This is what you'd see if you confronted a spider head on from a distance of 12 millimeters (about half an inch), magnified 50-fold with a scanning electron microscope. Below is the mouth of a caterpillar, magnified 10,000 times, as viewed from a distance of 5 millimeters.
It was a way to spend a summer afternoon in South Philly in 2001, doing flips off a pile of discarded old mattresses. The photographer who happened by, Zoe Strauss, originally stopped to caution the boys: Don't do that. You're gonna kill yourselves. They told her not to worry and offered to do even more daredevilish stunts for her camera. She snapped a few pictures and then took off, anxious, perhaps, that her picture-taking might be upping the danger level.
The boy in the back in this photo, Lawrence Edward Rose, Jr., has his hand in front of his face, as if in astonishment at what the other boy, his cousin Botie, was up to. Actually, his fist was at his mouth because he was sucking his thumb; he was thirteen years old that summer, but he was a shy, quiet boy who continued to suck his thumb till he was seventeen.
The summer he turned nineteen, six years almost to the day after the mattress flipping, he died from complications of gunshot wounds suffered in a gang fight at a corner store a few blocks from where those mattresses had been piled. His mother had feared for her timid boy who smiled at everybody and still sucked his thumb as a teenager; to keep him off the streets, she had enrolled him in every program she could find, even sending him to two different boarding schools. But it seemed he was a homebody who wasn't comfortable away from his family and his neighborhood, and in July 2007, the street claimed him.
The photo had a life of its own. Zoe Strauss made several prints, which she exhibited at a show she mounted every year underneath an I-95 interchange in South Philly. Under the highway, the prints sold for $5. Later, she printed larger versions on fancy paper for a New York gallery that sold them for $3,000. More recently, a billboard-sized print of the mattress flip has hung over the main entrance to the Philadelphia Museum of Art, announcing a mid-career retrospective show of Strauss's work.
It's also part of the cover design of an ABC picture book published by the Philadelphia Museum of Art, which is how librarian Sa'ddiya Suku came across it last year at a branch library in West Philly. She didn't know the children in the scene, but she had grown up at the corner where the picture was shot, and she recognized the red-painted brick wall behind the mattresses. And then she recognized the thumb-sucking child standing near the wall, from pictures she'd seen and stories she'd heard after his death.
Suku showed the picture to Rose's family; they were thrilled, she said, to learn that the boy was part of history. He's gone, but he lives on; the photo is about nothing so much as the joy of being young and alive.
Between these two western Minnesota lakes is a little stretch of land called Traverse Gap or Brown's Valley. Although it's obviously not a mountain range, or even really a hill, it is nonetheless a continental divide: raindrops falling near the lake at the top of this picture eventually drain into Hudson Bay and the Arctic Ocean, while raindrops falling near the lower lake drain into the Gulf of Mexico and the Atlantic. In between, the land rises barely perceptibly; it's still part of the valley, really, almost but not quite as low and flat as the rest of the valley.
We can blame global warming after the Ice Ages for this oddness. As the glaciers began to melt about 14,000 years ago, huge quantities of meltwater pooled hereabouts, forming a vast outlet lake referred to as Glacial Lake Agassiz. The bottom of the glacial lake was extremely flat, mile after mile, silted over with sediment that settled out of the meltwater. The modern-day lake near the top of this picture, Lake Traverse, forms the headwaters of the Red River, which more or less drains this vast flatland as it flows northward, frequently flooding because the land is just too flat to allow for efficient drainage.
The lake near the righthand edge of the picture, Big Stone Lake, forms headwaters for the Minnesota River, which developed late during the post-Ice Age warmup. As the remnants of glacial ice weakened and collapsed, huge boulders that had been trapped within worked loose from the body of the old ice sheet and washed along underneath, scraping through the sediment of the outlet lake bottom and gouging a channel down through bedrock.
This new river channel eventually captured much of the outflow from Glacial Lake Agassiz and drained it southward into the Mississippi and the Gulf of Mexico. It might have claimed all the drainage except for the post-glacial rebound: land that had long been compressed beneath the weight of thousands of feet of ice began to rise a bit once the glaciers were gone, rebounding first around the periphery of the old ice sheets, where melting came soonest. Here in Brown's Valley, in this gap between two headwater lakes, the rebound was almost invisible but not insignificant; the land rose just enough to shed raindrops in the direction of different oceans.
