#line of apsides

[sockodot]

Chapters: 1/15 Fandom: Mass Effect Trilogy Rating: Explicit Warnings: Graphic Depictions Of Violence Relationships: Commander Shepard/Urdnot Wrex Characters: Urdnot Wrex, Commander Shepard, Tali'Zorah Additional Tags: They/Them Pronouns for Shepard (Mass Effect), Spacer/Butcher of Torfan, Combat, this is centered around missions bc battle couple i guess, mainly Wrex POV but some shepard thrown in for spice, Developing Relationship, Getting Together, Explicit Sex, Size Difference, listen Wrex is two feet taller how could i NOT, Breeding Kink, gestures at krogan, do not copy to another site, Other Additional Tags to Be Added, full disclosure i am writing this as i go so who knows what will end up in here, will try to notify when a tag gets added Series: Part 1 of Line of Apsides, Part 4 of sunshine shepard, Part 3 of sunshine shepard/wrex Summary:

Wrex takes the bounty for Fist, and in doing so, cause his and Shepard's lives to collide together.

Perihelion: the point in the orbit of a planet, asteroid, or comet at which it is closest to the sun.

[galleryofart]

Ask Me No More

Artist: Lawrence Alma-Tadema (British, 1836–1912)

Date: 1906

Medium: Oil on canvas

Collection: Property of a European collector

Ask Me No More

'Ask me no more: thy fate and mine are seal'd: I strove against the stream and all in vain: Let the great river take me to the main: No more, dear love, for at a touch I yield.' Alfred, Lord Tennyson, The Princess.

'Ask me no more', which takes its title from a poem by the Poet Laureate Alfred Lord Tennyson, is a quintessential Alma-Tadema subject. In fact he treated it so often that it is probably the one with which he is most closely associated: a pair of lovers seated on a marble bench overlooking the Mediterranean Sea. The sun always shines in these pictures, although it never seems oppressively hot; and the lovers are invariably shown in a state of emotional anticipation rather than succumbing to passion itself. As Vern Swanson, the leading authority on Alma-Tadema, states in his catalogue raisonné of the artist's paintings, love-making is shown not 'at the point of climax, but rather earlier, when the tension is mounting.

A trademark feature of the painting is the marble bench. Alma-Tadema had made a specialty of painting marble since the late 1850s, and it had become one of his most celebrated accomplishments, endlessly commented on in reviews and even joked about in Punch. Dutch artists had always excelled at still-life, and Alma-Tadema's marble-painting is in this tradition. The same skill emerges in the way he handles flowers, as 'Ask me no more' also demonstrates. But the exquisitely rendered bunch of anemones does more than testify to the painter's virtuoso technique. Evidently a tribute from the youth to his sweetheart, it adds a touch of poignancy to the narrative. It is also a vital compositional element, placing an accent precisely where it is needed, and it provides a focal point for the colour scheme, a subtle interplay of blues, mauves and creams balanced against the pale aquamarine of the girl's dress.

This chromatic harmony is enhanced by the pearly light that pervades the scene, coming from behind the figures to create a contre-jour effect and cast delicate shadows onto the marble pavement. In 1884 Alma-Tadema had taken over 17 Grove End Road, St John's Wood, a house previously occupied by the French artist James Tissot who had fled back to Paris on the death of his muse and mistress, Kathleen Newton. He proceeded to remodel it extensively, furnishing it in a variety of exotic styles and generally turning it into one of the sights of London. Among its many notable features was the apsidal end of the artist's studio, which he had lined with aluminum to create the diffused and silvery light so typical of his later works. 'Ask me no more' is a classic example.

The picture is almost the last in which Alma-Tadema painted his ever-popular theme of a young couple suffering the palpitations of romance, although a watercolour version, entitled Youth, followed in 1908. 'Ask me no more' was the only picture he showed at the R.A. in 1906. He had seldom contributed more than three examples, and one became more or less the norm during his final years.

