Photography and Place-writing of Frank Gohlke

When an idea or a phenomenon becomes widely familiar, it is easy to forget that it came from somewhere, that there is a specific historical moment (of indeterminate duration) before which the thing did not exist.
...
Among the few positive things we humans may do that other species don’t is to create Places. We can quibble about the details, but most people who have thought seriously about the matter would recognize a few necessary components in any satisfactory definition: places, like landscapes, do not occur naturally; they are artifacts. A place is not a landscape; places are contained within landscapes. Place is a possibility wherever humans linger, but it’s not inevitable. Sometimes we just occupy space. Places can be created intentionally or as a side effect of other actions with other intentions. Place seems to be more likely to come into being the longer we stay put, but many nomadic cultures roam in landscapes whose minutest features are named, recognized, and given a place in the story of a people and a world.

Place has something to do with memory.

Glasgow and the Highlands – SS Dunara Poster

"Dunara Castle every ten days to Colonsay, Iona, Bunessan, Tiree, Struan, Carbost, Colbost, Dunvegan, Stein, Uig, Scalpay, Tarbert, Finsbay, Leverburgh, Lochmaddy, Kallin, Carnan, Lochboisdale, Barra."

The cost of sailing to Skye and the Outer Hebrides was £5 with a cabin or £1.15 "steerage" class (equivalent price today is around £60 / £34).

Puffin Trap - St Kilda

puffin trap-st kilda (scran)

SS Dunara Castle - from Glasgow to St Kidla

The S.S. Dunara Castle, named after a ruined castle on the north west coast of Mull, was built by Martin Orme. Her maiden voyage was on 21st July 1875. The 423 ton steamer originally had two funnels, but was refunnelled in 1899. As well as carrying cargo the Dunara Castle had accommodation for 44 cabin class passengers. She sailed weekly between Glasgow and the Hebrides in the summer months, and during the high season the trips were extended to St. Kilda. She was used in the evacuation of St Kilda residents in 1930. Most of the crew were Gaelic speakers from the highlands and islands, with three generations of one family serving on the steamer. The Dunara was scrapped in Glasgow in 1948 after 70 years of service.

above from Am Baile webiste

St. Kilda Mailboats

above image from National Maritime Museum

text/images below from National Trust-St. Kilda website-bold&red tsB notes

By mid 19th century there was increasing contact with the outside world: A steam yacht - the Vulcan - visited St Kilda in 1838. From 1877 the SS Dunara Castle (brought supplies--twice? a year) began regular summer cruises to St Kilda, and was soon joined by others such as the SS Hebrides (tourist ship as per brochure below).

The gradual loss of self-sufficiency and morale had begun - this was to end with the evacuation of the islanders in 1930.

Brochure advertising cruises to St Kilda Photograph: Glasgow Museums

Posting the mailboat in 1897 Photograph: Cherry Kearton

"An entire new contrivance or apparatus": Panoramas

Robert Barker's 1796 patent:

Specification of the patent granted to Mr. RoBERT BARKER, of the city of Edinburgh, Portrait-painter; for his invention of an entire new contrivance or apparatus, called by him La Nature à Coup d’ Œil*, for the purpose of difplaying Views of Nature at large, by Oil-painting, Frefco, Water-colours, Crayons, or any other Mode of painting or drawing.

THE

REPERTORY

0F

ARTS AND MANUFACTURES:

CONSISTING OF

ORIGINAL COMMUNICATIONS,

SPECIFICATIONS OF PATENT INVENTIONS,

AND

SELECTIONS OF USEFUL PRACTICAL PAPERS

FROM THE

TRANSACTIONS

OF THE

PHILOSOPHICAL SOCIETIES

OF ALL NATIONS, &c. &c.

-------------------------

VOL. IV.

-------------------------

LONDON:

PRINTED FOR THE PROPRIETORS;

AND SOLD BY T.HEPTINSTALL, NO.131, FLEET-STREET;

G.G. AND J. ROBINSON, PATERNOSTER-ROW; P.ELMSLY,

STRAND; W.RICHARDSON, CORNHILL; J.DEBRETT,

PICCADILLY; AND J. BELL, NO.148, OXFORD-STREET

1796

(165)

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XX. Specification of the patent granted to Mr. RoBERT BARKER, of the city of Edinburgh, Portrait-painter; for his invention of an entire new contrivance or apparatus, called by him La Nature à Coup d’ Œil*, for the purpose of difplaying Views of Nature at large, by Oil-painting, Frefco, Water-colours, Crayons, or any other Mode of painting or drawing.

Dated June 19th, 1787.

To all to whom thefe prefents fhall come, &c.

NOW KNOW YE, that by my invention, called La Nature à Coup d’ Œil, is intended, by drawing and painting, and a proper difposition of the whole, to perfect an entire view of any country or fituation, as it appears to an obferver turning quite round; to produce which effect, the painter or drawer muft fix his ftation, and delineate correctly and connectedly every object which prefents itfelf to his view as he turns round, concluding his drawing by a con-

*This invention has been fince called the Panorama.

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166

Patent for difplaying Views of Nature

nection with where he began. He muft obferve the lights and fhadows, how they fall, and perfect his piece to the beft of his abilities. There muft be a circular building or framing erected, on which this drawing or painting may be performed; or the fame may be done on canvas, or other materials, and fixed or fufpended on the fame building or framing, to anfwer the purpofe complete. It muft be lighted entirely from the top, either by a glazed dome or otherwife, as the artift may think proper. There muft be an inclofure within the faid circular building or froming,, which fhall prevent an obferver going too near the drawing or painting, fo as it may, from all parts it can be viewed, have its proper effect. This inclofure may reprefent a room, or platform, or any other fituation, and may be any form thiught moft convenient, but the circular form is particularly recommended. Of whatever extent this infide inclofure may be, there muft be over it (fupported from the bottom, or fufpended from the top,) a fhade or roof; which, in all directions, fhould project fo far beyond this inclofure, as to prevent an obferver feeing above the

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167

by Oil Painting, Frefco, &c.

drawing or painting, when looking up; and there muft be without this inclofure another interception, to reprefent a wall, paling, or other interception, as the natural objects reprefented, or fancy, may direct, fo as effectually to prevent the obferver from feeing below the bottom of the painting or drawing, by means of which interception nothing can be feen on the outer circle, but the drawing or painting intended to reprefent nature. The entrance to the inner inclofure muft be from below a proper building or froming being erected for that purpofe, fo that no door or other interruption may difturb the circle on which the view is to be reprefented. And there fhould be, below the painting or drawing, proper ventilators fixed, fo as to render a current cirulation of air through the whole; and the inner inclofure may be elevated, at the will of an artift, fo as to make obfervers, on whatever fituation he may wifh they fhould imagine themfelves, feel as if really on the very Fpot. In witnefs whereof, &c.