Turkish filmmaker Nuri Bilge Ceylan (Three Monkeys, Once Upon a Time in Anatolia) is also a noted still photographer. His recent works, such as this one, are panoramas of everyday scenes in cities and villages across Turkey. This street is in Istanbul.
In a garden of sculpture, mosaics, and murals in North Philadelphia, this memorial commemorates the 64 graduates of nearby Edison High School who were killed in Vietnam. According to the writing on the memorial wall, no other public school in America sent more students to die in that war than did Edison.
Terlingua encompasses thousands of acres of sparsely settled desert country along the Rio Grande in far west Texas, between Big Bend National Park and Big Bend State Park. There's cinnabar ore in those mountains, enough to support profitable mercury mines a hundred years ago, but nowadays the only mercury miners left are the ones in the Terlingua cemetery.
Many of today's Terlinguans live more or less off the grid; land is inexpensive, but bringing in electricity costs something like $10,000 per pole. The landowners are only lightly supervised by local government, but like big-city condo owners they are regulated by an owners' association, which employs a full-time staff to maintain community wells and roads and to operate an income-generating campground and lodge.
Vanessa Boyd, director of the landowners' organization, which is known as Terlingua Ranch, is a musician as well as a land manager. She just released a new album last week, which incorporates songs she composed in preparation for a 2010 concert tour to Nepal.
They called themselves the Society of St. Michael the Archangel, a name they took from their parish church back home in Albidona, a small town on the southern coast of Italy, about midway between the heel and toe of the "boot."
But in 1926, when this picture was taken, they were all living in Chicago, surrounded by native-born Americans and immigrants from all over Italy and the world. In America, the immigrants from Albidona naturally turned to one another for social life and mutual aid, a hometown bond they formalized with the establishment of the Society of St. Michael the Archangel. Similar benevolent and social organizations based on hometown roots were formed by immigrants in communities all over America, supporting one another socially, culturally, and oftimes financially.
These societies faded in importance as their members established themselves in their new country. Today, however, new groups of immigrants, such as the Sudanese refugees in Maine, are again creating formal organizations for exactly the same purposes. As ever, they function as social centers but also as banks, raising money both to lend to members in need and to send back home for communities in distress.
The gentleman in the middle of the front row with the gavel, presumably the president of the Society of St. Michael in 1926, has been identified as Leonardo Adduci, whose great-grandson shares the photo.
This past Friday, the temperature in Madison, Wisconsin, at high noon was 10 degrees Fahrenheit. It snowed all day. But just as on every other weekday since last March 11, a crowd gathered on the steps of the state capitol building for a boisterous Solidarity Sing-Along. These folks are among the same volunteers who recently collected more than a million signatures of voters around the state to ensure a recall election that they hope will depose their anti-labor "Governor Lazy" Scott Walker.
Ten years ago, an exhibition of work by the Colombian sculptor and painter Fernando Botero toured Europe, including a stop in the courtyard of the Cathedrale di Milano, as shown here. Next fall, a Botero exhibit will visit Bilbao, Spain, but the photo below taken in Bilbao last week features a sculpture that resembles the work of Botero in roundness alone.
A pair of these eagles guarded the entrance to New York City's Penn Station until 1963, when the old station was demolished. The Pennsylvania Railorad then donated them to Philadelphia, where they were placed at the end of the Market Street Bridge in front of Thirtieth Street Station.
As for most of the lightbulbs burning out and going unreplaced, that's a Philadelphia thing.
Crazy weather in Alabama this winter, so warm and rainy that the daffodils burst into bloom in mid-January, about six weeks early. And then, of course, a cold front came crashing down; Anna Singer picked these blooms and got them into the house hours before the mercury fell to 23 degrees.
Last week, the USS Ingraham crossed the equator, somewhere in the eastern Pacific. Per centuries of tradition, this event necessitated a Crossing the Line ritual; those sailors and officers who had crossed the equator before assembled as King Neptune and his court to supervise the cleansing of the rest of the crew, slimy pollywogs all. The lengthy proceedings included green, slimy-looking food that had to be eaten without utensils or hands, and pushups on deck, attempted at the business end of a firehose.
Here, the royal court ponders the worthiness of one of the wogs. Seated in the middle in t-shirt and ball cap is the Ingraham's captain, Commander Kristin Stengel.
Two winters ago around this time, when this picture was snapped, there was no snow along the southwest coast of Maine, though somehow the color of the water suggested some seriously shivery cold. This year, I understand that there's a bit of snow on the ground in Maine; here in Philadelphia, however, we've had only a flurry or two. It's raining as I type.
