#Disc diffusion

[haziqhefram]

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[artifacts-and-arthropods]

Prehistoric Mirrors from Turkey, c.6400 BCE: these are the oldest manufactured mirrors in the world, dating back to more than 8,000 years ago, and they were meticulously crafted from pieces of obsidian

Above: two obsidian mirrors that were found buried together at Catalhoyuk, in Turkey, back in 2012

At least eight of these obsidian mirrors have been discovered at a Neolithic site known as Çatalhöyük, in modern-day Turkey, and they date back to about 6400-6200 BCE. Each mirror was crafted from a chunk of obsidian (volcanic glass) that was knapped into the shape of a disc and then meticulously polished with progressively finer abrasives until a smooth, slightly convex surface had been developed.

Some of these mirrors can still produce remarkably clear reflections even after more than 8,000 years.

Sources & More Info:

The Archaeologist: World's Oldest Mirrors Found at Neolithic Çatalhöyük Site

Çatalhöyük Research Project: Archive Report from 2012 (PDF)

Journal of Archaeological Science: Neolithic Obsidian Mirrors from Southwest Asia: a Reflection on their Diffusion and Manufacture

Çatalhöyük Research Project: Main Website

Journal of Modern Optics: Archaeological Optics: the Very First Known Mirrors and Lenses

The Past: Cyber Archaeology, How 3D Modeling is Unpeeling the Neolithic at Çatalhöyük

[la-chacha-gris]

Things to do on a Sunday afternoon to feel better. Tidying up. I'm not joking or assuming the sexist caricature that makes us look like hysterical cleaners. This story is gender-specific, and I said "tidying up," not cleaning. Spend three or four minutes reading the short text. Trigger Warning: Tibetan mandalas, esotericism, and a kick in the ass for Mari Kondo fans…

The mandalas in your room/Los mandalas de tu habitación...

VS Marie Kondo

Cosas que hacer un domingo por la tarde para sentirse mejor. Ordenar. No estoy bromeando ni asumiendo caricatura machista que nos pone de limpiadoras histéricas, esto a contar es transversal de género y he dicho 'ordenar' y no limpiar. Dedicadme tres minutos o cuatro a leerme el pequeño texto. Trigger Warning; mandalas tibetanos, esoteristas y patada en el culo a los fans de Marie Kondo…

Do you think you're too old or busy to spend a free afternoon sorting through your collections? Take a moment to breathe before answering. It's a free afternoon, you don't have to produce anything, and the series you watch on Netflix don't have a taxi meter paying for your ride. Remember when you were a teenager, or even younger, and you had fewer physical items and fewer obligations? I could spend half an afternoon choosing clippings for a homemade CD cover with an MP3 disc. I could dedicate that entire afternoon to the space above the chest of drawers for my socks. That space was my first library, and those three dozen books that barely fit there were my treasure… and my live-action Tetris, too.

¿Te crees persona demasiado mayor u ocupada para pasar una tarde libre ordenando tus colecciones? Respira un momento antes de responder. Es tarde libre, no tienes que producir nada y las series que sigas en Netflix no tienen un taxímetro pagándote a ti el recorrido. ¿Recuerdas cuando eras adolescente o incluso más joven y tenías menos cosas en formato físico y menos obligaciones? Podía pasar media tarde eligiendo los recortes para una portada casera de CD grabado con discografía en MP3. Podía dedicar toda esa tarde al hueco que quedaba arriba del mueble con cajones para los calcetines. Ese espacio era mi primera biblioteca, y esas tres docenas de libros que apenas cabían ahí eran mi tesoro… y mi live action Tetris también.

I feel silly telling this, but I've learned over the years that it isn't. To begin with, at a young age, that's our meager heritage and an important part of the world around us (still diffuse, with few acquaintances and return home schedules). It represented our tastes, having worked hard to obtain each object in those collections, and these tastes represented ourselves. When you're very young, you know deep down that the order imposed on that small stash is like the constellations of your inner universe.

A while ago, I came across a book by a supposed occultist, more of an outdated hippie who was a fashion victim of traditional cultures, but he wrote very well and made bold analogies between very distant things; it was something too typical of me for me to pay attention to. He said that organizing your records (you know, in times of only physical formats for music) was something very subjective and personal, in the manner I've already paraphrased. Would you arrange them in the order they arrived in your collection to give more use to the less-listened-to ones because they're new, or would you decide to line them up one after the other so you don't forget any to jazz up your space? And if you choose to organize them by musical style, that seems easy enough to say. It's enough to own a Rosalia album (or The Doors if you're older) to drive yourself crazy trying to decide where it fits. Choosing isn't as simple as it seems and is something very personal that can always be revised or completely redone if you change your mind (or your furniture).

Siento tonto esto al contarlo, pero aprendí con los años que no lo es. Para empezar, a cortas edades ese es nuestro escueto patrimonio y parte importante del mundo que nos rodea (aún difuso, con pocos conocidos y horarios de vuelta a casa). Representaba nuestros gustos habiendo costado conseguir cada objeto de esas colecciones y estos gustos a nosotros mismos. Cuando eres muy joven sabes en tu interior que el orden impuesto a ese pequeño alijo es como las constelaciones de tu universo interior.

Hace tiempo llegué a un libro de supuesto ocultista, más bien un hippie fuera de época que era un fashion-victim de culturas tradicionales, pero escribía muy bien y hacía analogías aventuradas entre cosas muy distantes, era algo muy propio de mi como para que prestara atención. Él decía que ordenar tus discos (ya saben, tiempos de solo formato físico para la música) era algo muy subjetivo y personal a la manera de lo que ya les he parafraseado. ¿Tu los pondrías en el orden que llegaron a ti colección para darle más uso a los menos escuchados por nuevos o decidirías ponerlos en fila para ir poniéndolos uno tras otro y no olvidarte de ninguno para sonorizar tu espacio? Y si escoges ordenarlos por estilos musicales, esto solo parece fácil decirlo. Basta tener algún disco de Rosalía (o de The Doors si eres más mayor) para volverte loca intentando decidir donde encaja. Escoger no es tan sencillo como parece y es algo muy tuyo que siempre puede ser revisado o completamente rehecho si cambias de criterio (o de mueble).