XX1

Panorama of 'Old Edinburgh' by Robert Barker

"Edinburgh From The Crown Of St. Giles"
300 x 50 feet see it bigger

still in existence at the The Edinburgh Virtual Environment Centre University of Edinburgh

Image Copyright © City Arts Centre

Lightships (w/ thanks to Lesley Punton)

the Puke Ray cometh...

Light + Sound = New Weapon
Wired article Dec 12, 2007 By Sharon Weinberger

Military funded researchers are preparing to test a nonlethal weapon that combines light and sound. Nicholas C. Nicholas, chief scientist of Penn State’s Applied Research Laboratory, told an audience yesterday at a nonlethal weapons conference that in the first half of next year, the lab plans to test DSLAD, the Distributed Sound and Light Array Debilitator. It’ll use essentially off the shelf technology to see if combining aversive noises with light produce some special debiliating effects. Anecdotal effects include dizziness and loss of balance, and of course, nausea. In other words, DSLAD could be another potential "puke ray."

As I wrote yesterday, the Applied Research Lab, which receives funding from the Pentagon’s Joint Nonlethal Weapons Directorate, is also hoping to test the behavioral effects of sound at higher decibels, which could lead to a sonic blaster.

Last year, there was a lot of excitement about the Sheriff, a system that would combine a number of nonlethal technologies, such as a dazzling laser, sound beam and the pain ray. But what makes this new work significant is that there isn’t a lot of hard data on sound weapons, let alone weapons that combine sound and light.

Stephen Shore

Stephen Shore, South of Klamath Falls, Oregon, from Uncommon Places

from interview:
SS: So how my pictures are seen now, as opposed to the early 70s, I see a tremendous difference. People say my pictures are nostalgic, my pictures aren’t nostalgic, they’re nostalgic! My pictures are just pictures. When they were shown in the early seventies in New York, there was no hint of nostalgia. Some people who didn’t get them said, well, it’s just like looking at the world, why would anyone want to show me this? There was no distance from it, now there’s a distance of time.

BRS: In your own work, you’ve set certain rules such as not cropping the image, is that something you only impose only upon yourself, or do you expect that from your students as well?

SS: I don’t want my students to crop, it’s for a simple reason. I want to put as much pressure on myself, and on them, so that they don’t feel that the decision is a soft one. I do some commercial work, and I’ve learned that to sound like a pro, when the art director says “well, what about that one,” I’ll say, “don’t worry, we’ll take care of it in post.” You get used to saying it, you see something you don’t want in the picture, but it doesn’t matter, “we’ll take care of it in post.” But that’s a kind of fuzzy thinking, and it’s fine to meet the requirements of the commercial job. But in the game that I set for myself, I want to be able to make a decision on the spot, and I want my students to. My hero, Walker Evans, he cropped all the time, so it’s not a moral stance, it’s a strategic one.

armchair travels to the exotic and unfamiliar

(book) The American Rockies
Photographs by Gus Foster

"The American Rockies presents an extraordinary visual diary of Gus Foster’s Rocky Mountain odyssey with his panoramic camera. Foster climbed the major peaks along the backbone of the continent from the Canadian border to the border with Mexico, photographing the spectacular landscape sometimes at greater than 360 degrees. As James Enyeart writes in A Traveler’s Notebook: “A lifetime of travel places Gus Foster in a succession of artists who have gained insight and inspiration from the exotic and unfamiliar.” Foster’s panoramic photographs enable even the armchair traveler to experience the enormous grandeur of the Rockies."

somehow I prefer Matisse's armchair to this one...


Gus Foster website
book on amazon

Essays included are by James Enyeart, Anne and John Marion Professor of Photo- graphic Arts and the Director of the Marion Center at the College of Santa Fe; Alan Wallach, Ralph H. Wark Professor of Art and Art History and Professor of American Studies at the College of William and Mary; Roger Badash, Foster’s longtime climbing companion; and Gus Foster.


Published by The Albuquerque Museum
U N I V E R S I T Y O F N E W M E X I C O P R E S S
1-800-249-7737
July 11.75 x 11 inches 120 pages,
30 color plates, 38 duotone plates
Paperback: 0-944282-22-9 $30.00

tower of power

Guardian 9 Sept: Global Cleantech 100
BrightSource Energy: thousands of small mirrors reflect sunlight on to a boiler on top of a tower to produce high-temperature steam

flexible strategies: it's just fine

from A Brief History of Curating:

Hans Ulrich Obrist: In curating there is a need for flexible strategies. Every show is a unique situation, and ideally it gets as close as possible to the artist.

Walter Hopps: Yes. To me, a body of work by a given artist has an inherent kind of score that you try to relate to or understand. It puts you in a certain psychological state. I always tried to get as peaceful and calm as possible. If there was a simple way of doing something, I would do it that way. When I did the Duchamp retrospective in 1963, he and I walked through the old Pasadena Art Museum—the colors were white and off-white and brown; there was some wood paneling; some dark brown. Duchamp said: “It’s just fine. Don’t do anything that is too hard to do.” In other words, he was always very practical. But he had a very subtle way of trying to orchestrate or bring out what was already there, to work with what was already given. Duchamp knew exactly how to work with what was there.

But with other artists installations were very different. Barnett Newman was a very bright man, but he would get a preconceived notion of how the space should be. Wherever I showed him, we always had to do a lot of construction.

Walter Hopps is the former Director of The Corcoran Gallery

Alternative Architecture: Cold Corners by Eva Rothschild

video walking through installation at Tate Britain

Architecture as archive, time and memory

Rem Koolhaas interviewed by Hans Ulrich Obrist Art Review July 2006

HUO: I saw the historian Eric Hobsbawm yesterday and he was saying that his life was a kind of protest against forgetting. Which I think is really beautiful. I was wondering about memory in relation to the (London) pavilion, because it's also archived, an archive of previous discussions. Could you speak a little bit about Hobsbawm's idea of a protest against forgetting?

RK: In an architect's case it's either involuntary in the sense that you create structures that stay around in the best cases, and sometimes for a very long time, so that they contribute to a sense of history, but also potentially to a sense of depth in terms of time and memory. Or it's much more a kind of journalistic level, but perhaps in the current avalanche of forgetting, journalism also becomes closer to history writing.

