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env0writes · 3 months

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Janus Estuaries Vol. 3, 1.10.24 "First Place Consolation Prize

I’ve raced to the finish line With jackrabbit luck Now that I’m here, I am tuck-ered Out and stuck What do I do at the finish line? No revelers here to cheer I dare not look back for fear Why is there no one, not one near? So I sleep And I slumber Why tortoises together, lumber And I count sheep to number…. I’m scared of the world past this finish line I try, and I try to cross Time again, and again I’m at a loss To a coin, chance I take up and toss Soon approaching the chortling tortoises How the laugh and guffaw as they come At where is their laughter, something or someone? Waiting so long, I’ve grown numb Not to the aches of the running The aches of the speed The twitches and twinges from power I need The longing for someone to follow my lead I’ve raced to the finish line I’m here once again Dear reader will you go with me, on the count of ten Where will we be? And better then, when? Am I waiting on ‘morrow A day never to see Or something else, no one knows what it will be Towards the unknown with no sure guarantee

@env0writes C.Buck Ko-Fi & Venmo: @Zenv0 Support Your Local Artist! Photo by @env0

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robthepensioner · 1 year

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Mudflats of Wyre Esturary from Fleetwood at low tide. I was standing on a ramp between the footpath and the mud. Standing on the mud itself is not recommended.

#wyre estuary #fleetwood #low tide #mudflats #sea wall

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unoriginalimages · 7 months

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Wire barriers preventing access to a path off the road into Wyre Esturary Country Park. Despite appearances, the path leads to a factory.

#wore barroers #fleetwood #footpath #woods

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cpleblow · 3 years

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dawn: port of oakland

©cpleblow (2014)

previously unpublished

#landscape #esturary #port of oakland #california #bay area #dawn #cranes #imiging #ponderation #maureentomusings #landscapexposurenetwork #long exposure #photographers on tumblr #original photographers

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hywelsdumbphotos · 5 years

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Newport Parrog. Wales. 2019.

#my photos #photography #wales #nature #ocean #esturary #pembrokeshire

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fuckitandmovetobritain · 7 years

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Bealach na Bà, Applecross, Scottish Highlands, Scotland, UK

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bsaschields · 5 years

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#waiting for #hightide #stranded #boat #beer and #cornish #sunshine #rockcornwall #family #doombar #esturary #bay #sand #walkonthebeach #beach (at Rock, Cornwall) https://www.instagram.com/p/B2CYIX-haGP/?igshid=ac46wrge3l92

#waiting #hightide #stranded #boat #beer #cornish #sunshine #rockcornwall #family #doombar #esturary #bay #sand #walkonthebeach #beach

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inheritorsoftheearth · 5 years

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What is an ideology anymore? #nightrun #park #forest #evergreens #drawn #fate #alienation #powerplant #esturary #technology #evolve #with #morality #exploting #imbalance #nature #science #dogmatic #split #man #woman #neurosis #faith #belief #conception #perception #colorcoded #photographer #inheritorsoftheearth (at Oregon) https://www.instagram.com/p/B0iG7WQAj1S/?igshid=121i1u5xoun7o

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a-dinosaur-a-day · 5 years

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Rupelramphastoides knopfi

By Ripley Cook

Etymology: Barbet from the Rupelian

First Described By: Mayr, 2005

Classification: Dinosauromorpha, Dinosauriformes, Dracohors, Dinosauria, Saurischia, Eusaurischia, Theropoda, Neotheropoda, Averostra, Tetanurae, Orionides, Avetheropoda, Coelurosauria, Tyrannoraptora, Maniraptoromorpha, Maniraptoriformes, Maniraptora, Pennaraptora, Paraves, Eumaniraptora, Averaptora, Avialae, Euavialae, Avebrevicauda, Pygostaylia, Ornithothoraces, Euornithes, Ornithuromorpha, Ornithurae, Neornithes, Neognathae, Neoaves, Inopinaves, Telluraves, Afroaves, Coraciimorphae, Cavitaves, Eucavitaves, Picocoraciae, Picodynastornithes, Piciformes, Pici, Ramphastides?