What I've said about physical CDs also applies to books. It's just that it can be more complicated with these because the height and thickness vary greatly. And I've even had books with gold lettering, which I mentioned in another post look horrible next to hardcover editions… But what we're talking about applies to collections of anything, even dildos or other sex toys (I suppose). This never-ending activity of giving time and care to your collections was compared by the post-hippie occultist to the laborious task of making mandalas in Tibet. The monks take ages to make them and then undo them. The important thing isn't what the work produces, but the process itself of concentrating on how to represent something internal and even mystical.

Organizing your collections would be like leaving the world behind, like meditation, a way to disconnect and connect with yourself. And you've probably forgotten how good it feels after spending a good amount of time organizing your things to your liking. It may be more mentally impactful to do this with physical objects that need to be fitted or stacked, but it can work with digital files, organizing them into folders just for you. When my mom calls me and I'm pissed off by one of her reproaches, I usually sit on the PC with music playing and update the new subfolders dedicated to having quick-accessible images to answer Asks and more. It works, and today I'm having one of those afternoons to decide to share this.

Lo contado con discos en formato físico vale también para libros. Solo que con estos puede ser más complicado porque ahí el alto o el grosor varían mucho. Y he llegado a tener libros con letras doradas de los que os decía en otro post que se ven horribles al lado de ediciones en cartoné… Pero lo que estamos hablando vale con colecciones de lo que sea, incluso de dildos u otros juguetes sexuales (supongo). Esta actividad que nunca acaba del todo dando tiempo y cuidados a tus colecciones la comparaba el poshippie ocultista con la actividad laboriosa de hacer mandalas en el Tibet. Los monjes tardan muchísimo en hacerlos para luego deshacerlos. Lo importante no es lo que produce la labor, sino el proceso mismo de concentrarte buscando como representar algo interior y hasta místico.

Ordenar tus colecciones sería dejar el mundo atrás como en la meditación una manera de desconectar para conectar contigo. Y seguro que has olvidado que bien se siente tras dedicar un buen rato a ordenar tus cosas a tu gusto. Puede que tenga más impacto mental hacerlo con objetos físicos a encajar o apilar, pero puede valer con archivos digitales con tu distribución en carpetas solo para ti. Cuando mi madre me llama y quedo cabreada por alguno de sus reproches, suelo ponerme al PC con música y actualizar con las novedades subcarpetas dedicadas a tener encontrables rápido imágenes para responder a los Ask y más cosas. Funciona, y hoy tengo una de esas tardes como para decidirme a contar esto.

This is turning out to be longer than I thought (it happens to me a lot), but I said I'd talk about Marie Kondo, and it's important to compare her coaching style with what I've already said. Kondo became very popular a few years ago thanks to an effective social media marketing campaign and a micro-content policy before TikTok and her way of doing things, but it's nothing new. She tells clueless Westerners about the virtues of Eastern minimalism in interior design. You might feel more relaxed in a room with fewer things (not me, my hallway would feel like a liminal space!), or it might be liberating for some to get rid of books you're never going to read again or that you bought but keep putting aside because reading them is an uphill struggle. Kondo argues that having less is more, that you should keep only what is useful and essential. That what you own possesses you, as Brad Pitt said, more handsome than ever in that movie (and two hundred years earlier the Pacific Rim natives saw how modern man lived).

Me está quedando esto más extenso de lo que pensé (me pasa mucho) pero dije que hablaría de Marie Kondo y es importante confrontar su estilo de ¿coaching? con lo contado. Kondo se hizo muy popular hace unos años por una eficaz campaña de marketing de redes sociales y una política de micro contenidos antes de Tik Tok y su forma de hacer las cosas, pero nada nuevo es. Cuenta a despistados occidentales las virtudes del minimalismo oriental en interiorismo. Puede que te sientas más relajado en una habitación con menos cosas (yo no, mi pasillo parecería un espacio liminal!) o que sea una liberación para algunos deshacerse de libros que no vas a volver a leer o que compraste pero que vas y vas dejando porque leerlos se te hace cuesta arriba. Kondo defiende que tener menos es más, que debes conservar solo lo útil y esencial. Que lo que posees te posee como decía Brad Pitt más guapo que nunca en aquella peli (y doscientos años antes los nativos del pacifico al ver como vivía el hombre moderno).

When I talk about today's topic here, someone always came up with the damn Marie Kondo. And look, it doesn't matter if your collection has 30, 300, or 3,000 copies of whatever, that speaks to your collecting, but what I've said applies just the same. For Kondo fans, a book they've already read or an album they've stopped listening to should be treated like a used condom. But I'm not like that. I have duplicate books because I like old and/or unusual editions, and I also keep books I didn't like because they're a gift that reminds me of someone or a special time in my life. Don't let that Kondo come near me. Leave me with my mandala house and my therapy of organizing things so I can get myself organized inside when something stirs my soul. I'm like that, and I warn you that if Kondo opens the underwear drawer, she'll have a fit. We all have things that are very impractical or only for very special moments that rarely come along; that's part of the charm of those things.

Cuando hablo del tema de hoy aquí, siempre me salía alguien con la maldita Marie Kondo. Y mira, da igual que tus colecciones tengan 30, 300 o 3000 ejemplares de lo que sea, eso habla de tu coleccionismo pero lo que he contado se aplica igual. Para los Kondofans un libro que ya leyó o un disco que ya no escucha debe tratarse como a un condón usado. Pero yo no soy asi. Tengo libros repetidos porque me gustan las ediciones antiguas y/o peculiares, y también guardo libros que no me gustaron porque son un regalo que me recuerda a alguien o a una época en especial de mi vida. Que no se me acerque la Kondo esa. Que me dejen con mi casa mandala y mi terapia de ordenar cosas para ordenarme por dentro cuando algo me remueve el alma. Soy así y advierto que como la Kondo abra el cajón de la ropa interior le da un síncope. Todos tenemos cosas muy poco prácticas o solo para momentos muy especiales que rara vez se dan, es parte del encanto de esas cosas.

[world-of-wales]

THE OFFICIAL GIFTS LIST FOR 2022 HAS BEEN RELEASED :

The Prince and Princess of Wales received the following gifts during their overseas trips and tours in 2022.

(The list below does not include all gifts from private individuals, to see the full comprehensive list including all the gifts from them, click on the accompanying links on the names of the countries ♡)

UNITED ARAB EMIRATES (DUBAI) 🇦🇪 :

The Prince of Wales received reed diffuser and candle set and white metal bookmark from an individual.

Prince George, Princess Charlotte and Prince Louis of Wales received a book each from an individual (on their behalf).

DENMARK 🇩🇰 :

The Princess of Wales received a tea service from HRH Crown Princess Mary of Denmark.