Photoacoustic imaging : The sound of light

Jun 4th 2009 The Economist (print edition)

Biomedical technology: A novel scanning technique that combines optics with ultrasound could provide detailed images at greater depths

IF LIGHT passed through objects, rather than bouncing off them, people might now talk to each other on “photophones”. Alexander Graham Bell demonstrated such a device in 1880, transmitting a conversation on a beam of light. Bell’s invention stemmed from his discovery that exposing certain materials to focused, flickering beams of light caused them to emit sound—a phenomenon now known as the photoacoustic effect.

It was the world’s first wireless audio transmission, and Bell regarded the photophone as his most important invention. Sadly its use was impractical before the development of optical fibres, so Bell concentrated instead on his more successful idea, the telephone. But more than a century later the photoacoustic effect is making a comeback, this time transforming the field of biomedical imaging.

A new technique called photoacoustic (or optoacoustic) tomography, which marries optics with ultrasonic imaging, should in theory be able to provide detailed scans comparable to those produced by magnetic-resonance imaging (MRI) or X-ray computerised tomography (CT), but with the cost and convenience of a hand-held scanner. Since the technology can operate at depths of several centimetres, its champions hope that within a few years it will be able to help guide biopsy needles deep within tissue, assist with gastrointestinal endoscopies and measure oxygen levels in vascular and lymph nodes, thereby helping to determine whether tumours are malignant or not. There is even scope to use photoacoustic imaging to monitor brain activity and gene expression within cells.

To create a photoacoustic image, pulses of laser light are shone onto the tissue being scanned. This heats the tissue by a tiny amount—just a few thousandths of a degree—that is perfectly safe, but is enough to cause the cells to expand and contract in response. As they do so, they emit sound waves in the ultrasonic range. An array of sensors placed on the skin picks up these waves, and a computer then uses a process of triangulation to turn the ultrasonic signals into a two- or three-dimensional image of what lies beneath.

The technique works at far greater depths (up to seven centimetres) than other optical-imaging techniques such as confocal microscopy or optical-coherence tomography, which penetrate to depths of only about a millimetre. And because the degree to which a particular wavelength of light is absorbed depends on the type of tissue and, in the case of blood, on whether it is oxygenated or deoxygenated, there is, in effect, a natural contrast agent. This makes the technique superior to ultrasound alone when it comes to picking out detailed features such as veins.

MRI and CT scans are also capable of delivering this kind of detail. But they usually require contrast dyes to be injected into the bloodstream, says Lihong Wang, a photoacoustic researcher at Washington University in St Louis, Missouri. CT scans also involve potentially harmful ionising radiation. And MRI and CT scans are very expensive, using machines that cost millions of dollars and require dedicated staff to operate them. Photoacoustic tomography, by contrast, could eventually be performed using portable hand-held devices, similar to those used for ultrasound scanning. This would allow doctors to diagnose and monitor patients in clinics, and reduce the need to refer them to consultants. “Photoacoustics provides greater access at a much lower cost than these other technologies,” claims Michael Thornton of Endra, a medical-imaging company based in Ann Arbor, Michigan.

Shining a light

A pioneer of the technique in the late 1980s was Alexander Oraevsky, who was based at the Soviet Academy of Sciences in Moscow at the time. He had been evaluating lasers as a means of removing tissue, but in the course of his experiments he realised that his samples were producing ultrasound, and began exploring the potential of this effect for imaging. Since then the technology has come a long way, not least because of the development of nanosecond pulsing lasers. Being able to deliver such brief pulses of energy to the sample being imaged—a nanosecond is a thousand-millionth of a second—has helped improve the resolution of the resulting images. Dr Oraevsky and other researchers have shown that it is possible to image the entire blood-supply system of a mouse, for example, down to a resolution of about half a millimetre.

One of the most promising applications for photoacoustics is in the treatment of cancer. Since blood cells are natural absorbers of light, photoacoustics is particularly good at providing high-contrast images of the formation of blood vessels (angiogenesis) and detecting increased metabolic activity (hypermetabolism), both of which are hallmarks of cancer, notes Dr Wang. Preliminary clinical research is now under way to look at how the technology can be used to monitor the development of breast cancer and identify how far it has progressed.

Even with mammography and ultrasound, the current gold standards for breast-cancer screening, doctors cannot tell if a tumour is malignant or benign without performing an invasive and expensive biopsy. “About eight out of ten patients who undergo a biopsy come back negative,” says Dr Oraevsky, who now works for Fairway Medical Technologies, a company based in Houston, Texas. Photoacoustic tomography could potentially be used to diagnose women in the doctor’s surgery.

One approach being explored by Michael Pashley, head of ultrasound imaging and therapy at Philips Research in Briarcliff Manor, New York, is to develop a hybrid ultrasound scanner that can produce ordinary ultrasound scans as well as photoacoustic images. In theory the two images could even be superimposed, he says. At the moment the work, which is being carried out in collaboration with Dr Wang, is geared towards monitoring the development of breast cancers that have already been diagnosed, says Dr Pashley. But if the technology proves successful, he hopes to move on to using it for the initial diagnosis.

Lihong V. Wang

Getting the picture

Although the different absorption characteristics of oxygenated and deoxygenated blood provide an extremely good natural contrast agent, this approach has its limits. So some companies are exploring the use of photoacoustics in conjunction with artificial contrast-agents introduced to the bloodstream. VisualSonics, an ultrasound-imaging company based in Toronto, has been evaluating contrast agents made up of gold nanorods attached to antibodies that bind to specific targets found in cancer cells. Ultrasound is already used to detect such agents but its resolution is sufficient to show only the structure of blood vessels. Dr Wang reckons that if contrast agents that are too small to be picked up by ordinary ultrasound were introduced into a patient’s bloodstream, they could be detected using photoacoustic imaging. Furthermore, it would be possible to see where the contrast agents built up, and hence determine the extent of a tumour. And by creating contrast agents that bind to specific genetic targets, the same technique could be used to monitor gene expression, he suggests.

Room for improvement

Despite its potential and its many advantages over other methods, there are some difficulties with photoacoustic imaging that have not yet been resolved. As light penetrates deeper into tissue, the resulting ultrasonic signal diminishes. This is partly because some of the light has been absorbed by the preceding tissue, but it is also because the laser light is dispersed, diffused and back-scattered. This places limits on just how deeply photoacoustic imaging can delve. In the future it might be possible to go a little deeper, says Dr Wang, but probably not by much. “If light is delivered from both sides of the tissue, ten-centimetre-thick tissue can potentially be imaged,” he says.

