MENSAGENS DA ÁGUA / MESSAGES FROM WATER (Livro)

Mensagens da Água (Livro - Autor: Masaru Emoto)

Masaru Emoto, cientista japonês, demonstrou como o efeito de determinados sons, palavras, pensamentos, e sentimentos alteram a estrutura molecular da água. A técnica consiste em expôr a água a esses agentes, congela-la e depois fotografar os cristais que se formam com o congelamento.

Livro "Mensagens da Água" de Masaru Emoto.

Sinopse

O renomado cientista Masaru Emoto inicia este revolucionário trabalho assim que ele descobre que as moléculas da água são afetadas por nossas palavras, pensamentos, e sentimentos. Quando a água é exposta a palavras como "amor", "gratidão" ou "sabedoria", os cristais que se formam quando congelados são limpos e bonitos. Quando expostos a expressões como "estúpido" ou "eu vou matá-lo" os cristais são amorfos, incompletos, ou podem mesmo não se formar. O mesmo acontece quando a água é exposta a vários tipos de músicas, formando cristais diversos. Desde que a humanidade e a terra são compostos basicamente de água, sua mensagem é uma mensagem de saúde pessoal e uma prática para a paz.

Palestra "O Poder da Água - Masaru Emoto", ministrada no Brasil em 2010.

Imagens de cristais oriundos de várias fontes

Diferentes formações de cristais.

Outras imagens de cristais formados em diferentes situações.

THE AGE OF REPTILES / A ERA DOS RÉPTEIS

Location: Yale Peabody Museum, New Haven, Connecticut, USA.

The Age of Reptiles is a 110-foot mural depicting the period of ancient history when reptiles were the dominant creatures on the earth, painted by Rudolph Franz Zallinger. The fresco sits in the Yale Peabody Museum in New Haven, Connecticut, and was completed in 1947 after three years of work. The Age of Reptiles was at one time the largest painting in the world, and depicts a span of nearly 350 million years in Earth's history.

Painted in the Renaissance fresco secco technique, The Age of Reptiles showcases the contemporary view of dinosaurs as slow, sluggish creatures (a view that has been gradually replaced by more active dinosaurs). Zallinger received the Addison Emery Verrill medal in 1980 for the mural.

THE AGE OF REPTILES (full) by Rudolph Zallinger (1947).

The Age of Reptiles - Detail 1.

The Age of Reptiles - Detail 2.

Allosaurus (detail).

Background

Zallinger was an art student who in the early 1940s had been painting seaweed drawings for the Peabody museum. Dr. Albert E. Parr, then director of the Peabody Museum, had been unhappy with the appearance of the Great Hall of the museum, which he felt was devoid of color and barren. Parr asked Lewis York, Zallinger's professor at art school, if he knew anyone who would be able to fill a large wall space in the Hall; York recommended Zallinger. On March 1, 1942, Zallinger was officially appointed to the wall-painting project.

Initially, Zallinger planned on dividing the wall space measuring 110 feet in length, 55 feet in width, and 26 feet in height into separate panels. After discussions with his supervisors, Zallinger instead decided on a different concept which would use the entire wall for a "panorama of time". Because Zallinger had never painted dinosaurs, Dr. G. Edward Lewis, the museum's curator of vertebrate paleontology, and Dr. George Wieland proceeded to give Zallinger a six-month crash course in vertebrate paleontology and paleobotany.

Painting

Zallinger sketched out his plan for the mural on a 10-foot-long (3.0 m) sheet of rag paper which could be unrolled to edit individual sections. Due to the position of entrances to the hall, and the sequence of which Peabody's fossils are arranged, the mural "reads" from right to left instead of the customary direction.

Creating THE AGE OF REPTILES.

Zallinger used a Renaissance-era painting technique known as fresco secco. Though rarely used due to the difficulties of using egg tempera, fresco secco allowed Zallinger to delineate character, as well as create a painting with good durability.

The Age of Reptiles - Rudolph Zallinger´s master piece.

Composition

In total, The Age of Reptiles spans about 362 million years, from the Devonian period at the mural's beginning to the end of the Cretaceous period, 65 million years ago. Each period's length on the mural is proportional to the period's length in geologic time. Each period of time is divided by large trees in the foreground.

Impact

The Age of Reptiles won Zallinger several awards. Zallinger was awarded with a Pulitzer Fellowship in Art in 1949, and the painting was featured as a postage stamp in 1970.