She received a bouquet of Lego flowers from an individual. Prince George, Prince Louis and Princess Charlotte received a Lego set each from an individual (on their behalf)

BELIZE 🇧🇿 :

The Princess of Wales received handbag, purse and belt from The Hon. Juan Antonio Briceno, Prime Minister of Belize

The Prince and Princess of Wales received basket with cacao gifts, three joined woven discs with wooden post, two books, rosewood kneading bowl, mahogany wood vase and a painting from H.E. Dame Froyla Tzalam, Governor-General of Belize

The Prince and Princess of Wales received white metal turtle on black plaque and a picture from H.E. Nery Magali Funes Padilla, Ambassador of Honduras in Belize.

The Prince and Princess of Wales received wicker basket of Belize products from The Hon. Juan Antonio Briceno, Prime Minister of Belize.

Prince George of Wales received two t-shirts, two lined notebooks, a ruler, a pen and a pencil from individuals. (on his behalf)

Princess Charlotte received purse, t-shirt, two lined notebooks, a ruler, a pen and a pencil.

Prince Louis received two t-shirts and two lined notebooks, a ruler, a pen and a pencil from individuals.

Prince George, Princess Charlotte, and Prince Louis of Wales received two books from Individual.

JAMAICA 🇯🇲 :

The Prince of Wales received shirt and a hat from Shernette Crichton.

The Prince of Wales received book from The Hon. Olivia Grange, CD, MP, Minister of Culture, Gender, Entertainment and Sport

The Prince of Wales received framed Jamaican 2020 Olympic team jersey from The Most Hon. Sir Patrick Allen, Governor-General of Jamaica and The Most Hon. Lady Allen.

The Princess of Wales received clutch bag from Rear Admiral Antonette Wemyss Gorman, Chief of Defence Staff, Jamaica.

The Princess of Wales received two shirts, a book and a pair of shoes from The Hon. Olivia Grange, CD, MP, Minister of Culture, Gender, Entertainment and Sport.

The Prince and Princess of Wales received framed photograph from His Worship, Mayor Norman Scott, JP, Mayor of Spanish Town

The Prince and Princess of Wales received wooden box, set of coasters and two badges from Rear Admiral Antonette Wemyss Gorman, Chief of Defence Staff, Jamaica

The Prince and Princess of Wales received framed picture from The Hon. Icylin Golding, CD, JP, Custos Rotulorum of St. Catherine

The Prince and Princess of Wales received bottle of rum from The Most Hon. Andrew Holness, Prime Minister of Jamaica

The Prince and Princess of Wales received two gift sets and a framed first day cover from The Most Hon. Juliet Holness, MP

The Prince and Princess of Wales received four framed photographs and a book from The Most Hon. Sir Patrick Allen, Governor-General of Jamaica and The Most Hon. Lady Allen

THE BAHAMAS 🇧🇸 :

The Prince and Princess of Wales received commemorative coin and framed painting from The Rt. Hon. Philip Davis, Prime Minister of The Bahamas

The Prince and Princess of Wales received model of a sailing boat from The Hon. Sir Cornelius A. Smith, Governor-General of The Bahamas

They also received a seashell ornament, carved conch shell, framed painted ceramic tile, framed photograph, framed picture, marquetry picture, and a painting from various Individuals.

UNITED STATES (BOSTON) 🇺🇸 :

The Prince of Wales received Ceramic Vase and Wooden Bowl from Mayor Michelle Wu, Mayor of Boston The Prince of Wales received Framed Speech from H.E. Caroline Kennedy, United States Ambassador to Australia Prince George received a book from Mayor Michelle Wu, Mayor of Boston (on his behalf)

The Princess of Wales received Hockey Jersey, Two Baseball Caps, Visor Hat, Bobble Hat, Two Sweatshirts and Stuffed Toy from Individual

Prince George, Princess Charlotte and Prince Louis received a Vest each from an individual (on their behalf)

[boxboxblog]

How Do F1 Cars Work?: Setup pt 1

Alright, so I wanted to explore car setups and how they effect F1 cars. Enjoy!

So, setting up an F1 car is a very complex process, They have to balance numerous elements in the car to suit things like weather, track type, driving styles, etc. But what do they actually alter on the car? And how does it effect the driving?

Altered Components:

Aerodynamics - The easiest and most obvious adjustments are to the aerodynamics, like the rear wings or front wings. These are usually the ones chosen for change in aerodynamics, but they might also change the side pods or diffusers to effect the downforce of the car. They most often change aerodynamics for circuit styles. A tight street circuit will require higher downforce set up, as it gives them more control around the corners. A classic circuit will often switch to a low downforce set up, which gives them speed on the straights. Most teams try to have a good balance, however.

Suspension - Suspension settings control how the car responds to bumps and turns. Whenever they discuss a car porpoising too much, it is usually because the suspension set up is wrong. They change variables including ride height (distance between lowest point of car and track surface), camber (angle of wheels relative to the vertical axel from the front), toe (angle of front wheel when viewed from above), stiffness of springs, and anti-roll bars (parts that connect left and right suspension systems, which help control body roll). For example, cars can have negative or positive camber, which really effect things like grip, tire wear, etc. These aspects of setup are usually altered to suit a drivers style and preferences.

Tire Setup - This essentially envelopes tire pressure and starting temperature, which impact grip and wear rates. For example, lower tire pressure increases the grip, but leads to faster degradation. Higher does the opposite. This is usually altered depending on track temperature and style, or even ti make up for their weak areas. If they do not have good tire management, for example, they may alter the tire setup to degrade slower.

Differential - This controls the relative speed of the rear wheels, a big part of traction control. It is adjusted to either open or lock more. An open differential allows the rear wheels to rotate at different speeds, helping with corner entry but leading to oversteer a lot of the time. A locked differential keeps the wheels rotating together, offering stability on exits but leading to a lot of understeer. This is an aspect that is often changed to suit driver preference. Some can handle the oversteer very well, but other find understeer easier to deal with.

Brake Balance - This is the balance between the front and rear brakes, and is used to prevent lockup (when too much force is applied to the brakes, causing the disc to stop or rotate slower than the car's motion) and improve stability. This is altered by changing the bias, or distribution of braking force, and is often discussed in terms of percentages. More rear brake bias improves rotation in corners, but increases chance of rear lockup. More front brake bias stabilized braking, but can make turn-in more challenging.