Bone tissue represents another obstacle to the technology, but not for the reason you might think. Laser light usually passes easily through bone, but sound does not. The speed at which sound travels through bone is different from the speed at which it travels through soft tissue, and as the ultrasound passes from one medium to the next it is distorted. Air cavities, many of which are found inside the human body, pose a similar problem, says Dr Wang.

Even so, VisualSonics and other companies are keen to explore the use of photoacoustics for neuroimaging. It is not an insurmountable problem, says Dr Wang, who is working on a technique to model the skull so that its effects on the ultrasonic waves can be predicted and eliminated in software, restoring clarity to the signals. If he can get this approach to work, it would further extend the revolutionary potential of photoacoustic imaging in the coming years. Doctors would not merely be able to diagnose cancer in the comfort of their own surgeries—they would be able to perform brain scans, too. A technology that traces its roots to a stillborn 19th-century communications device would have taken another step towards the futuristic dream of the all-purpose hand-held medical tricorder seen in “Star Trek”.

Solar-thermal technology

The other kind of solar power
Jun 4th 2009 The Economist (print edition)

Energy: Think of solar power, and you probably think of photovoltaic panels. But there is another way to make electricity from sunlight, which arguably has even brighter prospects

IN THE past few months BrightSource Energy, based in California, has signed the world’s two largest deals to build new solar-power capacity. The company will soon begin constructing the first in a series of 14 solar-power plants that will collectively supply more than 2.6 gigawatts (GW) of electricity—enough to serve about 1.8m homes. But to accomplish this feat BrightSource will not use photovoltaic cells, which generate electricity directly from sunlight and currently constitute the most common form of solar power. Instead, the company specialises in “concentrating solar-thermal technology” in which mirrors concentrate sunlight to produce heat. That heat is then used to create steam, which in turn drives a turbine to generate electricity.

Solar-thermal power stations have several advantages over solar-photovoltaic projects. They are typically built on a much larger scale, and historically their costs have been much lower. Compared with other renewable sources of energy, they are probably best able to match a utility’s electrical load, says Nathaniel Bullard of New Energy Finance, a research firm. They work best when it is hottest and demand is greatest. And the heat they generate can be stored, so the output of a solar-thermal plant does not fluctuate as wildly as that of a photovoltaic system. Moreover, since they use a turbine to generate electricity from heat, most solar-thermal plants can be easily and inexpensively supplemented with natural-gas boilers, enabling them to perform as reliably as a fossil-fuel power plant.

Getty Images

A power of tower near Seville

Besides these benefits, the main drivers for the growth of the solar-thermal industry are moves to limit carbon-dioxide emissions and requirements to increase the proportion of electricity produced from renewable sources. According to New Energy Finance, about 12GW of concentrating solar-thermal power capacity is being planned worldwide—a vast amount, given that only about 500 megawatts (MW) of such capacity has been built to date. To maximise the energy that can be collected from the sun, solar-power facilities are being constructed in regions that enjoy daily uninterrupted sunshine for much of the year. According to Mark Mehos of America’s National Renewable Energy Laboratory, solar-thermal power could in theory generate 11,000GW in America’s south-west. That is about ten times America’s entire existing power-generation capacity.

Simple techniques for concentrating sunlight to generate heat date back thousands of years. In China and ancient Greece, people focused the sun’s rays with mirrors or glass to light fires. In times of war, the same approach is said to have been used to set enemy ships ablaze. By the early 20th century several scientists had built simple machines that could run on concentrated heat from the sun.

A significant milestone was reached in 1913 when Frank Shuman, an American inventor, created the first large solar-thermal pumping station in Meadi, Egypt. He designed a system based on five large reflectors, each 62 metres long and made of glass mirrors arranged to form a trough in the shape of a parabola. Each parabolic trough focused sunlight onto a tube running along its length, heating the water inside it. The resulting steam powered an engine connected to a pump capable of delivering 6,000 gallons of water a minute from the Nile to nearby fields.

Do try to concentrate

The modern history of solar-thermal power began after the oil crises of the 1970s, which prompted many nations to start to investigate clean and renewable energy sources as alternatives to fossil fuels. Over the following decades America, Spain and a handful of other countries built solar-thermal pilot plants for research purposes. The first company to implement the technology on a commercial scale was Luz International, an Israeli company founded in 1980.

Drawing on prior research, Luz began building a series of solar-thermal power stations in California’s Mojave desert in the mid-1980s. Like Mr Shuman before, the company used parabolic troughs to focus sunlight on to liquid-filled tubes, but instead of water they used oil as the heat-transfer fluid. Once it reached a temperature of about 390°C, the hot oil was pumped to a so-called “power block” where it went through a series of heat exchangers, turning water into steam and powering a conventional steam-turbine. The turbine then turned a generator to produce electricity.

By 1990 Luz had constructed nine plants with a total capacity of 354MW. At the time, solar-thermal power was producing about 90% of all solar electricity in the world, says Arnold Goldman, the former chief executive of Luz, who is now chairman of BrightSource. But when the price of natural gas fell and America’s tax incentives for solar power were not renewed, the industry came to a grinding halt. For nearly two decades no new commercial solar-thermal plants began operating. In the meantime, solar-photovoltaic technology slowly took over the market, and by 2007 worldwide installed capacity reached 9.2GW. Although it is more expensive per kilowatt-hour, solar panels can be deployed in small, modular systems, and thus require much less capital investment. Moreover, they can generate power off the grid, which turned out to be an important market for solar power in its early days.

Now, as the solar-thermal industry is experiencing a revival, parabolic-trough projects are garnering much of today’s investment money because of their proven track record. To improve the economics still further, SkyFuel, a firm based in New Mexico, is replacing curved glass mirrors, which are expensive to make, with a thin, reflective low-cost film. And other competing solar-thermal technologies that were developed in parallel with trough-based systems, but never commercialised, are also ready to be deployed.

Among them is an approach that BrightSource uses, in which a field of small, flat mirrors called “heliostats” redirect and concentrate sunlight onto a central receiver at the top of a tower. The tower contains a fluid, typically water, which boils and the resulting steam is then transferred to a nearby “power block”, where it spins a conventional turbine. The advantage of this “power tower” approach is that it can produce steam at a temperature of 550°C and can thus achieve a higher thermal-to-electric efficiency than trough-based systems, says John Woolard, the chief executive of BrightSource. In addition, he says, power-tower systems suffer from fewer pumping losses than trough-based designs. The first commercial power-tower began operating in Spain in 2007.

Another advance that makes solar-thermal power more economically and technologically viable than in the past is the ability to use a large number of smaller and less expensive mirrors, steered by computer systems, to ensure more accurate and automatic tracking and redirection of sunlight than was ever possible before. Bill Gross, the chief executive of eSolar, a developer of “power tower” technology based in Pasadena, California, says his firm is using software to turn thousands of flat mirrors and shape them into a continuously evolving parabola around the tower.