[artemlegere]

Ask Me No More

Artist: Lawrence Alma-Tadema (British, 1836–1912)

Date: 1906

Medium: Oil on canvas

Collection: Property of a European collector

Ask Me No More

'Ask me no more: thy fate and mine are seal'd: I strove against the stream and all in vain: Let the great river take me to the main: No more, dear love, for at a touch I yield.' Alfred, Lord Tennyson, The Princess.

'Ask me no more', which takes its title from a poem by the Poet Laureate Alfred Lord Tennyson, is a quintessential Alma-Tadema subject. In fact he treated it so often that it is probably the one with which he is most closely associated: a pair of lovers seated on a marble bench overlooking the Mediterranean Sea. The sun always shines in these pictures, although it never seems oppressively hot; and the lovers are invariably shown in a state of emotional anticipation rather than succumbing to passion itself. As Vern Swanson, the leading authority on Alma-Tadema, states in his catalogue raisonné of the artist's paintings, love-making is shown not 'at the point of climax, but rather earlier, when the tension is mounting.

A trademark feature of the painting is the marble bench. Alma-Tadema had made a specialty of painting marble since the late 1850s, and it had become one of his most celebrated accomplishments, endlessly commented on in reviews and even joked about in Punch. Dutch artists had always excelled at still-life, and Alma-Tadema's marble-painting is in this tradition. The same skill emerges in the way he handles flowers, as 'Ask me no more' also demonstrates. But the exquisitely rendered bunch of anemones does more than testify to the painter's virtuoso technique. Evidently a tribute from the youth to his sweetheart, it adds a touch of poignancy to the narrative. It is also a vital compositional element, placing an accent precisely where it is needed, and it provides a focal point for the colour scheme, a subtle interplay of blues, mauves and creams balanced against the pale aquamarine of the girl's dress.

This chromatic harmony is enhanced by the pearly light that pervades the scene, coming from behind the figures to create a contre-jour effect and cast delicate shadows onto the marble pavement. In 1884 Alma-Tadema had taken over 17 Grove End Road, St John's Wood, a house previously occupied by the French artist James Tissot who had fled back to Paris on the death of his muse and mistress, Kathleen Newton. He proceeded to remodel it extensively, furnishing it in a variety of exotic styles and generally turning it into one of the sights of London. Among its many notable features was the apsidal end of the artist's studio, which he had lined with aluminum to create the diffused and silvery light so typical of his later works. 'Ask me no more' is a classic example.

The picture is almost the last in which Alma-Tadema painted his ever-popular theme of a young couple suffering the palpitations of romance, although a watercolour version, entitled Youth, followed in 1908. 'Ask me no more' was the only picture he showed at the R.A. in 1906. He had seldom contributed more than three examples, and one became more or less the norm during his final years.

[chromaji]

thanks to My Friend Agi 🎉 we have an expansion in the world of SuMo gijinka story.

Because Z-Crystals are central to this story's conflict (they're turning people into totem pokemon), and space and extraterrestrial life is a focus of SuMo itself, the protagonist could be one of the more extraterrestrial pokemon. Not a UB specifically, but i'm liking the clefairy line as a potential one.

So something like... they came from space on a mission to gather the Z-Crystals after something went wrong. Or maybe they're not FROM space but at least have a connection to it, and can feel some connection to the crystals.

Maybe the Z-Crystals all formed one giant crystal, but SOMEONE shattered the big crystal. Unsure who that someone is yet. My first thought is necrozma but i need to actually put some time to research Necrozma/SuMo to make sure stuff makes sense. So anyway the story's a mix of tropical and extrate...

...

a mix of tropical and extraterrestrial...

...