Engine Mapping- This refers to the software settings in the car that controls how the engine delivers power. Things like throttle response, fuel injection, ignition timing, and turbo settings are all altered. All of it changes how a car accelerates, responds to stimuli, and consumes fuel. The different types of maps include qualifying maps (max power for short time), race maps (balanced and conservative), fuel-saving maps (usually end of race), and wet maps (softer throttle response, less sensitive car). ERS Deployment is a big part of this, and refers to the management of the kinetic and heat generators. They choose different ERS deployment depending on what they plan to do. For example, if they are planning on trying to overtake they will charge their battery and then use a lot of power to give the car a boost.

Gear Ratios - These ratios determine the relationship between the RPM (engine speed) and the speed of the wheels. There are eight forward gears in F1, and each one changes this ratio to some degree. The ratios dictate how much the engine must rev for the wheels to turn at a certain speed. The two major types of gear ratios are long ratios and short ratios. Long ratios reduce the torque but allow for higher top speeds, suited for tracks with long straights. Short ratios provide more torque which allows for faster acceleration, better for twisty tracks.

Setup Types:

While there are so many different aspects to set up, there are a few main types that most teams follow. Between them, a variety of factors change, but the core of them remains the same.

High-Downforce - One of the most basic set ups, it prioritizes grip on corners by increased downforce. Usually used for twisty, slow-medium circuits like Monaco or Singapore.

Low-Downforce - The other more basic setup, it lowers generated downforce to minimize drag and optimize for straight-line speed. It does sacrifice corner grip, so is best suited for classic circuits like Silverstone or Monza.

Wet - In wet races DRS is disabled, and drag is at an all time high. So teams usually focus on getting a huge amount of downforce, making car less sensitive, and making sure their tire set up is as grippy as possible. The differential is also changed, as drivers should be able to keep traction, ride height is raised, and suspension is softened. This is kind of a subsection of the high-downforce set up, though for different reasons.

High/Low Temp - Both hot and cold temperatures have massive impacts on F1 cars. So if they know they will have a race with an extreme on either side, the set up must be altered to reflect that. In hot Singapore, for example, they must lower tire pressure, change the camber, and boost the cooling systems to avoid overheating engine and degrading tires fast. In cold Montreal, tire pressures are raised, brakes are placed in different settings to keep warm, and the camber is also changed.

Alright, I will continue my discussion on setups in next post, as this one is getting quite long.

Cheers,

-B

[eleventhhourfactor]

Factor Makes a Poltergust!

Part two

Last time on Factor Makes...

We got into the crafting process behind a homebrewed Poltergust, proudly made by someone with a tenuous grasp of engineering. I talked my way through the conversion of a cat carrier, the crafting of panels to attach, and even got a bit into the vacuum tube and flashlight.

Now, I hope to wrap things up by walking through the last few things: lights and the green goo orb.

Disclaimer

For those of you who didn't catch the first post, this is NOT a tutorial. I'm documenting my process, and if you want to use it as a reference for your own purposes, you are free to do so.

That being said, take precautions, people. Work in a well-ventilated area, lay out something to catch paint and drips of glue and sealant, and do not just stick your hands in stuff. Wear gloves. Goddamn.

With that said, on to the orb.

The Orb

What is the orb? Why is my title green? Which Poltergust are you making, anyway?

To answer those questions:

The orb is what holds (or bears semblance of holding) a certain gooey assistant.

The title is green because Gooigi is green.

I'm mashing up the Poltergust 5000 and the G-00, due to the base being a cat carrier and my skill limits with crafting stuff like this.

I mixed together two paints for the gooey interior: one green, one glow-in-the-dark starry kind of stuff. This was applied inside the orb, as well as to the outside of the inner bulb.

Oh, right, the inner bulb!

With a glass bowl, another foam disc, and some sealant, I made something for the inside of the orb. This is all painted to diffuse the light quite a bit.

Without the paint, it's kinda bright. But once things are painted and stacked up (with this inner disc given some Velcro), it gives off a soft glow goo effect.

For the attached tubes going from the orb to the Poltergust, I cut out some circles and stuck them inside the flap. From there, I cut another EVA foam dowel (painted black beforehand) into 7" inch pieces before gluing them to the foam circles and feeding the other ends into the dome. Don't worry if the circles come loose. They're meant more to keep this from sliding right out.

Now, onto the lights!

The Lights

It's crazy what several puck lights can do. So far they've enabled me to build a comically large flashlight that I push to turn on.

Now, though, we add the last of the decorations.

As mentioned in The Orb, I have a light shining through a glass bowl and some paint layers to give off a green gooey glow. Like I've been doing, I took another foam disc and carved a hole out of it, pressing the light down to get it to fit and to get the glue to take.

I ended up breaking the disc.

Nothing more hot glue couldn't fix, though.

For the circles I glued on way back, I glued some more foam inside the Poltergust to better brace the puck lights. The lights were glued on at two points, leaving a gap for me to stick my finger in to turn them on.

And with that, I give you...

A Poltergust.

Along with my dumbass cat, wondering why I did this to a possession of his.

Annnnd that's all, folks. If you need me, I'm gonna pass out on my couch until the local bar's costume contest comes around. Wish me luck!

(and also, remind me to take a picture with the full getup)

[spacetimewithstuartgary]

A multitude of protoplanetary discs detected in the galactic centre

For decades, astronomers have discovered hundreds of protoplanetary disks – structures believed to represent the early stages of our own solar system. However, most of these discoveries lie within our neighbourhood, which may not reflect the extreme conditions found in other parts of the Milky Way. Among the most dynamic and turbulent regions is the Central Molecular Zone (CMZ) near the Milky Way Galactic Centre, where high pressure and density may shape star and planet formation in fundamentally different ways. Studying protoplanetary systems in the CMZ provides a rare opportunity to test and refine our theories of solar system formation.

An international team of researchers from the Kavli Institute for Astronomy and Astrophysics at Peking University (KIAA, PKU), the Shanghai Astronomical Observatory (SHAO), and the Institute of Astrophysics of the University of Cologne (UoC), along with several collaborating institutions, has conducted the most sensitive, highest-resolution, and most complete survey to date of three representative molecular clouds in the Milky Way’s CMZ. Their observations revealed over five hundred dense cores – the sites where stars are being born. The results have been published in the journal Astronomy & Astrophysics under the title ‘Dual-band Unified Exploration of three Central Molecular Zone Clouds (DUET). Cloud-wide census of continuum sources showing low spectral indices’.