Despite its somewhat outdated view of dinosaurs, The Age of Reptiles is still notable for its historical and artistic merit and as the largest natural history painting in the world.

See more about "The Age of Reptiles" in the other post about the book "THE WORLD WE LIVE IN / O MUNDO EM QUE VIVEMOS" in this blog.

Access: Yale Peabody Museum of Natural History

THE WORLD WE LIVE IN / O MUNDO EM QUE VIVEMOS (Book / Livro)

The World We Live In (O Mundo em que Vivemos)

The World We Live In appeared in the pages of LIFE magazine from December 8, 1952, to December 20, 1954. A science series, it comprised 13 chapters published on an average of every eight months. Written by Lincoln Barnett, "The World We Live In" spanned a diverse range of topics concerning planet Earth and universe, and employed the talents of countless artists and photographers. These included, among others, cameramen Alfred Eisenstaedt and Fritz Goro, and artists Rudolph Zallinger and Chesley Bonestell.

The Book "THE WORLD WE LIVE IN" (O Mundo em que Vivemos).

Issues

"The World We Live In" was introduced to Life's readership as "the greatest series of science stories we have ever produced". It promised a "unified, understandable picture story of the planet Earth" authored by Lincoln Barnett, "one of the most literate authors in the field of science". The series itself started two issues later. Each of the chapters sported art and photos, often presented in large gatefolds which showed two sides of a scenario.

• I. The Earth Is Born - published Dec. 8, 1952. Illustrated by Chesley Bonestell, the first installment of the series covered the formation of the Earth, its composition, and its eventual demise. Contemporary principles of geology were also introduced.
• II. The Miracle Of the Sea - published Feb. 9, 1953. The second part of the series discussed the geology and geography of the ocean, its , and its effect on coastlines. The first to include a gatefold, it featured a panoramic geological cross-section of the Atlantic and Pacific coastlines of North America.
• III. The Face Of the Land - published Apr. 15, 1953. Surface geology was the focus of the third chapter, which provided overviews of mountain formation and erosion. The geological formation of the New York area was included as a sample history. The gatefold showed forces of uplift in a bare landscape on one side, and the same landscape after the effects of erosion on the other side.
• IV. The Canopy Of Air - published Jun. 8, 1953. Chapter 4 was the only issue not to be featured on the cover of Life; instead, the cover story was on Roy Campanella. The Canopy Of The Air featured clouds, air currents, chemical cycles, and other atmospheric phenomena.
• V. The Pageant Of Life - published Sept. 7, 1953. After a discussion of evolution, the history of life on Earth is recounted, starting with single-celled organisms and ending with the demise of the dinosaurs. For the gatefold, Rudolph Zallinger's Age of Reptiles mural was used; however, the version in "The World We Live In" was Zallinger's preliminary, detailed study. The actual mural in the Peabody Museum is significantly different.
• VI. The Age Of Mammals - published Oct 19, 1953. Zallinger was commissioned to produce another panoramic mural, this time showcasing the evolution of mammals in North America across the Cenozoic, from small Paleocene animals to the woolly mammoth and Megatherium. The mural was eventually revised dramatically for the Peabody Museum, with several animals (such as the mammoth) revamped completely.
• VII. Creatures Of the Sea - published Nov 30, 1953. After the physical properties of the ocean in part II, part VII introduced the organisms living in it. The gatefold showed the diversity of marine life on one side, and benthic organisms on the other.
• VIII. The Coral Reef - published Feb 8, 1954. Types of coral reef, different species of coral, and the colorful denizens of the Great Barrier reef were present in this chapter.
• IX. The Land Of The Sun - published Apr 5, 1954. Focusing on the Sonoran Desert, part IX explained the vicissitudes of life in the desert and the adaptations of desert animals. The gatefold, painted by James Perry Wilson of the American Museum of Natural History, showed the same desert scene by day and by night. A perfectionist, Wilson worked slowly and included as much detail as possible in the panoramas. He was unable to finish by the deadline, and some animals were painted by Robert Gartland. Both paintings were presented to the Peabody Museum in 1976 by Wilson's nephews.
• X. The Arctic Barrens - published Jun 7, 1954. Life on the cold tundra was described in this installment, with a gatefold showing the seasonal transitions of the tundra. Life photographer Fritz Goro and reporter Jim Goode camped on the tundra for some seven weeks to obtain all the photos they needed, and by the end were reduced to living on macaroni.
• XI. The Rain Forest - published Sep 20, 1954. The lush Amazon rainforest of Dutch Guiana was covered in part XI, with photos and several double-page spreads and a gatefold painted by Zallinger illustrating life in the forest. Zallinger, photographer Alfred Eisenstaedt, and reporter David Bergamini spent two months in Surinam gathering data.
• XII. The Woods Of Home - published Nov 8, 1954. Terrain more familiar to Life's readers was discussed here, as the effects of the seasons are observed in the changing woods. Artwork by Walter Linsenmaier depicted animals of forest and pond, as well as insects of the ground and the trees. The photographs were taken in Mettler's Woods, now the Hutcheson Memorial Forest.
• XIII. The Starry Universe - published Dec 20, 1954. Part XIII closed the series on a suitably grand scale, with Bonestell's art depicting the stars and planets. The gatefold showed a scale depiction of the solar system on one side, and the Local Group on the other.