Status: Extinct

Time and Place: Between 31 and 30 million years ago, in the Rupelian of the Oligocene of the Paleogene

Rupelramphastoides is known from the Bott-Eder Grube-Unterfeld Quarry of Baden-Württemberg, Germany

Physical Description: Rupelramphastoides is the oldest known barbet-like bird - the barbets being a group of tree-dwelling birds that includes the iconic Toucans, though most barbest don’t have nearly as impressive beaks. This bird resembled its modern relatives in a lot of ways, which is notable given how old it is (still in the Paleogene, aka the first period of the time of modern birds). However, it is also one of the smallest members of the group overall, with very long and slender bones in its foot like modern toucans. Still, it had a small beak - more like non-toucan barbets - and a much smaller size than the living toucans. It had long and narrow arm bones but shorter fingers, giving the wings a more squat appearance at the ends. In general, its legs were slender, as were its toes, so perhaps Rupelramphastoides represents a transitional form between most barbets and the very weird toucans, though this is just conjecture. It probably wouldn’t have gotten much longer than 9 centimeters in overall body length, and it had a small head with a robust triangular beak.

Diet: It is uncertain what Rupelramphastoides ate, but like living barbets and toucans it probably mainly ate fruit, with mainly some supplementing of its diet with insects.

Behavior: Rupelramphastoides would have probably spent most of its time in the trees, hopping around and walking from branch to branch in search of food. It then probably would have stretched about to try and get food, using its beak to chomp into berries and other fruits. It could also use its long and skinny legs to stand up tall and reach food that it couldn’t otherwise. It probably lived in small flocks rather than big ones, and took care of their young. They also probably didn’t migrate. Like other members of the Pici, it was probably at least somewhat brightly colored, and used color in display to one another.

By Scott Reid

Ecosystem: Rupelramphastoides lived in a coastal/bay area, filled with estuaries and streams leading out into the ocean. This was a very lush habitat, filled to the brim with plants from algae ferns and cycads; to conifers, palms, roses, asterids, beeches, oaks, and cypresses. This dense coastal forest transitioned into water-based plants, and its possible there was some sort of a coastal swamp (a proto-mangrove swamp, even?) in the area. This is fascinating as this habitat existed just at the time of the global rainforest collapse, and the transition of the world into more varied and arid habitats - clearly, this particular coastal swamp was not hit by this event. Dozens of kinds of fish lived here, including things like trumpetfish, boarfishes, eels, ladyfish, sea robins, rockfish, shrimpfish, pipefish, sailfin moonfishes, halfbeaks, sea breams, weevers, and so many others that I just have to stop now. There were sharks and rays present as well, though not in as much diversity as the ray-finned fish. Insects such as beetles, flies, and butterflies were present, as well as spiders, crustaceans, snails, slugs, clams, oysters, and other invertebrates. Plenty of turtles were also present. Mammals were rarer in this habitat, but included extinct relatives of modern sea cows and bats; and a predatory Hyaenodont named Apterodon. Many different kinds of dinosaurs lived here alongside Rupelramphastoides, including the early hummingbird Eurotrochilus, the buttonquail Turnipax, the tody Palaeotodus, the (rare example of a) fossilized songbird Wieslochia, the mousebird Oligocolius, the trogon Primotrogon, the loon Colymboides, and the seabird Rupelornis that vaguely resembled modern albatrosses and petrels. In short, you could see a wide variety of ocean-going and tree-dwelling birds, as one would expect in a forested esturary area, and Rupelramphastoides probably mostly had to worry about predation from they Hyaenodonts in the area, rather than other birds.

Other: The exact phylogenetic affinities of Rupelramphastoides are very murkey, because a phylogenetic analysis has never been done on this dinosaur. Morphologically speaking it seems to be somewhere in the Barbet-Toucan clade, with similarities to both non-toucan barbets and the toucans, but it also has traits of other members of Pici such as the honeyguides, piculets, and woodpeckers, and so it can’t really be confirmed as a member of Ramphastides for now.