CLOSE ENOUGH WELCOME BACK OMEN OF APSIDES ITS LIKE YOU NEVER LEFT💥🎉 maybe this is why gens 7 & 3 are ones i like a lot. maybe think i just like mixing space with the ocean. learning a lot about myself

[thefreakandthehair]

Summer Fanworks Challenge, Part Two [See Part One Here!]

i don't like sand. it's coarse, and rough, and irritating, and it gets everywhere., by @shares-a-vest | steddie, fic, teen & up

that's the kind of love I've been dreaming of, by @gerrystamour | steddisy, fic, explicit

heat wave, by @fragilecapric0rnn | steddie, fic, teen & up

endgame, by @milyeki | ronance, fic, teen & up

and then you took the words right out of my mouth, by @rocknrollsalad | stargyle, fic, general

how did you know?, by @questionablequeeries | steddie, fic, general

corroded coffin- live on touro one night only, by @maryofdoom | steddie, fic, mature

waterfight, by @robin-not-batman | ronance, fic, teen & up

let me be your man (I want to hold your hand), by @artaxlivs | steddie, fic, explicit

from the rooftops, by @henderdads | steddie, fic, general

the anatomy of a home run, by @scarcrossdlvrs | steddie, fic, explicit

what doesn't kill me makes me want you more, by @inairbinad | steddie, fic, explicit

picking berries, by @hotluncheddie | steddie, fic, general

line of apsides (how long from here to perihelion), by @cuoredimuschio | steddie, fic, teen & up

rope swing, by @cxwzkeys | steddie, art

wanderlust, by @soaringornithopter | steddie, fic, teen & up

hold my hand and tread the water, by @stevebabey | steddie, fic, teen & up

you and me and a lot of bad decisions, by @starryeyedjanai | steddie, fic, explicit

sun shower, by @artbean | steddie, art

fireworks aren't exactly... my favorite thing, by @steddiealltheway | steddie, fic, teen & up

ice cream for breakfast, by @acasualcrossfade | steddie, fic, teen & up

no rest for the wicked, by @harmonictechnicality | steddie, fic, teen & up

watch the world turn green, by @kermitscavern | ronance, fic, teen & up

(to live) for the hope of it all, by @ghostevie | steddie, fic, explicit

it's a date, by @frankenstein-ate-my-left-shoe | steddie, fic, explicit

silent spark, by @t-boyeddie | steddie, fic, general

s'mores, by @favouritechords | ronance, fic

fireworks, by @sparkle-fiend | steddie, art

strawberries on a summer evening, by @vegasol | jargyle, fic, explicit

not like the movies, by @userlestat | ronance, fic, teen & up

tell eddie he looks sexy with his hair pushed back, by @wormdebut | steddie, fic, explicit

girls make me wanna die, by @spicysix | edancy, fic, teen & up

[wynnyfryd]

oh my god I could list my entire following list but since I can't simply tag the collective steddie fandom, I'm gonna send a few. sorry not sorry for flooding your inbox wyn.

first up: @cuoredimuschio!! my football bestie who encourages all of my quarterback!Steve shenanigans anddddd author of one of my favorite ongoing wips, line of apsides!! which, btw, if y'all aren't following that story, you should. it's wonderful!

love a good jock steve 😍😍

[skogsskratti]

This is kinda misleadingly worded. Earth's orbital eccentricity (how elliptical it is) is very small and bears basically no influence on the seasons.

Seasonal climate is entirely determined by the tilt of earths rotational axis, increasing the duration of sunlight in summer and decreasing it in winter. The effect of eccentricity only accounts for summer being currently 4.5 days longer than winter.

The fact perihelion and aphelion almost (not quite, they're actually off by ca. 17 days!) line up with the solstices is purely coincidence as both the earth's rotational axis and the apsides precess over time, the axial precession with a period of ca 26000 years, the apsidal precession with a period of 112000 years, so they will shift through any relative configuration over time.