Chesley Bonestell's illustrations for the book "The World We Live In".

Reprints

After its successful run at LIFE magazine, "The World we Live In" was released in book form in 1955, abridged in 1956 for younger readers by Jane Werner Watson, and re-released in a three-volume "Family Edition" in 1962.

The original book version of "The World We Live In" was not entirely complete. Some minor schematic diagrams were cut to better fit the format of the book. Furthermore, some of Chesley Bonestell's artworks, including the painting illustrating the end of the Earth, were removed, possibly because they were seen as dated by then. Jane Werner Watson's edition for younger readers, on the other hand, cropped many pictures or removed them altogether; for instance, the Paleocene landscape was removed, while the eroded geological panorama was relegated to the endpapers. This led to some odd situations, with some captions referring to animals that were cropped out of the picture.

Style

Lincoln Barnett's text can be criticized of being florid, sometimes to a ludicrous degree. As one reader put it, "Enjoyed: 'Creatures of the Sea' most of all because of the way Lincoln Barnett slings the King's English around. While Nobel Prizer Sir Winston Churchill had an easier subject, he can't hold a candle to this guy Barnett". The rationale for mammalian dominance of the Earth from Ch. VI is only one example.

Indeed, it is probable that the mammals may have survived and succeeded to hegemony of the earth not in spite of but by reason of their very weakness and obscurity, their smallness in a world dominated by giants, their nakedness in a world of armor plate, in particular, by their fear and sensitivity and awareness in a world of unperceiving, insensate, brainless brutes.

There is also excessive personification and some bias, which is no longer favorable in objective, encyclopedic work. Large prehistoric mammals, for instance, are variously described as being "awkward" or "witless". Tyrannosaurus rex in Ch. V does not escape this treatment either.

The apogee of development was attained with the creation of Tyrannosaurus rex, the mightiest and most fearsome flesh-eater that ever terrorized the land. A towering agent of destruction, endowed with gigantic strength and power, Tyrannosaurus rex spanned 50 feet from nose to tail and carried his terrible head 18 to 20 feet above the ground. His hind legs were superbly muscled, from his thick thighs down to his three-toed, cruelly taloned feet. His main weapon of attack was his murderous mouth which had a gape of incredible size and was armed with rows of six-inch saberlike teeth.

Finally, apparently as part of Life's effort to make science as palatable as possible to its wide audience, the text featured as many Biblical references as possible. One reader remarked that the "text was written as if the clergy were looking over Mr. Barnett's shoulder and crossing out anything that might be in conflict with the story of Adam and Eve".

Still, the purple prose does its job of conveying awe at the natural world. Paleontologist George Olshevsky described Lincoln Barnett's text as having "the grandeur of the universe contained in every word".

Factual accuracy

By modern standards, "The World we Live In" is highly inaccurate, but mainly due to the constant progress of science since that time. At the time, it was up-to-date with contemporary theories on the natural world, but major scientific breakthroughs in astronomy, geology, and biology severely date the series. For instance, the sections on geology assume geophysical global cooling instead of plate tectonics to explain uplift. The paleontological chapters (V and VI) are especially dated, considering the speed of new discoveries in the field and the Dinosaur Renaissance.

In contrast, the sections on various biomes such as the desert, rainforest, and woodland are still more or less accurate today, reflecting the relatively complete knowledge of them available at the time.

Reception and legacy

"The World We Live In ought to be in book form. It is extraordinarily well done, comprehensive and at the same time comprehendible - a great thing". Roy Chapman Andrews.