Storage and hybrids

Both power-tower and parabolic-trough systems can store thermal energy in the form of hot, molten salt. It is then possible to generate steam, and thus electricity, even when the sun is not shining. Solar-thermal plants without storage can operate about 30% of the year; but with storage that number could climb to 70% or higher. Unfortunately storage is expensive, and is only economical when regulators provide incentives. In Spain, for example, producers of solar-thermal power receive a guaranteed feed-in tariff. That makes it particularly appealing for Spanish plants to have storage capabilities, to maximise their ability to sell electricity to utilities. In America the main incentives for solar-thermal projects are a 30% investment-tax credit or an equivalent cash grant. As a result, American plants have to be built more cheaply in order to make a profit, and thus typically do not include storage.

Eyevine

Power from a parabola

A cheaper alternative to storage is hybridisation. All the original Luz plants also have natural-gas boilers that can generate steam when the sun is not shining. Because solar-thermal plants have a power block and turbine already in place, the extra cost is marginal. Hybridisation could also be done the other way around, by using steam generated from solar-thermal collectors to help drive the turbines at existing coal or gas plants. The Electric Power Research Institute, based in Palo Alto, is studying the feasibility of this approach as a means of reducing fuel costs and emissions at existing power stations.

In addition to parabolic troughs and power-towers there is also a third solar-thermal technology, which combines curved, dish-shaped mirrors with heat engines. In a dish-engine design, the mirrors concentrate sunlight to generate heat, which then typically powers a Stirling engine—a machine that converts heat into mechanical energy by compressing and expanding a fixed quantity of gas. The change in pressure drives the engine’s pistons, which drive a shaft that turns a generator to produce electricity.

Although they are highly efficient, Stirling engines have seen little practical use since their invention nearly two centuries ago, and so far there are no commercial solar-thermal systems that use this approach. Critics of the technology say it involves too many moving parts, making it more complex and expensive to operate and maintain than competing technologies. Stirling Energy Systems, based in Phoenix, Arizona, hopes to prove the doubters wrong. It has signed two large power-purchase agreements, for up to 1,750MW, and plans to fulfil them using dish-engine systems built in conjunction with its sister company, Tessera Solar. Both projects are due to start construction as early as 2010.

One obstacle hampering the growth of the entire field is the difficulty of obtaining financing for solar-thermal projects in the current economic climate, says Thomas Mancini, programme manager for concentrating solar-power at Sandia National Laboratories. As a result, some announced projects may be delayed or perhaps never be built. The situation has prompted some companies to change their business models: Ausra, a solar-thermal company based in Mountain View, California, has switched from being an independent power-producer to being mostly an equipment supplier, for example.

Although solar-thermal power produces no carbon-dioxide emissions, it can have some negative environmental impacts. Both power-tower and trough-based systems are typically water-cooled, and require millions of gallons of water annually. That can cause big problems, especially in desert environments. The California Energy Commission recently urged NextEra Energy Resources, a renewable-energy company, to consider dry cooling instead of using water for its proposed solar-thermal power project in Kern County, California. (Stirling-engine designs do not require water for cooling.) Another potential problem when building power plants in remote locations is a lack of transmission lines, since it is difficult and expensive to get new transmission lines approved and built.

Despite these problems, many people think a massive scale-up of the industry is imminent. Among them is Mr Woolard, who believes that solar-thermal power could regain its historical lead over the solar-photovoltaic approach. Competition from photovoltaic systems for large-scale power generation should not be underestimated, however. According to Mr Bullard, thin-film solar-cell modules are rapidly falling in price, and can generate electricity more cheaply than solar-thermal power in some situations. But no matter which approach comes out on top, competition between the two technologies is sure to foster continued innovation, and a growing supply of clean electricity, in the years to come.

digital enclosure, transaction feedback, & the land enclosure movement

iSpy: Surveillance and Power in the Interactive Era (CultureAmerica)
by Mark Andrejevic (italics his - bold mine)

pg. 2
digital enclosure--the creation of an interactive realm wherein every action and transaction generates information about itself. Although the term implies a physical space, the same characteristics can apply to virtual spaces.
...
I use the term enclosure not just to invoke the notion of a space--virtual or otherwise--that is rendered interactive, but also to highlight the process of enclosure, whereby places and activities become encompassed by the monitoring embrace of an interactive (virtual) space. Accompanying this movement is a not-so-subtle shift in social relations: entry into the digital enclosure carries with it, in most cases, the condition of surveillance.
((re: Eyal Weisman: "the wall curls around itself"))
---
pg. 3
The use of the term digital enclosure is also meant to evoke the land enclosure movement associated with the transition from feudalism to capitalism, the process whereby over time communal land was subjected to private control, allowing private landowners to set the conditions for its use. Over time, the enclosure movement leads to the formation of distinct classes: those who own the means of production and those who must sell their labor for access to these means, whether arable lands or factories. A similar division of groups can be discerned in the emerging digital enclosure between those who control privatized interactive spaces (virtual or otherwise), and those who submit to particular forms of monitoring in order to gain access to goods, services, and conveniences.
...
...the use of interactive technologies--new media devices--lends itself to the generation of cybernetic information: feedback about the transactions themselves. This feedback becomes the property of private companies that can store, aggregate, sort, and in many cases, sell the information to others in the form of a database or a cybernetic commodity.

Polar Night / Midnight Sun

The polar night is the night lasting more than 24 hours, usually inside the polar circles. The opposite phenomenon, when the sun stays above the horizon for a long time is called the polar day, or midnight sun.

A common misconception is that at each point inside the polar circle, or that at each place where midnight sun occurs, the shortest day is totally dark. Because of twilight, this is not the case. In areas very close to the Arctic and Antarctic Circle, midnight sun is experienced, but polar night is never experienced. In fact, polar regions typically get more twilight throughout the year than regions located closer to the equator.

Inside the polar circles, the length of the time when the sun is below the horizon varies from 20 hours at the Arctic Circle and Antarctic Circle to 179 days at the Poles. However not all this time is classified as polar night, since there may be plenty of sunlight because of refraction. Also, one might notice that the time when the sun is above the horizon at the poles is said to be 186 days. The asymmetry in numbers is because the time when the sun is partially above the horizon is counted towards the "daytime".

Astronomical polar night

is the period that no trace of light can be seen anywhere and no astronomical twilight occurs. Astronomical twilight happens when the sun is between twelve and eighteen degrees below the horizon. Thus, astronomical polar night happens at latitudes above 84° 33′, which is exactly 18 degrees within the polar circle, or five and a half degrees from the pole.

