cultural chiefs to halt development in the city.
Unesco recommended placing a two-year moratorium on new development within the world heritage site and its “buffer zone”, which includes much of the city centre. Anderson refused to comply with the cultural body's request, saying that heritage status should not stifle growth in the city.
Continue reading...What do the Eden Project, the British Library, the Neues Museum in Berlin, Birmingham Selfridges, Tate Modern and the Olympic velodrome have in common? They are all the exceptional buildings of their years buildings that future historians will see as defining the era but that failed to win the Stirling prize, the award that is supposed to spot just such works. In most cases those that actually did take the prize will linger in the memory very much less.
For, useful as it is at drawing attention to contemporary architecture, the prize has a knack for recognising the good-but-not-great, the easier option, the thing chosen more for somewhat contingent reasons than architectural skill and imagination. It tends to arrive some years late at whatever new thinking might be animating the profession. It has the instinct, common to decisions made by committees, of favouring everyone's second favourite.
The Stirling prize shortlist is, if not Hamlet without the Prince, Reservoir Dogs without Mr Pink and Mr Blonde
Continue reading...A forgotten brutalist gem in Wiltshire has been lovingly brought back to life
Some great buildings flaunt themselves. But others hide like the tiny brutalist jewel known as Ansty Plum, nestled deep in a Wiltshire valley. It's a miniature masterpiece which, in the words of its latest residents, “somehow slipped through the 20th century unnoticed”.
Architect Sandra Coppin and her husband Nico had wanted something entirely different. South African-born, with two young daughters, they'd begun to feel confined in their London flat. Initially they'd set their sights on Norfolk, aiming for wide horizons and extra breathing space (and, critically, somewhere for Nico to fulfil his childhood fantasy of a garden big enough to warrant a tractor-mower). But, instead, an internet search threw up this intriguing 60s modernist house in a small Wiltshire village, which had sat on the market for a year. Coppin stresses: “We were not interested. It didn't fit the brief at all. A one-bedroom house, on a third of an acre, in the middle of nowhere. But I saw that it had a little studio built by the Smithsons, so my interest was piqued. We just thought: ‘Let's go, have a pub lunch, and pretend we're going to buy it.'”
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The Mastercard logo is one of the most recognisable emblems worldwide since 1968, the overlapping red and yellow circles have become synonymous with bank transfers and credit cards.
The logo is also one of the most pervading it's currently used across more than two billion plastic cards worldwide, alongside advertising billboards, ATMs, digitally and at global headquarters.
For the first time in 20 years, Mastercard has undergone a rebrand, completed by Pentagram partners Michael Bierut and Luke Hayman alongside designers Hamish Smyth and Andrea Trabucco-Campos.
The new visual identity keeps the familiar two overlapping circles the “pure” form of the brand, says Bierut but aims to bring it into the “digital” age and optimise it for on-screen use.
“Mastercard has an unusual 50 year history of using a clear, simple combination of graphic elements two overlapping circles in red and yellow,” says Bierut.
Research shows that the consistency of this brand mark means people can identify the Mastercard logo easily without the words present, adds Bierut. It was important to keep the recognisable visual language to retain consumer trust, while updating it for a contemporary audience.
While the interlocking circles have been retained, the horizontal lines that framed the word “Mastercard” and sat in the overlap have been dropped and replaced by an orange shade, a result of mixing the two primary colours, red and yellow.
This combination aims to cement an idea of “connectivity” and “seamlessness”, one of Mastercard's main brand messages. The translucency of the central orange colour also aims to reflect a sense of “transparency”, says Pentagram, while all three colours are now lighter and brighter to convey “optimism”.
The red and yellow circles have also been refined to be flatter a trait becoming increasingly common as brands look to adapt for digital, for example with the recent Instagram rebrand.
While the mark has been stripped back to its core, research conducted by Mastercard following the rebrand found that more than 80% of consumers still recognised the symbol without inclusion of the name.
“Through decades of exposure, the interlocking circles have become so recognisable that they can be reduced to their essence and still communicate Mastercard, at scales large and small, analog and digital, and ultimately, even without words,” says Bierut.
A new sans-serif typeface called FFMark has been incorporated into the logo, which draws inspiration from the brand's 1979 mark, which used typography with a circular structure. Bierut says will not only be used for the wordmark but for all copy purposes for the brand, both consumer and business-facing.
“There are very few brands that own a particular font,” he says. “It doesn't happen on day one. But making a commitment to it will have the same effect as those two circles and two primary colours.”
The word “Mastercard” has been removed from the core of the circles, lost its drop shadow and lost its uppercase “M” and “C”.
Lowercasing the “c” was to take away an archaic idea of banking as being about “wallets, ATMs and plastic cards”, says Bierut, and bring it more in line with online transfers.
“The world that these guys operate in has changed radically over the past 20 years,” says Bierut. “Plastic cards won't go away overnight and we'll still use paper currency, but increasingly payment is happening online. There was a need to come up with something suited to the virtual world but which still conveyed the trust and gravitas of a financial institution with 50 years of history.”
The new lowercase logo also aims to bring the branding more in line with Mastercard's products such as Masterpass, which until now has seen inconsistency in how letters are capped.
The overall aim of the rebrand project was to isolate the brand's core elements to retain a sense of familiarity, value and trust, while bringing a sense of modernity to the company, whose visual look hasn't changed since 1996.
“I don't think anyone's seen the new logo and thought, ‘Wow, that's clever',” says Bierut. “I think they think ‘Isn't that what it already looks like?' There was the argument that the two circles and two colours could be entirely abandoned but brand familiarity and equity is really valuable.”
The new logo will begin to roll out this year, and will be attributed to new cards as the existing 2.3 billion expire, alongside all print collateral, ATMs, digital applications, head offices and advertising.
The post Mastercard reveals new logo for the first time in 20 years appeared first on Design Week.