Detecting such systems in the CMZ is exceptionally challenging. These regions are distant, faint and deeply embedded in thick layers of interstellar dust. To overcome these obstacles, the team utilized the Atacama Large Millimeter/submillimeter Array (ALMA) in the Chilean Atacama Desert, an interferometric telescope that combines signals from antennas spread over several kilometres to achieve extraordinary angular resolution. “This allows us to resolve structures as small as a thousand astronomical units even at CMZ distances of roughly 17 billion AU away,” said Professor Xing Lu, a researcher at Shanghai Astronomical Observatory and the Principal Investigator of the ALMA observing project.

By reconfiguring the array and observing at multiple frequencies, the team performed ‘dual-band’ observations – capturing two different wavelengths at the same spatial resolution. Just as human vision relies on colour contrast to interpret the world, dual-band imaging provides critical spectral information about the temperature, dust properties and structure of these remote systems.

To their surprise, the researchers found that more than seventy percent of the dense cores appeared significantly redder than expected. After carefully ruling out observational bias and other possible explanations, they proposed two leading scenarios – both suggesting the widespread presence of protoplanetary disks.

“We were astonished to see these ‘little red dots’ cross the whole molecular clouds,” said first author Fengwei Xu, who is currently conducting research at the University of Cologne’s Institute of Astrophysics in the context of his doctoral work. “They are telling us the hidden nature of dense star-forming cores.”

One possible explanation is that these cores are not transparent, homogeneous spheres as once thought. Instead, they may contain smaller, optically thick structures – possibly protoplanetary disks – whose self-absorption at shorter wavelengths results in the observed reddening. “This challenges our original assumption of canonical dense cores,” said Professor Ke Wang, Fengwei Xu’s doctoral supervisor at the Kavli Institute.

Another possibility involves the growth of dust grains within these systems. “In the diffuse interstellar medium, dust grains are usually just a few microns in size,” explained Professor Hauyu Baobab Liu at the Department of Physics of National Sun Yat-sen University, who led the radiative transfer modelling in the study. “But our models indicate that some cores may contain millimetre-sized grains, which could only form in protoplanetary disks and then be expelled – perhaps by protostellar outflows.”

Regardless of which scenario proves dominant, both require the presence of protoplanetary disks. The findings suggest that over three hundred such systems may already be forming within just these three CMZ clouds. “It is exciting that we are detecting possible candidates for protoplanetary disks in the Galactic Centre. The conditions there are very different from our neighbourhood, and this may give us a chance to study planet formation in this extreme environment,” said Professor Peter Schilke at the University of Cologne, Fengwei Xu’s doctoral co-supervisor. Computing resources and technical support at the UoC’s Institute of Astrophysics contributed to the result.

Future multi-band observations will help to further constrain their physical properties and evolutionary stages, offering a rare glimpse into the early processes that give rise to planetary systems like our own, even in the most extreme corners of the Milky Way.

IMAGE: ALMA-images of the Milky Way's Central Molecular Zone. The research team suspects that protoplanetary discs are forming in its clouds. Credit Fengwei XU (PKU); ALMA Partnership; Laura Pérez (NRAO)

[issela-santina]

apathy

disruption

curiosity

assimilation

aggrandisation/aggrandisement

delineation

perversion

resentment

separation

degradation

annihilation

desolation

there's actual genius in how @mothercain arranged all of these when you fold this „Pulldrone“ list in half, i.e.

apathy // desolation

being-nothingness, a personal limbo, the great dark. depression. Jobu Tupaki's everything bagel where nothing matters. LCL from End of Evangelion. the world feels grey with no contrast

disruption // annihilation

sound like they should be synonyms and yet used as opposites. annihilation brings a loss of value alongside the loss of materiality while disruption means something suddenly becomes of more value to you than the rest of your situation. the One Ring from the Tolkien legendarium. the life cycle of the universe itself. the theory of innovation diffusion

curiosity // degradation

the respective yang (1-6) and yin (7-12) of Ethel's pillars start to really show. valuation and devaluation, attendance and neglect, activity and passivity. sparks and embers, books eaten by termites, circus freak shows like what PT Barnum spearheaded in real life (The Greatest Showman sanitized the narrative so it seems), anything Philomena Cunk but especially the looks on interviewees' faces when she curiously breaks apart the language of what she's supposed to be discussing and creates absurd questions of it

assimilation // separation

somehow opposites and somehow not. assimilation doesn't require togetherness; in fact some forms of assimilation do intend to separate you — including your sense of self. suburban neighborhoods, nuclear families, religion/cults, cisgenderist segregation, adopting foreign children in a racist country. becoming one with a diaspora after coming from a culturally plural homeland. masking and unmasking, both literally and in the context of autistics feeling like they have to perform all the time. consequence of audience indeed

aggrandisement // resentment

the most blatant of the oppositions. the zones of the yang half and the yin half of the list where the black and white begin to recombine as both of these points entail intense emotions/sentiment/reactions alongside the shift in values one way or another. think the usual response to resenting God is to aggrandise a designated adversary like Satan, Iblis — your shift in values is trapped in the language of the faith you were sworn into

also different effect between the labels of erotic thriller (where abuse is easily understood to be a source of emotional jolt in the narrative) vs dark romance, where abuse, packaged and marketed as the romance a reader would love to aggrandise and worship, is the presented as to warm the heart of the reader who then projectively resents the writer, themself a reader far more meticulous than that reader-aggrandiser would know, for simply having a bias in their documentation of abuse

delineation // perversion

this is the singularity in which all values seem to end up all the same. anarchy destroys prescriptivism, and everything is up for grabs, so grab what you can. I see this in e.g. the false dichotomy of desire and contempt, the intertwinement of which forms the spine of entitlement and rape culture shoved into our throats. the way we define fan fiction.

how Ethel Cain and Autechre insist on calling their respective Perverts and quaristice.quadrange.ep.ae “extended plays” due to the subdued cultural value given to the extended play (15-30 minute recordings) as opposed to the more valued full-length album (30-60 minutes per disc) when by definition both recordings span the length of at least two album discs

[bunnywip]

𝘼-𝙕 𝙇𝙄𝙎𝙏 𝙊𝙁 𝙄𝙉𝙅𝙐𝙍𝙄𝙀𝙎/𝘼𝘾𝘾𝙄𝘿𝙀𝙉𝙏𝙎 𝙁𝙊𝙍 𝙔𝙊𝙐𝙍 𝙎𝙄𝘾𝙆𝙁𝙄𝘾𝙎/𝙒𝙃𝙐𝙈𝙋𝙎

A

Achilles tendon rupture.