~ By Meig Dickson

Sources under the Cut

Frey, E., W. Munk, M. Böhme, M. Morlo, and M. Hensel. 2010. First creodont carnivore from the Rupelian Clays (Oligocene) of the Clay Pit Unterfeld at Rauenberg (Rhein-Neckar-Kreis, Baden-Württemberg): Apterodon rauenbergensis n.sp. Kaupia 17:103-113

Mayr, G. 2000. A new mousebird (Coliiformes: Coliidae) from the Oligocene of Germany. Journal of Ornithology 141(1):85-92

Mayr, G. 2004. Old World fossil record of modern-type hummingbirds. Science 304:861-864

Mayr, G. 2005. New trogons from the early Tertiary of Germany. Ibis 147(3):512-518

Mayr, G. 2005. A tiny barbet-like bird from the Lower Oligocene of Germany: the smallest species and earliest substantial fossil record of the Pici (Woopeckers and allies). The Auk 122 (4): 1055–1063.

Mayr, G., and A. Manegold. 2006. New specimens of the earliest European passeriform bird. Acta Palaeontologica Polonica 51(2):315-323

Mayr, G., and C. W. Knopf. 2007. A stem lineage representative of buttonquails from the Lower Oligocene of Germany – fossil evidence for a charadriiform origin of the Turnicidae. Ibis

Mayr, G. 2009. Paleogene Fossil Birds. Springer-Verlag Berlin Heidelberg.

Mayr, G. 2017. Avian Evolution: The Fossil Record of Birds and its Paleobiological Significance. Topics in Paleobiology, Wiley Blackwell. West Sussex.

Maxwell, E. E., S. Alexander, G. Bechly, K. Eck, E. Frey, K. Grimm, J. Kovar-Eder, G. Mayr, N. Micklich, M. Rasser, A. Roth-Nebelsick, R. B. Salvador, R. R. Schoch, G. Schweigert, W. Stinnesbeck, K. Wolf-Schwenninger, and R. Zeigler. 2016. The Rauenberg fossil Lagerstätte (Baden-Württemberg, Germany): A window into early Oligocene marine and coastal ecosystems of Central Europe. Palaeogeography, Palaeoclimatology, Palaeoecology 463:238-260

Micklich, N. R., J. C. Tyler, and G. D. Johnson, E., Swidnicka and A. F. Bannikov. 2009. First fossil records of the tholichthys larval stage of butterfly fishes (Perciformes, Chaetodontidae), from the Oligocene of Europe. Palaeontologische Zeitschrift 83:479-497

Micklich, N., and L. H. Hildebrandt. 2010. Emergency excavation in the Grube (Unterfeld) Frauenweiler clay pit (Oligocene Rupelian; Baden-Wurttemberg, S Germany): New records and palaeoenvironmental informatino. Kaupia 17:3-21

Micklich, N. 2011. Emergency excavation in the Grube Unterfeld (Frauenweiler) clay pit (Oligocene, Rupelian: Baden-Wurttemberg, S. Germany): New records and palaeoenvironmental information. European Association of Vertebrate Palaeontologists Program and Abstracts 9:42

Monninger, S., and E. Frey. 2008. Humming birds and sea cows at the foothills of Kraichgau: A unique fossile assemblage in the Reingraben near Karlsruhe. Meeting of the European Association of Vertebrate Palaeontologists 6:112

Prokofiev, A. M. 2012. Oligocene eel from the Frauenweiler site (Germany). Journal of Ichthyology 52(1):11-18

Wegner, T. 1917. Chelonia gwinneri Wegner from the Rupelton of Flörsheim a. M. Treatises of the Senckenbergische Naturforschenden Gesellschaft 354 : 361-372

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julian-hope-blog · 7 years

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#throwback to a weekend in paradise! • • • • • #nature #anglesey #beach #summer #esturary #water #ocean #instagram #model #picoftheday #photooftheday #photography #happy #starsandstripes #boat (at Anglesey)

#ocean #happy #model #esturary #instagram #starsandstripes #summer #throwback #beach #photography #boat #photooftheday #nature #water #anglesey #picoftheday

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travelbytrainuk · 5 years

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The Cambrian Line

Years after only taking the Aberystwyth branch of the Cambrian line I finally took the northern Pwllheli branch. It is one of the most beautiful train lines in the UK and rightly deserves all the praise it gets.