Axial precession

Apsidal precession

There is somewhat of an effect on global climate as theses shifts change over time, causing the Milankovich cycles that line up with short time glacial periods

Perihelion and Aphelion: Earth's Dance with the Sun

Perihelion and Aphelion, the two significant points in Earth's annual journey around the Sun, mark the times when our planet's orbit is closest to and farthest from the Sun, respectively. These celestial events play a crucial role in shaping our planet's climate, seasons, and overall astronomical dynamics, as Earth's orbit is not a perfect circle but rather an elliptical shape. Read more

[polkadotpatterson]

☀️: got a favorte underrated line from apsides, aka fic that still lives rent free in my head?

ah so that's where it went when it moved out of mine! I haven't looked at this one in a long time but glancing at it now I'm like huh yeah there was good stuff in here actually! one of my fave scenes for sure is this one with Beasley and Lachlan on the Thieves when they're both Going Through It

Hobbs died alone, far from home, on a team who probably wouldn't even miss him. Lachlan knows without even having to hear that some people will say he deserved it (he probably believed that he did too, which is even worse to think about), and some people will say nothing at all, knowing that they're just as complicit. The Talkers would just say that they miss him, because yes, he was angry and stubborn and let that cloud his judgement, but he was also a good friend with a good heart and he was their teammate, always, even from afar, but the Talkers aren't here. The Thieves offer some condolences of varying sincerity and leave Lachlan to grieve in peace in the locker room, head in his hands. Well, most of them leave. Lachlan hears a soft woof, and looks up. “Beasley? Don't worry about me. I'll be okay. You can go home.” Beasley whimpers. That was the wrong thing to say. He can't go home, not really. He stays with Esme, but his true home died last season. “...Yeah. I know how you feel. I'm sorry.” He puts his paws up on the bench and rests his head on Lachlan's knee. The last thing Workman ever said to Lachlan was tell Beasley he's a good boy. They often ended their conversations that way, but there was a sense of finality that time, as if they knew they'd never get to tell him themself again. Lachlan can't remember the last thing Hobbs said to him. He can't even remember the last time he talked to Hobbs. The last time he would ever talk to Hobbs, though neither of them knew it. He looks at Beasley and tries to say you’re a good boy, but the words stick in his throat and he can't say anything at all until after he buries his face in Beasley’s fur and cries for a good long while. 

[stars-in-streams]

Astronomy - The Ecliptic Path - The Great Year - Axial Precession - Earth's Orbit - Nutation

 Terra (Planet Earth), Luna (Terra's Satellite/Moon), all the planets, galaxies, other phenomena and forms of being are seen throughout The Universe within view of Sol (The Sun) as celestial (from Latin caelestis:  heavenly, pertaining to the sky). 

stell: to fix in position, fashion, to affix,

stella: from Latin feminine word-formation -a: position to shine, spangle, star)

stellar: (from Latin word-formation -ar, -r: pertaining to, of the nature of - stella. Also 'pertaining to stars, star-like').

stellaris: (from Latin word-formation -aris: of the kind of, belonging to - stella. Also 'pertaining to a star, starry').

By use of energy, power, and combustion stell (stell (v.): to fix in position, from Old English stellan: to place, put, set) a system of function into The Universe as a whole through order and harmony seen to be The Cosmos (from Latinized form of Greek kosmos: order, good order, orderly arrangement).

 The heavenly view of a starlit sky from Terra is Stellar (from Latin word-formation -ar: pertaining to, of the nature of - Stella: star. Stellar: being starry, star-like) and is encompassed as Stellaris (from Latin word-formation -aris: of the kind of, belonging to - Stella: star).

 The planetary range of which Terra resides is Solar (from Latin word-formation -ar: pertaining to, of the nature of - Sol) and as a whole is encompassed as The Solar System, Solaris (from Latin word-formation -aris: of the kind of, belonging to - Sol).  

   Sol is centered within orbit of all the planets in an Ecliptic (from Greek ekliptikos: of an eclipse) position wherein hence the passage of starlight is obscured beyond each body of mass (e.g. a planet, satellite, or asteroid) in orbit upon their planes respectively called Ecliptic Planes.