Airsickness.

Aerosol burn.

Aftercare.

Appendicitis.

Asthma attack.

Abuse.

Amputation.

Abdominal pain.

Ankle sprain.

Adrenaline crash.

Aortic disruption.

Anaphylactic shock.

B

Bear trap.

Blunt kidney trauma.

Broken bone.

Buried alive.

Blood poisoning.

Backache.

Blunt cardiac injury.

Bullying.

Burn out.

Burns.

Blood sugar crash.

Black eye.

C

Concussion.

Cat bite.

Cut.

Crossfire.

Collapsing.

Coping mechanisms.

Car crash.

Carbon monoxide poisoning.

Confusion.

Carsickness.

Cavity.

Coma.

Cramps.

Carpal tunnel syndrome.

Chemical burn.

Chilli burn.

Cardiac arrest.

Corneal abrasion.

Choking.

D

Drowning.

Dehydration.

Delirium.

Dangerous diet.

Diffuse axonal injury.

Dizziness.

Diarrhoea.

Dog bite.

Deafness.

Dislocations.

Diaphragmatic rupture.

E

Electric shock.

Exhaustion.

Electric burn.

Edema.

Emergency surgery.

Ear infection.

F

First-degree burn.

Flail chest.

Flash burn.

Fighting.

Fire.

Food poisoning.

Frostbite.

Fainting.

Falling from height.

Falling over.

Fear.

Friction burn.

G

Groin pull/strain.

Gunshot wound.

H

Heart attack.

Herniated disc.

Human bite.

High fever.

Home invasion.

Hypoxia.

Hyper/hypothermia.

Hernia.

Hemothorax.

Hematoma.

Heat exhaustion.

Hay fever.

Hemorrhage.

Hidden injury.

Homesickness.

Heart palpitations.

I

Infections.

Ice (slipping, falling through, etc).

Impalement.

Internal bleeding.

Indigestion.

J

Jet lag.

K

Knee dislocation.

Kidnapping.

Ketosis.

Kidney stones.

L

Laryngitis.

M

Memory loss.

Migraine.

Mutism.

Muscular atrophy.

Muscle bruise.

Muscle overuse.

Missing.

Manhandling.

Mono.

Menstrual cramps.

N

Nightmares.

Neck sprain.

Nosebleeds.

O

Open fractures.

Overdose.

Over-stimulation.

Overeating.

P

Penile fracture.

Perforated eardrum.

Poisoning.

Pulled muscle.

Psoriasis.

Pinched nerve.

Pinned.

Paralysis.

Puncture wound.

Pregnancy.

Pneumothorax.

R

Rotator cuff tear.

Rashes.

Ransom.

Rib fracture.

S

Shoulder dislocation.

Shock.

Subdrop.

Shark attack.

Stubbed toe.

Skull fracture.

Sunburn.

Sting (wasp, jellyfish, etc).

Smoke inhalation.

Self-harm.

Slipped rib.

Smoke inhalation.

Stalking.

Second-degree burn.

Stomach ulcers.

Seizures.

Starvation.

Spiked drink.

Sleepwalking.

Stab wound.

Snake bite.

Skinned flesh.

Scraped flesh.

Sleep deprivation.

Sleep paralysis.

Stitches.

Subconjunctival hemorrhages.

Stroke.

T

Traumatic aortic rupture.

Torn muscle.

Trapped.

Third-degree burn.

Touch-starved.

Torture.

Toothache.

Tuberculosis.

Traumatic asphyxia.

U

Uterine perforation.

V

Vomiting blood.

Vertigo.

W

Wisdom teeth.

Whipping.

Worked to exhaustion.

Whiplash.

Waterboarding.

Water infection.

Y

Yeast infection.

Z

Zombie apocalypse.

[haziqhefram]

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[artofdeductionbysholmes]

Wow dinner looked delish, mate! You cooked that?! Without burning down the flat? please add the recipe, much appreciated!

Hello.

Certainly! Here's the recipe.

Objective:

Cook a layered seafood dish by applying heat to induce the Maillard reaction, soften vegetables, and cook the seafood through controlled thermal conduction.

Materials:

- Olive oil (approx. 2 tbsp, depending on pan surface area)

- Green and yellow bell peppers (100g each, diced to ~1cm³ for even heat distribution)

- Onion (1 medium, ~150g, diced)

- Garlic (2 cloves, crushed, to release allicin compounds)

- Plantain (1 large, sliced into ~0.5 cm-thick discs for even cooking)

- Cod fish chunks (200g, cut into uniform pieces to ensure even cooking, ~3cm³)

- Shrimps (200g, peeled and deveined)

- Lime (1 unit, juiced, containing citric acid to enhance flavour and denature proteins)

- Chilli flakes (~1 tsp, source of capsaicin for heat)

- Parsley (~1 tbsp, finely chopped, optional for garnish and flavour)

- Salt (~1 tsp, NaCl, for seasoning and osmotic balance)

Procedure:

1. Initial Heat Transfer:

Add olive oil (a heat-stable lipid) to a pan over medium heat. The goal is to raise the oil's temperature to around 180°C (its smoke point) to facilitate heat transfer to the ingredients without burning.

2. Vegetable Sautéing:

Introduce diced bell peppers, onions, and crushed garlic into the heated oil. The purpose here is to soften the cell walls of the vegetables through thermal conduction, releasing their natural sugars and enhancing flavour. The crushed garlic will begin to release allicin, contributing to aromatic compounds.

- Time: ~5 minutes, or until onions are translucent (indicating sufficient moisture loss and softening)

3. Plantain Layering:

Layer sliced plantain over the vegetables. Plantain contains starch that will soften and caramelise due to heat, while its sugars will brown slightly on the pan-facing side through the Maillard reaction.

4. Seafood Addition:

Place cod chunks and shrimp on top of the plantain layer. The cod and shrimp contain proteins, which denature at temperatures between 40°C and 60°C, causing them to firm up and cook through.

5. Acid and Seasoning Integration:

Pour lime juice over the seafood. The citric acid in the lime will begin to denature surface proteins. This enhances the texture and flavour of the seafood. Add chilli flakes for capsaicin (providing heat) and parsley for herbaceous notes.

6. Simmering Phase:

Lower the heat and cover the pan. Allow the contents to simmer gently. The purpose of this phase is to cook the seafood thoroughly (internal temperature of shrimp should reach 63°C, cod 60°C), while allowing the flavours of the layers to meld through diffusion.