The short 20 minute trip from Dovey Junction to Aberystwyth stretches along the one side of the Dyfi estuary before swinging south to Borth, through Bow Street (which is due to have a station of it's own in 2022) to the terminus at Aberystwyth's idyllic Victoria single platform.

Heading north from Dovey Junction is a 2 1/2 hour journey so there's much more to take in! We start by following the north side of the Dyfi to Aberdovey. The train line dips slightly inland after this but you can still get those sea views over the dunes. Tywyn is the next stop notable for its own historic railway Talyllyn Railway. Next heading through Tonfanau, here was home to an MOD base which during the cold war would've held the Welsh Assembly if warfare had ever broken out. From here it follows the coast allowing you to get some beautiful views if you can get a seat on the left side! Before the Mawddach esturary is Fairbourne with its own heritage railway, and only 6 minutes walk to the beach!

Looking back on Fairbourne beach.

You will get a breathtaking view which ever side you sit on when you go over the Mawddach esturary on the bridge. Barmouth is the busiest station on the line, allowing you to step right out onto the beach as you leave the station. After this the train will quieten down (or it will after Tal-y-Bont!) with the next scheduled station being Harlech. The station is between the sandy beaches and the castle so it's quite a walk to both - especially up the castle with Harlech now holding the world record for the world's steepist road!

A short stop after Penrhyndeudraeth is Minffordd. The station is an alight point for yet another heritage railway- Ffestiniog and Welsh Highland - as well as Portmeirion. After crossing over yet another river - Glaslyn - we arrive in the centre of Porthmadog where you can enjoy the town and what it has to offer. If you're up for a walk Borth-y-Gest is just half an hour away with a beach. Otherwise there's yet another heritage station with the Welsh Highland Heritage Railway. Onward and only 3 stops left. First to Criccieth where the train follows the beach before heading into the village. Criccieth is home to yet another castle that you get beautiful views of on the ride in.

Both beach and castle on a grey day into Criccieth.

The Penychain request stop notable serve the Haven site to its south. Finally onto Pwllheli and the end of our journey. It is a bustling town from the moment you walk out of the station you are in the thick of it. But if the shops and harbor don't take your interest walk 20 minutes to the edge of town and you'll find the town's beautiful endless sandy beaches.

Though the coast is beautiful the Shrewsbury-Dovey Junction part of the line can easily be overlooked. Passing through the flatlands between Shrewsbury and Welshpool to steadily climbing through the Cambrian mountains between Newtown and Machynlleth. The seemingly endless farmland full of crops and grazing animals to the acres of trees. Most of the time you are secluded as the countryside passes by at 80mph.

A snow topped Cambrian mountains

Trains operate between Birmingham International and Aberystwyth/Pwllheli every 2 hours. British Rail Class 158s are the only trains that run on the line. The 4 carriage train splits are Machynlleth the front 2 coaches going to Aberystwyth and the rear 2 going to Pwllheli (note if you board before Shrewsbury it is the opposite as it reverses position there). There is a refreshments trolley however this only goes to Aberystwyth so buy your snacks before Machynlleth.

#tfw #trains #travel by train #tbt #the cambrian line #cambrian coast

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robthepensioner · 3 years

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The River Wyre from one of the more natural parts of Fleetwood.

#river wyre #fleetwood #esturary #inlet #tidal river

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architectnews · 2 years

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Studio Fuse designs charred-timber home in Devon to be both rustic and modern

British practice Studio Fuse has completed Rockham House in North Devon, England, combining charred timber cladding with sleek interiors to create a "sophisticated yet rustic" dwelling.

The London and Sussex-based practice was approached after interior designer Deborah Vos purchased the remote site overlooking Woolacombe Bay, which had restricted access but offered panoramic views of the rolling green landscape and sea.

Rockham House is a charred-timber home in Devon by Studio Fuse

The exposure of the site informed the low, single-storey profile of the four-bedroom dwelling. It is marked out in the landscape by its cladding of black timber planks, which were charred using the Japanese technique Shou Sugi Ban.

Following the contours of its sloping site, the home comprises three distinct levels that step downwards, creating a route that culminates in a large living area, terrace and garden looking out to sea.