 An eclipse is the passing of a planet or satellite between a star, planet, or satellite and a vantage point wherein hence the passage of starlight is obscured beyond the celestial body toward the vantage point. In the event of a Lunar Eclipse a satellite passes through the shadow of a planet whereas during a Solar Eclipse either a planet or satellite passes within view of a star. In any configuration Sol is always in an ecliptic position irregardless of an actual eclipse. 

 Terra's orbit is in continuance of elliptic revolutions around Sol meaning there is an eccentricity expressed throughout Terra's orbit. The distance between Terra's nearest and furthest points in orbit is The Line of Apsides of which Terra is nearest to Sol at Periapsis and furthest at Apoapsis. The Line of Apsides resides within a gradual rotation of Terra's orbit which attributes to the planet's Orbital Precession.

 Terra's rotation in orbit is on an axis which consists of two geographic poles; The North and South Poles of which Terra rotates Eastward. Terra is always in the Solar day, however the entire surface area of the planet rotates into Stellar night which attributes to any location on the surface of the planet the given effect of an Eastern Sunrise at dawn for daytime and a Western Sunset at dusk for nighttime.

   Terra's axis of rotation is tilted. The tilted axis of her North and South Poles are coupled together within a center of balance upon Equator  (from Latin  aequare: make equal). One half of a sphere is a hemisphere. The Northern and Southern hemispheres of Earth share a common ground upon Equator of which a line between each hemisphere is respectively called The Equator (from English 1610 equator: terrestrial line midway between the North and South poles). 

 Terra's tilted axis of rotation is fixed within precession throughout the course of each consecutive year where in a year the planet's axial tilt exhibits a stable bearing. One revolution is a year where throughout the course of a year Terra completes 365.25 rotations of which each rotation is equivalent to one day. 

 The Eastern and Western hemispheres meld at 

The Primary Meridian 

which is the great circle arcing around the planet through the North and South Poles. Half of the great circle is 

The Prime Meridian 

which is on the Atlantic side of the planet opposite of 

The Supreme Meridian

 on the Pacific side of the planet.

 The Prime 

and 

Supreme Meridians

 conglomerate 

The Global Day

. 

 The beginning and end of each Global Day is determined in the moment that The Prime Meridian centers in alignment with Sol as Earth rotates. On the opposite side of the planet the Eastern and Western hemispheres unite at the zero hour in the middle of the night at The Supreme Meridian.

   Beginning at the 0° point of The Supreme Meridian at the zero hour of The Equator and arcing over the Northern region of the planet through the Arctic Circle to the 180° point of The Prime Meridian at the twelfth hour of The Equator

   The change of seasons on Earth occur due to the planet's current location in orbit. The Southern Hemisphere is exposed to Summer as the southern pole comes and goes to and from a point closest to Sol while The Northern Hemisphere is in Winter.

 The Northern Hemisphere is exposed to Summer as the northern pole comes to and goes from a point closest to Sol while The Southern Hemisphere is in Winter.

 During the 365.25 days of the year there are four specific destinations in Earth's orbit which are: 

The Northerly Equinox (Northern Spring/Southern Autumn)

The Northern Solstice (Northern Summer/Southern Winter)

The Southerly Equinox (Southern Spring/Northern Autumn)

The Southern Solstice (Southern Summer/Northern Winter)

 During The Equinoxes Sol aligns with The Equator where due to Terra's rotation in position of orbit��the northern and southern hemispheres of the planet share equal amounts of daytime and nighttime.

 The Northern Solstice occurs at the moment when Earth's northern axial pole is closest to Sol whereas The Southern Solstice occurs at the moment when Earth's southern axial pole is closest to Sol. The Equinoxes are mid-Solstice occurrences. 

  During a year on Earth the amount of sunshine in a day notably increases and decreases throughout six solar events that correlate with Earth's location in orbit. Along The Line of Solstice the amount of daylight peaks in the middle of summer and the amount of nighttime peaks in the middle of winter. 