There are no permanent settlements anywhere in this range of latitude. This portion of the Arctic Ocean is generally permanently ice capped. Some scientific stations in Antarctica, including Amundsen-Scott at the South Pole, experience this.



The midnight sun is a natural phenomenon occurring in summer months at latitudes north and nearby to the south of the Arctic Circle, and south and nearby to the north of the Antarctic Circle where the sun remains visible at the local midnight. Given fair weather, the sun is visible for a continuous 24 hours, mostly north of the Arctic Circle and south of the Antarctic Circle. The number of days per year with potential midnight sun increases the farther poleward one goes.

There are no permanent human settlements south of the Antarctic Circle, so the countries and territories whose populations experience it are limited to the ones crossed by the Arctic Circle, i.e. Canada, United States of America (Alaska), Denmark (Greenland), Norway, Sweden, Finland, Russia, and extremities of Iceland. A quarter of Finland's territory lies north of the Arctic Circle and at the country's northernmost point the sun does not set for 73 days during summer. In Svalbard, Norway, the northernmost inhabited region of Europe, there is no sunset from approximately 19 April to 23 August. The extreme sites are the poles where the sun can be continuously visible for a half year.

Since the Earth's axis is tilted with respect to the ecliptic by approximately 23 degrees 27 minutes, the sun does not set at high latitudes in (local) summer. The duration of the midnight sun increases from one day during the summer solstice at the polar circle to approximately six months at the poles. At extreme latitudes, it is usually referred to as polar day. The length of the time the sun is above the horizon varies from 20 hours at the Arctic Circle and Antarctic Circle to 186 days at the poles.

At the poles themselves, the sun only rises once and sets once, each year. During the six months when the sun is above the horizon at the poles, the sun spends the days constantly moving around the horizon, reaching its highest circuit of the sky at the summer solstice.

Due to refraction, the midnight sun may be experienced at latitudes slightly below the polar circle, though not exceeding one degree (depending on local conditions). For example, it is possible to experience the midnight sun in Iceland, even though most of it (Grímsey being a notable exception) is slightly south of the Arctic Circle. Even the northern extremities of Scotland (and those places on similar latitudes) experience a permanent "dusk" or glare in the northern skies at these times.

Nautical polar night

is the period during which there is only a faint glow of light visible during midday. It happens when there is no nautical twilight. Nautical twilight happens when the sun is between six and twelve degrees below the horizon. Because of refraction, there is still a place at the horizon with clearly more light than other places. The nautical polar night is limited to latitudes above 78° 33′, which is exactly 12 degrees within the polar circle, or eleven and a half degrees from the pole. Alert, Nunavut, the northernmost settlement in Canada and the world, experience this from late November to mid January.

the sky grows darker yet...

The Ballad of The White Horse
by Gilbert Keith Chesterson

DEDICATION
Of great limbs gone to chaos,
A great face turned to night—
Why bend above a shapeless shroud
Seeking in such archaic cloud
Sight of strong lords and light?
...
And I thought, "I will go with you,
As man with God has gone,
And wander with a wandering star,
The wandering heart of things that are,
The fiery cross of love and war
That like yourself, goes on."

O go you onward; where you are
Shall honour and laughter be,
Past purpled forest and pearled foam,
God's winged pavilion free to roam,
Your face, that is a wandering home,
A flying home for me.

Ride through the silent earthquake lands,
Wide as a waste is wide,
Across these days like deserts, when
Pride and a little scratching pen
Have dried and split the hearts of men,
Heart of the heroes, ride.


Up through an empty house of stars,
Being what heart you are,
Up the inhuman steeps of space
As on a staircase go in grace,
Carrying the firelight on your face
Beyond the loneliest star.

Take these; in memory of the hour
We strayed a space from home
And saw the smoke-hued hamlets, quaint
With Westland king and Westland saint,
And watched the western glory faint
Along the road to Frome.

BOOK I. THE VISION OF THE KING

...

For the end of the world was long ago,
When the ends of the world waxed free,
When Rome was sunk in a waste of slaves,
And the sun drowned in the sea.

When Caesar's sun fell out of the sky
And whoso hearkened right
Could only hear the plunging
Of the nations in the night.

When the ends of the earth came marching in
To torch and cresset gleam.
And the roads of the world that lead to Rome
Were filled with faces that moved like foam,
Like faces in a dream.

And men rode out of the eastern lands,
Broad river and burning plain;
Trees that are Titan flowers to see,
And tiger skies, striped horribly,
With tints of tropic rain.

Where Ind's enamelled peaks arise
Around that inmost one,
Where ancient eagles on its brink,
Vast as archangels, gather and drink
The sacrament of the sun.

And men brake out of the northern lands,
Enormous lands alone,
Where a spell is laid upon life and lust
And the rain is changed to a silver dust
And the sea to a great green stone.

And a Shape that moveth murkily
In mirrors of ice and night,
Hath blanched with fear all beasts and birds,
As death and a shock of evil words
Blast a man's hair with white.

And the cry of the palms and the purple moons,
Or the cry of the frost and foam,
Swept ever around an inmost place,
And the din of distant race on race
Cried and replied round Rome.

And there was death on the Emperor
And night upon the Pope:
And Alfred, hiding in deep grass,
Hardened his heart with hope.

A sea-folk blinder than the sea
Broke all about his land,
But Alfred up against them bare
And gripped the ground and grasped the air,
Staggered, and strove to stand.

He bent them back with spear and spade,
With desperate dyke and wall,
With foemen leaning on his shield
And roaring on him when he reeled;
And no help came at all.

He broke them with a broken sword
A little towards the sea,
And for one hour of panting peace,
Ringed with a roar that would not cease,
With golden crown and girded fleece
Made laws under a tree.

The Northmen came about our land
A Christless chivalry:
Who knew not of the arch or pen,
Great, beautiful half-witted men
From the sunrise and the sea.

Misshapen ships stood on the deep
Full of strange gold and fire,
And hairy men, as huge as sin
With horned heads, came wading in
Through the long, low sea-mire.

Our towns were shaken of tall kings
With scarlet beards like blood:
The world turned empty where they trod,
They took the kindly cross of God
And cut it up for wood.

Their souls were drifting as the sea,
And all good towns and lands
They only saw with heavy eyes,
And broke with heavy hands,

Their gods were sadder than the sea,
Gods of a wandering will,
Who cried for blood like beasts at night,
Sadly, from hill to hill.