"To own The World We Live In in book form is a not-to-be-missed opportunity for any family - old or young, it's a wonderful and exciting adventure in learning". Walt Disney.

"The World We Live In", with its several incarnations, successfully brought the intricacies of science to the baby boom generation. By the time the book version was being published, endorsements were printed by notable people, including paleontologist Roy Chapman Andrews, filmmaker Walt Disney, and Admiral Richard E. Byrd. The "Letters to the Editors" page frequently featured glowing reviews of the series, as well as letters from creationists that either embraced or rejected it.

After publishing chapter XII on Mettler's Woods, Life received mail from the Citizens' Committee for the Preservation of Mettler's Woods, which congratulated them for the article and encouraged readers to help save the forest from destruction. Eventually, a letter from the Committee was published announcing that they had "raised to funds to purchase and study these woods and adjoining woodlands", adding that Life's article "not only stimulated several hundred persons to contribute to the fund to save one of the last primeval American forests, but encouraged the United Brotherhood of Carpenters and Joiners of America to contribute $75,000 in memory of W. L. Hutcheson". The forest was renamed the Hutcheson Memorial Forest.

Paleontologist Bob Bakker mentions Zallinger's dinosaurs as the spark that ignited his passion for prehistory; ironically, Bakker himself would later argue against Zallinger's rendition. George Olshevsky also cites The World We Live In as introducing him to science, and adds that he suggested authoring an updated version; however, Life's editors were not interested.

The World We Live In was followed by The Epic of Man, focusing on the development and history of human civilization, and The Wonders of Life on Earth, a series of articles tracing Darwin and evolution. Both of these were written by Barnett as well, and featured many of the same artists. Life's series on the International Geological Year was hailed as a spiritual "update" to "The World We Live In".

From Wikipedia, the free encyclopedia.

FORMAÇÃO DO SISTEMA SOLAR

Evolução do Sistema Solar

Representação artística da formação do Sistema Solar.

A formação e evolução do Sistema Solar, durante o Hadeano iniciou-se com a contração da Nebulosa Solar original, provavelmente devido às ondas de choque de uma supernova próxima. Seguiu-se o colapso gravitacional da Nebulosa Solar num disco rotativo com a maior parte da massa concentrada no centro, na forma de gás hidrogênio (H2), formando o proto-Sol. A compactação gravitacional continuou até que se iniciou a fusão nuclear de hidrogênio em hélio (He), com liberação contínua de luz e calor pelo Sol.

Partículas de poeira de composição diversa, vestígios de estrelas extintas, acumularam-se num disco de acreção proto-planetário ao redor da estrela nascente. Os mais antigos materiais sólidos do Sistema Solar são inclusões ricas em cálcio e alumínio (Calcium-Aluminum-rich Inclusions – CAIs), com idades de até 4,566 bilhões de anos, encontradas em meteoritos condritos carbonáceos, as quais estabelecem uma data-limite inicial para a formação planetária. Materiais rochosos e metálicos conseguiram se solidificar nas temperaturas mais elevadas próximo do Sol, enquanto o vento solar varria os materiais mais leves como água (H2O), amônia (NH3) e metano (CH4) para longe, onde as temperaturas mais baixas permitiram sua solidificação.

Grãos de poeira agregaram-se uns nos outros até que os planetésimos ficassem grandes o bastante para começar a atrair material com seus próprios campos gravitacionais. Seu crescimento desenfreado levou a dezenas de proto-planetas que se chocavam violentamente uns com os outros. A Terra e a Lua formaram-se, segundo a hipótese do Big Splash, quando um proto-planeta de tamanho aproximado ao de Marte colidiu com outro com cerca de metade do tamanho da Terra atual. Esse impacto deixou a Terra 2/3 completa e atirou grande quantidade de material em sua órbita, o qual se condensou para formar um satélite natural. O proto-Vênus parece ter sofrido também um grande impacto no princípio de sua formação, que foi capaz de inverter o sentido de rotação do planeta. No entanto, como nenhuma lua se formou nesse caso, a colisão deve ter se dado de tal modo que o material ejetado para o espaço se precipitou de volta sobre sua superfície; os dois proto-planetas se fundiram completamente.