The home is located on a remote location overlooking Woolacombe Bay

"The exposed, yet stunning location, along with planning restrictions, influenced the form, which evolved into a single-storey building that nestled into the site's gradient," said the practice.

"The building makes sense of the contoured site with the creating of three flowing terraced levels, dropping down the hillside, reflecting the surrounding landscape."

The building was clad in charred timber slats

The stepped form of the home has been used to subtly demarcate the different areas of the home. The bedrooms are located in the uppermost section, a kitchen and bar in the centre, and a living and dining space in the lower section.

The upper spaces are more insular, with skylights, small windows and darker finishes, while the living space embraces the exposure of the site through large, panoramic windows.

"Glass slots along the side bring glimpses of the coastal views to the very depth of the building, whilst naturally gravitating you towards the main living spaces on the bottom terrace that opens up to the rear garden and the uninterrupted sea views," explained the practice.

Read:

Thomas Randall-Page transforms Devon barn into light-filled artist's studio

Internally, the dwelling was designed to appear "monolithic and sculptural", with concrete floors and cast concrete steps unifying the route through the home and extending outside to create the external terrace.

Completed by the client, the interior design uses a monochrome palette to create contrasting moments of intimacy and exposure. The home's cladding is referenced inside with black accents used for doors, window frames and fittings.

The interiors have a modern look

The primarily white living space is organised around a central ceiling-mounted fireplace, with a dining table along one edge and sitting areas at the other.

Overlooking this space is a bar area opposite the kitchen above, finished in black to visually connect it with the central kitchen island and built-in cupboards and counters.

Each of the darker bedroom spaces looks out at the landscape through a glass sliding door, which opens onto a gravel path around the home and is half-covered by charred timber slats to provide additional privacy.

Floor-to-ceiling windows frame views across the rural landscape

Studio Fuse was co-founded by architectural designer Daniel Rowland and interior designer Nina Rowland.

Also in South Devon, architect Thomas Randall-Page recently completed a renovation of an agricultural barn, converting it into a studio and archive space for his father, the sculptor Peter Randall-Page.

Elsewhere in the southwestern county, London studio Adams+Collingwood Architects built a house within the hillside overlooking Salcombe Esturary.

Project credits:

Architect: Studio Fuse Interior designer: Deborah Vos Contractor: M K Millennium Concept: Carl Turner

The post Studio Fuse designs charred-timber home in Devon to be both rustic and modern appeared first on Dezeen.

#Architecture – Dezeen

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nottswanderer · 4 years

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Porthmadog Esturary, Porthmadog, North Wales.jpg

#IFTTT #Flickr

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mykatefolkens-blog · 5 years

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Biodiversity In Esturaries

Estuaries maintain a great biodiversity. They have thousands of different species of fish birds and other mammals. They provide many different habitats for different animals and are crucial for the survival of many species.

“Estuaries.” NIWA, 18 May 2016, https://www.niwa.co.nz/education-and-training/schools/students/estuaries.

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micaramel · 5 years

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Artist: Bas Jan Ader

Venue: Meliksetian | Briggs, Los Angeles

Exhibition Title: Water’s Edge

Date: June 8 – July 27, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of Meliksetian | Briggs, Los Angeles

Press Release:

Anna Meliksetian and Michael Briggs are pleased to present Water’s Edge, the second exhibition in the gallery of the work of Bas Jan Ader.

From Bas Jan Ader’s childhood in Holland learning to sail on the Eems-Dollard Esturary, playing truant from school to go out on the sea with the local prawn fisherman as a teen, wearing only clothing of a particular shade of ocean blue, through his many seminal and highly influential art works to his final fateful ocean voyage at the age of 33, water has been a leitmotif throughout his life. Water’s Edge explores how this is manifest literally and metaphorically in art works Ader made in the period between 1970 and 1972.