They seemed as trees walking the earth,
As witless and as tall,
Yet they took hold upon the heavens
And no help came at all.

They bred like birds in English woods,
They rooted like the rose,
When Alfred came to Athelney
To hide him from their bows

There was not English armour left,
Nor any English thing,
When Alfred came to Athelney
To be an English king.

For earthquake swallowing earthquake
Uprent the Wessex tree;
The whirlpool of the pagan sway
Had swirled his sires as sticks away
When a flood smites the sea.

And the great kings of Wessex
Wearied and sank in gore,
And even their ghosts in that great stress
Grew greyer and greyer, less and less,
With the lords that died in Lyonesse
And the king that comes no more.

And the God of the Golden Dragon
Was dumb upon his throne,
And the lord of the Golden Dragon
Ran in the woods alone.

And if ever he climbed the crest of luck
And set the flag before,
Returning as a wheel returns,
Came ruin and the rain that burns,
And all began once more.

And naught was left King Alfred
But shameful tears of rage,
In the island in the river
In the end of all his age.

In the island in the river
He was broken to his knee:
And he read, writ with an iron pen,
That God had wearied of Wessex men
And given their country, field and fen,
To the devils of the sea.

And he saw in a little picture,
Tiny and far away,
His mother sitting in Egbert's hall,
And a book she showed him, very small,
Where a sapphire Mary sat in stall
With a golden Christ at play.

It was wrought in the monk's slow manner,
From silver and sanguine shell,
Where the scenes are little and terrible,
Keyholes of heaven and hell.

In the river island of Athelney,
With the river running past,
In colours of such simple creed
All things sprang at him, sun and weed,
Till the grass grew to be grass indeed
And the tree was a tree at last.

Fearfully plain the flowers grew,
Like the child's book to read,
Or like a friend's face seen in a glass;
He looked; and there Our Lady was,
She stood and stroked the tall live grass
As a man strokes his steed.

Her face was like an open word
When brave men speak and choose,
The very colours of her coat
Were better than good news.

She spoke not, nor turned not,
Nor any sign she cast,
Only she stood up straight and free,
Between the flowers in Athelney,
And the river running past.

One dim ancestral jewel hung
On his ruined armour grey,
He rent and cast it at her feet:
Where, after centuries, with slow feet,
Men came from hall and school and street
And found it where it lay.

"Mother of God," the wanderer said,
"I am but a common king,
Nor will I ask what saints may ask,
To see a secret thing.

"The gates of heaven are fearful gates
Worse than the gates of hell;
Not I would break the splendours barred
Or seek to know the thing they guard,
Which is too good to tell.

"But for this earth most pitiful,
This little land I know,
If that which is for ever is,
Or if our hearts shall break with bliss,
Seeing the stranger go?

"When our last bow is broken, Queen,
And our last javelin cast,
Under some sad, green evening sky,
Holding a ruined cross on high,
Under warm westland grass to lie,
Shall we come home at last?"

And a voice came human but high up,
Like a cottage climbed among
The clouds; or a serf of hut and croft
That sits by his hovel fire as oft,
But hears on his old bare roof aloft
A belfry burst in song.

"The gates of heaven are lightly locked,
We do not guard our gain,
The heaviest hind may easily
Come silently and suddenly
Upon me in a lane.

"And any little maid that walks
In good thoughts apart,
May break the guard of the Three Kings
And see the dear and dreadful things
I hid within my heart.

"The meanest man in grey fields gone
Behind the set of sun,
Heareth between star and other star,
Through the door of the darkness fallen ajar,
The council, eldest of things that are,
The talk of the Three in One.

"The gates of heaven are lightly locked,
We do not guard our gold,
Men may uproot where worlds begin,
Or read the name of the nameless sin;
But if he fail or if he win
To no good man is told.

"The men of the East may spell the stars,
And times and triumphs mark,
But the men signed of the cross of Christ
Go gaily in the dark.

"The men of the East may search the scrolls
For sure fates and fame,
But the men that drink the blood of God
Go singing to their shame.

"The wise men know what wicked things
Are written on the sky,
They trim sad lamps, they touch sad strings,
Hearing the heavy purple wings,
Where the forgotten seraph kings
Still plot how God shall die.

"The wise men know all evil things
Under the twisted trees,
Where the perverse in pleasure pine
And men are weary of green wine
And sick of crimson seas.

"But you and all the kind of Christ
Are ignorant and brave,
And you have wars you hardly win
And souls you hardly save.

"I tell you naught for your comfort,
Yea, naught for your desire,
Save that the sky grows darker yet
And the sea rises higher.

"Night shall be thrice night over you,
And heaven an iron cope.
Do you have joy without a cause,
Yea, faith without a hope?"

Even as she spoke she was not,
Nor any word said he,
He only heard, still as he stood
Under the old night's nodding hood,
The sea-folk breaking down the wood
Like a high tide from sea.

He only heard the heathen men,
Whose eyes are blue and bleak,
Singing about some cruel thing
Done by a great and smiling king
In daylight on a deck.

He only heard the heathen men,
Whose eyes are blue and blind,
Singing what shameful things are done
Between the sunlit sea and the sun
When the land is left behind.

BOOK II. THE GATHERING OF THE CHIEFS

...
"And this is the word of Mary,
The word of the world's desire
'No more of comfort shall ye get,
Save that the sky grows darker yet
And the sea rises higher.'"

Then silence sank.

------

This ballad needs no historical notes, for the simple
reason that it does not profess to be historical. All of it that is not
frankly fictitious, as in any prose romance about the past, is meant to
emphasize tradition rather than history. King Alfred is not a legend in
the sense that King Arthur may be a legend; that is, in the sense that
he may possibly be a lie. But King Alfred is a legend in this broader
and more human sense, that the legends are the most important things
about him.

The cult of Alfred was a popular cult, from the darkness of the ninth century to the deepening twilight of the twentieth. It is wholly as a popular legend that I deal with him here. I write as one ignorant of everything, except that I have found the legend of a King of Wessex still alive in the land. I will give three curt cases of what I mean. A tradition connects the ultimate victory of Alfred with the valley in Berkshire called the Vale of the White Horse. I have seen doubts of the tradition, which may be valid doubts. I do not know when or where the story started; it is enough that it started somewhere and ended with me; for I only seek to write upon a hearsay, as the oldballadists did. For the second case, there is a popular tale that Alfred played the harp and sang in the Danish camp; I select it because it is a popular tale, at whatever time it arose. For the third case, there is a popular tale that Alfred came in contact with a woman and cakes; I select it because it is a popular tale, because it is a vulgar one. It has been disputed by grave historians, who were, I think, a little too grave to be good judges of it. The two chief charges against the story are that it was first recorded long after Alfred's death, and that (as Mr. Oman urges) Alfred never really wandered all alone without any thanes or soldiers. Both these objections might possibly be met. It has taken us nearly as long to learn the whole truth about Byron, and perhaps longer to learn the whole truth about Pepys, than elapsed between Alfred and the first writing of such tales. And as for the other objection, do the historians really think that Alfred after Wilton, or Napoleon afterLeipsic , never walked about in a wood by himself for the matter of an hour or two? Ten minutes might be made sufficient for the essence of the story. But I am not concerned to prove the truth of these popular traditions. It is enough for me to maintain two things: that they are popular traditions; and that without these popular traditions we should have bothered about Alfred about as much as we bother aboutEadwig.