This stretch of cliff near Kettle Cove in Cape Elizabeth, Maine, faces south more than east, allowing a glimpse of winter sunset over the water.
Well, I didn't do a very good job a couple days ago when I posted a Good Morning about a Hans Christian Andersen paper cutting. I wrote that the cutting "was associated with" Andersen, using fudge words that I hoped would hide my ignorance: Did Andersen actually own the cutting? Did he commission it? Or cut it himself? Or was it simply inspired by Andersen's fairy tales, associated with him thematically rather than personally?
As y'all often point out to me, there's a lot I don't know about most of what I post, but my ignorance on this one is especially egregious. All it would have taken to learn the whole story was a single, obvious google click. Yes, Hans Christian Andersen made the paper cutting himself; more than a thousand of his cuttings survive to this day. They are the subject of at least two books, which have been translated into umpteen languages. They have been collected and exhibited all over the world. Upon the bicentennial of his birth in 2005, Denmark issued a commemorative postage stamp featuring one of Andersen's paper cuttings: this one.
This guy is a pierrot, a harlequin sort of character who makes an appearance in numerous Andersen tales and paper cuttings. He's loud and he's boisterous, often portrayed as kicking or dancing, and, as here, singing or yelling.
This particular pierrot is burdened down; what's on the tray balanced atop his head is apparently so heavy he's reduced to a froglike crouch. The objects on the tray all represent facets of Andersen's personal life story: his birthplace in Odense, the grammar school he attended, the fairy-tale motif of a windmill man, the tower of St. Canute's Church in Odense, and an ugly duckling transformed into a swan.
Andersen made many of his cuttings for the children to whom he told his tales; he apparently kep himself busy with his scissors while he was telling the stories, and it's been suggested that the cutwork was a way of entertaining himself while he retold tales that children requested over and over again.
He also made many cuttings, some of them extremely intricate, as hostess gifts for the families with whom he visited or stayed. He had been born a poor boy, and though he died fabulously wealthy, he was always unsure of his social status: eager to socialize with the high and mighty but careful to express his gratitude with tangible, fanciful gifts.
Bunch a guys were off climbing last week in Red Rock Canyon, a few miles west of Las Vegas, Nevada. Here, Hank leads the route, carefully placing little thingamajigs in cracks to hold the rope so other climbers can follow him safely. As lead climber, Hank is roped in, but not quite as safely as the followers; if he loses his grip on the rock, the thingamabobs below him should arrest his fall (with the help of the belayer down on the ground), but before they do, he could expect to fall twice the distance down to the topmost thingamabob. He didn't fall.
The red rock here is the Aztec Sandstone formation, Jurassic in age. Overlaying it in much of the canyon is a dark gray limestone, the much, much older Bonanza King limestone, from the Cambrian era. The older limestone got shoved up on top of the younger sandstone late in the era of the dinosaurs, when tectonic plates were compressing this part of the world, pushing up mountain ranges.
This papercutting associated with Hans Christian Andersen sold recently at a Christie's auction for about $24,000. It bears two dates: 1874 near the top, June 1871 at the bottom. Among the motifs, according to the auction notes: "ballet dancers, windmill men, heart-shaped windows, pierrots, Old Lukoie or sandmen, flower garlands, palm trees, storks, and gnomes."
The Petrovsky-Palace-on-the-way was built in 1782 so that Catherine the Great and her entourage would have a place to stop and rest up on the last night of what was then an arduous seven-day journey from St. Petersburg to Moscow.
According to the intertubes, she spent only a single night there, in 1785. Napoleon also spent a night at the palace, in 1812, while hiding from the fires that were raging through Moscow. Throughout the nineteenth century, czars and emperors used Petrovsky Palace as a staging site from which their coronation processions headed to the Kremlin.
After the revolution, the Soviets rebuilt all the imperial palaces in the Moscow area except for this one, which was preserved on the grounds of the top-secret Zhukovsky Military-Engineering Academy of Aviation. After perestroika it came into the hands of the city government, which recently restored and reopend Petrovsky Palace as a guest house and reception center for VIPs visiting Moscow.
When global warming brings us beach weather in January here in the mid-latitudes of the northern Hemisphere, this particular Australian beach, as well as all our American beaches and those of all the other continents, will be under water. The city of Philadelphia will be under water, along with most of the world's major cities. Oh well. Beaches in West Virginia could be nice.