-Time: Simmer for ~8-10 minutes, or until seafood is opaque and firm

7. Final Assessment:

Verify that the seafood has reached its ideal doneness (shrimp turns pink, cod flakes easily). Adjust seasoning if necessary before serving.

Outcome:

A balanced dish where the natural sweetness of the vegetables and plantain complements the tender seafood, with bright acidity and controlled heat from the chilli flakes.

Rosamund and I didn't set fire to the apartment (just a dish towel got singed).

SH

[obsessioncollector]

The widespread diffusion of new sounds and images also raised profound and troubling questions. Were films and photographs art, or just crass commercial items? Who should determine what Germans heard over the airwaves or purchased at their newsstands? Did hearing classical music on a flat disc spinning around on an electrical device degrade the experience of listening? The churches, the state-run schools, the art academies, the censorship office—all the official and semiofficial institutions that, before 1918, controlled the words and images that Germans encountered in the public sphere—suddenly found their authority undermined, first by the revolution and the creation of the republic, then by the flourishing of the new mass media. Photography and film, recordings and radio became yet another battlefield of conflict over the scope and meaning of modernity. All the while, Germans flocked to the cinema, turned on their receivers, bought magazines, and danced to the strains of recorded jazz, and some of Weimar’s greatest cultural figures created entirely new genres of visual and sonoral artistry.

Eric D. Weitz, Weimar Germany: Promise and Tragedy

[motorspexx]

In February 2024, during the Repco Bathurst 12 Hour weekend, Mercedes-AMG factory driver Jules Gounon set a new unofficial GT lap record at Mount Panorama Circuit.

Driving a specially modified Mercedes-AMG GT3, Gounon completed the 6.213 km track in 1:56.6054, surpassing the previous closed-cockpit record of 1:58.690 set in 2019.

The record-breaking AMG GT3 featured several enhancements:

derestricted 6.2-litre V8 engine producing approximately 650 horsepower

Formula 1-inspired Drag Reduction System (DRS)

optimized aerodynamic package, including revised front apron, splitter, side skirts, and rear diffuser

carbon brake system

These modifications enabled Gounon to reach speeds of 270 km/h on Mountain Straight, 200 km/h into the Cutting, 240 km/h into McPhillamy, and 302 km/h into The Chase.

This achievement was part of Mercedes-AMG's celebration of its 130th anniversary in motorsport.

Mercedes-AMG GT3 – Bathurst 2024 Record Car Tecnhical Specifications Engine: Naturally aspirated V8 Displacement: 6.2 litres Power output: approximately 650 horsepower (unrestricted) Torque: estimated over 650 Nm Engine placement: front-mid mounted Transmission: 6-speed sequential gearbox, rear-mounted transaxle

Chassis and body: Aluminum spaceframe with integrated roll cage Lightweight carbon fibre and composite body panels Aerodynamics revised with a new front splitter, rear diffuser, extended side skirts, and active Drag Reduction System (DRS)

Brakes: Carbon-carbon disc brakes with racing-grade multi-piston calipers

Suspension: Double wishbone setup front and rear Three-way adjustable dampers Fully adjustable ride height, camber, and toe

Wheels and tires: Forged racing wheels fitted with custom racing slicks optimized for Bathurst

Performance at Bathurst: Lap time of 1:56.6054 Top speed of 302 km/h at The Chase Estimated weight around 1,250 kilograms in race trim without Balance of Performance restrictions

[dancuny]

Polaroid SX-70 Camera

When I was looking over the cameras in my collection and thinking about which camera to write about this week, the Polaroid SX-70, which I have right over my desk, seemed to jump up and say, "My turn this week." I thought about it for a moment and thought, "It's not that old of a camera, but it is." 

 The Polaroid SX-70 was introduced in 1972, during the era of many "modern" inventions, like the home VCR, floppy discs, and email. It was not too far after the music and pop revolution in the late 1960s, which brought interesting and new designs. Currently, the SX-70 is a 52-year-old camera and, in my opinion, the last camera introduced with a genuinely different and unusual design.

 Being a fan of Polaroid from an early age, I remember getting a Polaroid Swinger for Christmas of 1965, just a few months after the camera was introduced. To focus the Swinger, you'd squeeze the focus dial until a "YES" would show up in the viewfinder, telling the photographer the camera was focused and ready to take a photo. That was tremendous and, to this day, a fun innovation of its time.

 When the SX-70 was introduced, there was much fanfare, magazine covers, and writing about this revolutionary camera from Polaroid. The SX-70 was officially sold in the Miami area in late 1972 and became nationally available in 1973. It was sold for $180.00 for the camera and $6.90 for the film, with ten photos in each pack.

 The interesting thing about the Polaroid SX-70 film was that the batteries that powered the camera were in the film packs, so every time you put a fresh roll of film into the SX-70, you were also putting fresh batteries in the camera. Batteries in the film pack were good unless you tried a pack with depleted batteries or tried out-of-date film where the batteries were dead. At that point, the camera was unusable.

 What made this camera unique was its odd and different design and its very slim design. It was an SLR camera with through-the-lens focusing, exposure control, and accessories that would enhance the photo experience, such as a remote shutter cable, tripod mount, close-up lens and diffuser, lens hood, self-timer, and accessory holder. Other companies soon came out with accessory lenses and electronic flash units.

 In 1974, due to the success of the original SX-70, with its chrome and tan-colored leather covering, Polaroid introduced lesser-expensive models and kept introducing other models soon after that. 

 The SX-70 camera was a massive success for Polaroid and gave instant photography a shot in the arm like few I've seen in the photo industry. Kodak would create their version of an instant camera in 1976. Still, Polaroid sued them for patent infringement, which led to Kodak discontinuing production of their line of instant cameras in 1985.

Company History:

The Polaroid Company, founded by Edwin H. Land in 1937, pioneered light-polarizing technology. Originally called the Polaroid Corporation, the company first made waves by producing polarized sunglasses and optical devices. However, its true innovation came in 1947 when Land introduced the first instant camera—an invention that would forever change photography.

 Land unveiled the instant camera at a meeting of the Optical Society of America, demonstrating how it could develop photos within minutes. This breakthrough led to the Polaroid Land Camera Model 95 commercial release in 1948. The camera's unique ability to produce finished photographs quickly became a cultural phenomenon, redefining personal photography for decades.