One other consideration needs a note. Alfred has come down to us in the best way (that is, by national legends) solely for the same reason as Arthur and Roland and the other giants of that darkness, because he fought for the Christiancivilization against the heathen nihilism. But since this work was really done by generation after generation, by the Romans before they withdrew, and by the Britons while they remained, I have summarised this first crusade in a triple symbol, and given to a fictitious Roman, Celt, and Saxon, a part in the glory ofEthandune . I fancy that in fact Alfred's Wessex was of very mixed bloods; but in any case, it is the chief value of legend to mix up the centuries while preserving the sentiment; to see all ages in a sort of splendidforeshortening. That is the use of tradition: it telescopes history.

G.K.C.

GARS O'Higgins/ANTARCTICA webcameras, +NeuMayer

Above: Penguin cam to the right and station cam 2 on the left. Both webcams are mounted on the outside of a container without any additional shelter in a standard fitting, just as you order them at the factory! These cams (made by MOBOTIX) are extraordinary robust, have lots of unique features and provide a fantastic picture quality! For example the new software enables each camera for IP Telephony. Each cam has a weatherproof microphone and loudspeaker. And the quality of the pictures speak for themselve! Our cam has two fixed lenses onboard. The best cams I can imagine for any outdoor surveillance, even in an extreme environment like the north antarctic (but they also have brands for indoor use).

If you want to see another MOBOTIX cam in the antarctic, then have a look on this stand-alone-solution on the Larsen shelf ice. As far as I know this is the most isolated webcam on the Antarctic continent at the moment! Energy supply comes from a combined windpower and photo-voltaic system, pics are sent via WLan over a distance of several kilometeres to the German Antarctic Base "NeuMayer"

website

The Idea of Order at Key West by Wallace Stevens

WS reading the poem

She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.

The sea was not a mask.  No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard.
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.

For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this?  we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.

If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone.  But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang.  And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker.  Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.

Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.

Oh!  Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.

Theodore Roosevelt's African safari 1909

Roosevelt standing with native hunters over a dead lion during a safari in 1910. Photo credit: Library of Congress.

In March 1909, shortly after the end of his second term, Roosevelt left New York for a safari in Africa. Financed by Andrew Carnegie and by his own proposed writings, Roosevelt hunted for specimens for the Smithsonian Institution and for the American Museum of Natural History in New York. His party, which included scientists from the Smithsonian and was led by Frederick Selous, the famous big game hunter and explorer, killed or trapped over 11,397 animals, from insects and moles to hippopotamuses and elephants. 512 of the animals were big game animals, of which 262 were consumed by the expedition. This included six white rhinos. Tons of salted animals and their skins were shipped to Washington; the number of animals was so large, it took years to mount them. The Smithsonian was able to share many duplicate animals with other museums. Of the large number of animals taken, Roosevelt said, "I can be condemned only if the existence of the National Museum, the American Museum of Natural History, and all similar zoological institutions are to be condemned."^[37] Although based in the name of science, there was a large social element to the safari. Interaction with many native peoples, local leaders, renowned professional hunters, and land owning families made the safari much more than a hunting excursion. Roosevelt wrote a detailed account of this adventure; "African Game Trails" describes the excitement of the chase, the people he met, and flora and fauna he collected in the name of science.

http://en.citizendium.org/wiki/Theodore_Roosevelt

more safari history-Rooseveldt's safari

Safari Holidays: Brief History Safari has it roots in Arabic via Swahili and means “to make a journey”. Originally, Safaris were essentially trade missions seeking ivory, rhino horn, and slaves. With the coming of Europeans, the Safari began to be associated with exploration and the discovery. And those early European Safaris were huge operations that involved armies of staff and crew along with supplies and weapons. They blazed a trail for scientific safaris by Stanley and Livingstone or Burton and Speke. Many explorers never returned alive. Disease, starvation or death was part of the early African Safari experience.

African Safaris were trendy too. The novels of Rider Haggard, such as King Solomon’s Mines, introduced Allan Quatermain and the African Safari to an entirely new Victorian audience. Inevitably, along with great naturalists and men of science came the hunters. The European colonial ethic was to rule and dominate the people, the mineral resources and the wildlife. The Safari became synonymous with the “Hunt”. Conquering the wild beast and returning with trophies became the Safari’s entire purpose. Great White Hunters like Cornwallis Harris and Frederick Courtenay Selous prospered and by 1850 they were killing 30,000 elephant a year in East Africa. Gradually, this attitude changed. Those same hunters realised that the wildlife they were slaughtering was a finite resource. The first seeds of a conservation ethic were planted.

The Safari gradually began to change as the hunters began to consider themselves as naturalists and experts in bush craft. Selous’ book “A Hunter’s Wanderings In Africa” encouraged a new respect for natural Africa. Ironic though it may be, it’s because of men like Seleous and Harris that the conservation movement got started. That didn’t immediately stop the shooting parties though.

East Africa became the home of the Safari in the early 20th century and an entire industry grew up to cater for the every need of American and European clients keen to bag a trophy. The Guided Safari was born and probably reached its peak in 1909 with Theodore Roosevelt’s Great Safari, which cost £15,000.00 (several millions in today’s value!). Every Safari, whether undertaken by a hunter, naturalist, explorer, conqueror or colonial administrator, needed an army of gun-bearers, interpreters, guides, cooks and porters. Some of the Africans who made Safaris possible were almost as well known to the European public as the white explorers themselves.

By the middle of the last century portered safaris became less common as automobiles took over. Camping Safaris grew in popularity and so too did Photographic Safaris. The Safari Holiday has come a long way from the days of slave trading and over-zealous hunting. However, some elements of the Safari Holiday remain the same : Africa’s staggering natural beauty, the sense of freedom and adventure and the crucial involvement of Africa’s people. A Safari Holiday also remains a highly personal experience.

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