 Due to Earth’s axial tilt of 23.4° on The Ecliptic Plane, combined with Earth’s orbit around the Sun, the position of the Sun in the sky changes throughout the year. The Ecliptic Path is 49° thick at the maximum of what is known today. The image pictured below shows the region of The Celestial Sphere defined as The Ecliptic Path of the Sun which resides between the first and third red lines, the middle red line being adjacent to Earth's Celestial Equator, the green line representing The Ecliptic Plane on which Earth orbits the Sun, the blue pole depicting Earth’s axial tilt of rotation, and the stick-man in the middle representing planet Earth.

   The apparent path of the Sun through the sky passes between Earth and a backdrop of stars across 12 constellations that reside within a band 20° thick called the Zodiac. Boundary lines of The Zodiac span 10° out from each side of The Ecliptic Plane of Earth’s orbit around Sol where through which the Sun, Moon, and planets are always seen to be present upon each of their own ecliptic planes in orbit. 

 Astronomers use The Celestial Sphere for navigational purposes, calculating distances between plotted points in the sky, and calculating the movement of such phenomena from vantage points on Earth. The Celestial Sphere is a manageable and useful tool of radial proportions which encircles Earth as a location for Sky exploration and Star mapping. The pole of Earth's orbit around Sol on The Ecliptic Plane is The Ecliptic Pole of The Celestial Sphere, of which Earth rotates on a tilted axis called The Celestial Pole, or in other words - The Ecliptic Pole is perpendicular to the ecliptic plane of Earth's orbit around Sol and The Celestial Pole on which the planet rotates is perpendicular to Earth's celestial equator.

   Many different Northern Pole Stars cycle into view in alignment of The Celestial Pole as Earth orbits Sol throughout what is known as The Great Year which is approximately 25,714.28571432 Earth years. A single wobble of Earth takes place within The Great Year wherein a single Earth year the planet shifts .014° in the wobble along The Precessional Path of Earth's Rotational Axis. 

 In the following image, seeing as the red imagery denotes grid lines of The Celestial Sphere, The Precessional Path of Earth's Rotational Axis - in yellow, encircles The Celestial Sphere's Northern Ecliptic Pole. The action of which Earth's Northern Celestial Pole is known to cycle through all the possible Northern Pole Stars in a Great Year is called Axial Precession. 

  Here, in the next image, many of the Northern Pole Stars in The Great Year are depict. Draco is the constellation where The Northern Ecliptic Pole is located and Polaris currently resides within the vicinity of which Earth's Northern Celestial Pole is aimed. The red lines denote the position of The Ecliptic Grid aligned with Earth's ecliptic pole and the blue lines denote The Equatorial Grid aligned with Earth's celestial pole in The Celestial Sphere.

  Everything in Existence presides within a state of precession - to this there are many forms of precession wrapped up in The Universe. Precession is the gradual shift in the axis of bodily rotation within an adjustable center of focus around an objective cause for effect such as the change of seasons. Such a focus regarding Earth's tilted axis is adjustable within 2.5° of the planet's minimum axial tilt toward the maximum tilt. Due to the adjustable tilt of Earth on the ecliptic plane the apparent path of the sun through the sky and the position of The Northern Pole Star are not permanently fixed except for the absolute moment in time with which they are viewed, but Our view of the sun will typically reside anywhere within a 2.5° thick band that can be visualized to wrap around the planet. Whereupon this portion of the ecliptic plane, the part that intersects with the surface of Earth, 1.25° and -1.25° declination from the ecliptic plane comprise an area of a 2.5° thick band that can be seen as The Solar Ring of Earths rotational engagement upon The Ecliptic Plane of Earth's orbit.

   The position of celestial phenomena in the sky can be located by use of an Equatorial Coordinate System in using what is called the right ascension throughout a span of 24 hours and the declination of either (+) Northern and (-) Southern directions. For The Right Ascension we use the 60 minutes in an hour and the 60 seconds of each minute. For The Declination We use a method of measurement pertaining to degrees where there are 60 arcminutes assigned to each degree and 60 arcseconds in each arcminute.