A energia das colisões entre os grandes proto-planetas juntamente com o decaimento radioativo de seus materiais formativos geraram uma grande quantidade de calor, de tal modo que os planetas teriam sido inicialmente derretidos. O material mais denso – ferro (Fe) e níquel (Ni) fundidos – afundou para se tornar os núcleos dos planetas, ao passo que material menos denso compôs os mantos. O material de menor densidade – basicamente silicatos – formou uma espécie de escória superficial, o magma, cuja solidificação ocorreu à medida que os planetas esfriaram, originando as crostas planetárias. O ferro da proto-Terra já teria sido drenado para o núcleo quando o grande impacto formador da Lua aconteceu, e o núcleo de ferro do outro proto-planeta afundou e fundiu-se com o da proto-Terra. Desse modo, o material que formou a Lua era originário de mantos rochosos, carentes de ferro, o que explica sua densidade mais baixa que a da Terra.

Os primeiros planetas a se formar na parte mais externa da Nebulosa Solar agregaram ainda boa parte do material volátil presente nessa região, originando os planetas gigantes gasosos – Júpiter, Saturno, Urano e Netuno. Outros mundos formados nessa área acabaram capturados gravitacionalmente por estes gigantes, tornando-se suas luas. Por terem se formado em regiões mais distantes, esses últimos frequentemente possuem muito gelo de água e de amônia, tanto em suas crostas quanto em seus mantos. É provável que o manto da lua Europa, de Júpiter, seja um oceano de água, e possível que mares de metano e etano líquidos banhem a gélida superfície da lua Titã de Saturno, coberta por densa atmosfera rica em hidrocarbonetos.

As superfícies de vários corpos planetários revelam que até cerca de 3,8 bilhões de anos os mundos recém-formados foram continuamente bombardeados por detritos meteóricos. Por fim, planetésimos que não se agregaram permaneceram no Cinturão de Asteroides, entre Marte e Júpiter, no Cinturão de Kuiper, além de Netuno, ou foram catapultados gravitacionalmente por Júpiter para a Nuvem de Oort, nos confins do Sistema Solar. Os do primeiro grupo têm composição rochosa ou metálica, enquanto os dos dois últimos têm bastante gelo em sua composição, bem como vários compostos de carbono (C), nitrogênio (N) e enxofre (S). Caso suas órbitas os levem às regiões internas do Sistema Solar, seu gelo é volatilizado pela energia do Sol e carregado pelo vento solar, formando uma cauda brilhante – são os cometas.

Cronologia do Sistema Solar

Cronologia simplificada do Sitema Solar (clique na imagem para ampliar).

ECHOES (Pink Floyd)

MEDDLE (1971)

Meddle é um álbum de 1971 do grupo inglês de rock progressivo Pink Floyd. Foi gravado em várias ocasiões entre Janeiro e Agosto de 1971, editado nos Estados Unidos em 30 de Outubro de 1971 e no Reino Unido em Novembro do mesmo ano.

ECHOES - (Meddle 1971 Pink Floyd) - 23 min. 27 sec.

Embora existam no álbum variadas melodias, “Meddle” é considerado um álbum mais coeso do que o seu antecessor "Atom Heart Mother" (1970). As duas primeiras músicas seguem uma à outra através de um efeito sonoro de vento, um estilo que voltaria em álbuns posteriores "Dark Side of the Moon", de 1973, e "Wish You Were Here", de 1975.

Meddle (Pink Floyd).

A última música do álbum, "Echoes", tem uma sincronia temática com a parte final do filme de Stanley Kubrick de 1968 2001: Uma odisséia no espaço ("2001 – A space odyssey" no original) Chamada “Jupiter and beyond the Infinite”. “Echoes" também deu nome a uma compilação dos Pink Floyd editada em 2001, a qual inclui algumas versões editadas do álbum e “One of these days”.

Echoes (Waters, Wright, Mason, Gilmour)

Overhead the albatross
Hangs motionless upon the air
And deep beneath the rolling waves
In labyrinths of coral caves
An echo of a distant time
Comes willowing across the sand
And everything is green and submarine.

And no one called us to the land
And no one knows the where's or why's.
Something stirs and something tries
Starts to climb toward the light.

Strangers passing in the street
By chance two separate glances meet
And I am you and what I see is me.
And do I take you by the hand
And lead you through the land
And help me understand
The best I can.

And no one called us to the land
And no one crosses there alive.
No one speaks and no one tries
No one flies around the sun...

Almost everyday you fall
Upon my waking eyes,
Inviting and inciting me
To rise.
And through the window in the wall
Come streaming in on sunlight wings
A million bright ambassadors of morning.

And no one sings me lullabyes
And no one makes me close my eyes
So I throw the windows wide
And call to you across the sky...