 Throughout the 1950s and 60s, Polaroid expanded its product line and refined its instant photography technology. It gained popularity among both amateur photographers and professionals. The introduction of color film in 1963 further solidified Polaroid's position as a dominant force in the camera industry.

 Polaroid also became known for its iconic camera designs, such as the SX-70 in 1972—a folding single-lens reflex camera that was both portable and innovative. During this golden era, Polaroid enjoyed tremendous commercial success and was often seen as a symbol of American ingenuity.

 However, the rise of digital photography in the late 1990s and early 2000s caused Polaroid to struggle. Despite attempts to adapt, including digital products and partnerships, the company couldn't maintain its market dominance. In 2001, Polaroid filed for bankruptcy and began selling off assets.

 The brand saw several changes in ownership over the following years. Yet, in a surprising turn, Polaroid experienced a revival in the late 2000s and 2010s, fueled by nostalgia and a renewed interest in analog photography. The Impossible Project, a group of former Polaroid enthusiasts, acquired the brand's last factory and began producing new instant film. Eventually, this effort led to the relaunch of Polaroid as Polaroid Originals in 2017, and later simply Polaroid.

 Today, Polaroid continues to produce instant cameras and film, embracing its vintage roots while appealing to new generations of photographers drawn to the charm and simplicity of instant photography.

My Camera:

My SX-70 camera measures 7" long by 4" wide by 5.5" tall when it is opened and only 1.5" tall when it is collapsed. It weighs only 1 lb. 7.6 oz. and has a 4-element 116mm f8 glass lens. My camera is one of the earlier models because it has the embossed serial number on top of the film chamber. The serial number on my camera is FE3028170DK.

 To open the SX-70 camera, place it in the palm of your hand, grip the top ribbed section of the viewfinder, and pull up. This will open the camera and lock it into place. The locking bar is on the left side of the camera. If the camera isn't locked when you pull up on the viewfinder, you can slide the locking bar forward to lock the camera open. 

Once the camera is open, it exposes the black rubber bellows built into it. It also exposes the rear viewfinder for focusing, and on the front of the camera, the red shutter release button and the exposure control the camera. I was taught to hold the camera in the palm of my left hand, and with my right hand, I can focus on the camera. 

 Putting the camera up to your eye and looking through the camera, you'll see a split-image focusing screen. A small black wheel controls the camera's focus on the camera's right side. Turn the black wheel back and forth until the subject looks sharp. The split image focusing allows the photographer to find a vertical item, and when out of focus, the line will be split and together in one line when in focus. The camera can focus as close as 10.4" from the subject.

On the other side of the camera is the exposure control wheel. The camera is auto-metering, which is metered by the opening just below the lighten/darken wheel. Generally, you leave this wheel in the center position with half the white or black portion in the middle. 

 If you want the following image to be lighter, move the wheel so more of the white is showing. If you want it darker, turn the wheel so that more black is showing. There is no rule of how much to move the wheel for a lighter or darker image. It's all just a guess. The camera shutter can shoot from 1/175 to longer than 10 seconds.

To open the camera to load the film pack, on the right side of the camera is a button with a yellow sticker, and inside that yellow sticker is a "down arrow." Push that button down, and the front door opens to reveal where the film pack fits. The original film packs were color-coded, so you would line up the yellow, black, and blue sections of the film back to the colors on the film chamber and slide the film pack into the camera. You must press it all the way in so the film door can close. Closing the film door with a fresh film pack in the camera will eject the dark slide from the film pack through a small slot in the film door. The camera is ready to take its first photo when the dark slide or cover is ejected. There is a small window on the back of the camera, the frame counter.

When you take a photo and light hits the film, the camera ejects the film through a pair of rollers on the film chamber door. When the film passes through the rollers, they squeeze the chemicals onto the film, and the photo starts to process.  These need to be cleaned; otherwise, the photo won't be processed correctly after you take a photo. Another issue that dirty rollers can cause is dots on the photo. The dots are caused by dirt on the rollers, and they press into the photo, and the chemicals can't reach that area, causing white dots throughout the photo.

 If you're indoors and there's not enough light to take a photo, a flashbar fits into the slot just above the lens and takes five electronically timed flashes per side of each flashbar. They worked well. All you needed to do was snap the flashbar in the slot, and everything was done for you, except for turning the flashbar after five flash photos.

The electronic cable release attaches to two small holes on the camera's right side. The accessory tripod mount would fit on the bottom of the camera, and the accessory holder and close-up lenses would fit into the flashbar holder. 

 To close the camera, slide the locking bar back toward its arrow. The camera will start to close. Press the top down into the body, and the camera will click into the closed position.

A common issue with the SX-70 is the mirror gets locked in the up position, and the camera won't close all the way. You can also tell when this happens when you look through the viewfinder; there is nothing to look at, and the finder is black. The lock-up can be caused by a lack of power from the battery or the film not getting ejected properly, but there's not enough power to cycle the camera. Something you can do to correct this is a bit tricky and not too difficult, but it means taking a small and fragile piece of plastic off the camera to expose the gearing system of the camera. If you're nervous or think you'll break the piece of plastic, DON'T try it.

 On the right side, by the film release button, is a small and thin piece of plastic that you can CAREFULLY pull up at the front of the plastic piece. Some are easy to come off, and some are very tight, so please be careful. Once the piece is off, you can see the gears in the camera's body. The front gear can be turned, which will bring down the mirror system allowing you to view through the camera and cocking the camera. Many videos on YouTube show this process if you are interested. Once the camera's mirror comes down, you can put the piece of plastic back and snap it into place. You'll need a new and fresh film pack to ensure the camera is in good working condition.

My images:

Unfortunately, I didn't buy film before I wanted to write about this camera, and when I looked to purchase some, they were out of stock, so I'm forced to show photos from the late 1970s or early 80s. 

 Here are some of the family photos from the SX-70 camera.

 Conclusion:

The SX-70 brings back many fond memories we had with family and co-workers. It's one of the classic cameras made in the 20th century, and I am thrilled to have a good early model in my collection.

 One of the real advantages of the original SX-70 film was the ability to manipulate the images during the processing, which took a minute or so. We'd take different thicknesses of knitting needles and swirl the chemicals around, which would cause a flow in the photo, which was very artistic. The new film doesn't allow for this creativity.

 Thank you for taking a few minutes from your schedule to read about this wonder camera from the 1970s.

 Please feel free to email me if you have questions or concerns. Until next week, please be safe.

 Click on the link to read about the cameras reviewed.