Ader’s overarching and most significant concern during this period was the notion of the Fall where, as Ader has stated, “gravity made itself master over me.” While the embodiment of these philosophical ideas in the art works runs through nearly the entire exhibition, it is notable that the actions are situated alongside bodies of water, from the Pacific coast in Los Angeles, to the canals and rivers of Amsterdam, to the oceanside of Sweden. The Fall, for Ader the philosophical problem of free will and determinism, whether it is the literal physical fall of body to earth or the metaphorical fall of mankind (Ader’s parents were pastors) is made apparent throughout these works, but the notion of falling also asserts itself in the element of water, the waterfall, the falling of tears on the artist’s face and his disappearance into the water after falling into the canal as seen at the end of Fall 2, Amsterdam. These works are juxtaposed in the exhibition with works evoking the 19th century tradition of the sublime, the contemplative and philosophical Romantic artist gazing out to sea and to the vastness of nature in the various Study for Farewell to faraway friends, 1971 photos and then again in front of the crashing sea and rocky landscape in The elements, 1971.

In the performance work The boy who fell over Niagara Falls, 1972, the artist reads a text from the March 1972 issue of the then popular magazine Reader’s Digest recounting the true story of a young boy’s accidental plunge over the edge of the 175 foot high roaring waterfall and his miraculous survival. As Ader reads the text in a flat, affectless voice, he slowly and methodically sips from a glass of water and the performance concludes when the glass is empty. The work was performed by Ader three times publicly at Cal Arts, Valencia, California, at art & project, Amsterdam, and at Kabinett für Aktuelle Kunst, Bremehaven as well as privately at the home of artist William Leavitt, as in the video work shown.

The vintage photos exhibited alongside the video are from the final performance of the work at the Kabinett in Germany, which was notable as Ader added for the first and only time a final element, whereby upon finishing the glass of water after the word “death” in the text, thus ending the performance, he left the room crying with tears falling down his face. A counter point prefiguring this action are the photos hung opposite in the gallery, two works from the small photographic series entitled Study for I’m too sad to tell you, 1971 made alongside the seminal film work in the year prior showing the artist in tears. The Kabinett photos are also notable as they are the last work Ader made that reveal his face, despite the artist himself being a protagonist in subsequent works. The Niagara Falls story itself, the survival of the young boy in overwhelming and dire circumstances, what could be considered a miracle, hopeful and inspiring, cheating fate and overcoming destiny, foreshadows Ader’s trans-Atlantic sailing voyage at its beginning, part of what ultimately became his final art work in 1975, the uncompleted grand trilogy In search of the miraculous.

The work of Bas Jan Ader (1942 – missing at sea 1975) has been featured in many institutional solo exhibitions including the Stedelijk Museum, Amsterdam, the Kunsthalle Basel, the Camden Art Center, London, the Centro Galego de Arte Contemporánea / CGAC, Santiago Compostela, Spain and the Museo d’Arte Moderna di Bologna / MAMBO, Italy as well as the Venice and Sao Paolo Biennials in 2017 and 2012 respectively. Recent group exhibitions include shows at Los Angeles County Museum of Art / LACMA, National Gallery of Australia, Canberra, Kunsthalle Wien, Vienna, Museu Serralves, Porto, Portugal, Castello di Rivoli Museo d’Arte, Turin and the Musée d’art Moderne de la Ville de Paris, Paris, among many others.

In summer 2019, Ader’s work can be seen in the major three person exhibition Disappearing – California c. 1970: Bas Jan Ader, Chris Burden and Jack Goldstein curated by Philipp Kaiser, at the Modern Art Museum of Fort Worth. A catalog by Prestel is available.

Other current exhibitions Summer 2019 include Poetics of Emotion, La Caixa Forum, Zaragoza Spain, After Leaving | Before Arriving, Kaunas Biennial, Kaunas, Lithuania, Durch die Blume | Florale Metamorphosen, Kunstverein Heilbronn, Heilbronn, Germany, and A Vision for Painting, Fondation Louis Vuitton, Paris, France among others.

The artist’s work is included in important public collections such as the Los Angeles County Museum of Art, Museum of Modern Art, New York, the Whitney Museum of American Art, New York, the National Gallery of Art, Washington, D.C., the Art Institute of Chicago, and the Berkeley Museum of Art, Berkeley, California among others, as well as foundations like the Museo Jumex, Mexico City, the Fondation Louis Vuitton, Paris and the Collezione La Gaia, Piedmont, Italy.

Link: Bas Jan Ader at Meliksetian | Briggs

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2k1Ue5c

#micaramel

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