 In Astronomy the symbol for an arcminute is the prime (') and the symbol for the arcsecond is the double-prime ("). At the Ecliptic and Equatorial Planes of either The Ecliptic Grid or The Equatorial Grid the declination is measured in the Northern 90 or the Southern -90 degrees on the vertical planes arcing around The Celestial Sphere. The second and minute of each hour are used to calculate and measure distance on the horizontal planes in Right Ascension beginning at The 0° Equinox or Northern Vernal Equinox during the month of March.

   Earth's slightly adjustable axial tilt shifts 47" - arcseconds (47/3600ths of a degree), as measured using a grid in our Celestial Sphere upon the movement of a backdrop of stars, per century and is currently, at the time of this writing, decreasing in the direction toward the minimal tilt within what is called the 'nutation' (from Latin: nūtāre, to nod) of Earth's rotation around a tilted axis in precession of The Great Year.

 There is also what is referred to as, in what may seem to be, the free nutation of Earth on a tilted axis on The Celestial Pole in precession - noted throughout the course of shifting vantage points on Earth's surface. As Earth's tilted axis resides within precession of The Great Year the mantle of the planet nods on The Celestial Pole. Due to the free movement of Earth's mantle around the molten nickel and iron core the gravitational forces of Sol and Luna, in a combination with Planet Earth's shape which is not perfectly spherical, attribute to the effect of a freely nodding planet upon a tilted axis.  

 In a two dimensional image of Earth the distance between the North and South Celestial Poles is shorter than the distance measured across the Equatorial Plane of the planet. The subtle difference between Polar and Equatorial diameters combined with the tilted axis of Earth's rotation and the gravitational forces between Sol and Luna contribute to the free nutation of Earth's mantle.

*Images are shared, some modified, from web based search*

[historysurvivalguide]

Constructing Eccentric Calendar for Back Plate of the Astrolabe

An eccentric calendar assumes the sun moves at a constant speed throughout the year and accounts for the Sun's true anomaly as an offset from the Vernal Equinox. Due to both longitude and the year since 2000, the center of the calendar will be placed at an offset from the center of the back plate of the astrolabe on the line of apsides (the line connecting the perihelion and aphelion)

[Diagram from James Morrison’s Astrolabe]

The vernal equinox starts at 0° with Aries so the outer Zodaic calendar splits up every 30°. The Gregorian calendar (January-December) starts at an unknown angle from that 0° vernal equinox

The angular distance between the start of January and the vernal equinox is related to longitude

The offset from the center of the plate depends on the perihelion (the time when the Earth is the closest the Sun) which depends on the year since 2000

I wrote some code based on Morrison’s book that will generate both the angular distance from the Vernal Equinox to the January 0 (midnight of December 31) at the beginning of the year as well as the offset (x, y) from the center of the back plate

All you need is your year, your longitude, and a radius for the plate

For the Year 2022 at longitude -105.2705° for a plate with a radius of 1

Perihelion = 103.315666°

Aphelion = 283.315666°

Mean Anomaly of Jan 0 = 357.320158°

Line of Apside relative to Vernal Equinox for Longitude -105.2705° = -79.65258771051492°

X offset with radius of 1 = -0.007679

Y offset with radius of 1 = 0.032445

Code for Constructing the Offset for the Eccentric Calendar

[postpunkindustrial]

Victoria Keddie - Apsides

Apsides is the debut full length album from acclaimed multimedia artist Victoria Keddie (Barbican Centre [London], The Kitchen [NYC], Museum of Art and Design [NYC]). Each of Apside’s seven electronic soundscapes derive from the orbiting of space debris as it is tracked in real-time using Keddie’s custom built software. Data of proximity, distance and attitude variance are rendered into sound through analog synthesizers, signal generators, sampler, voice and more. The rawness of electricity is sculpted into thematic patterns, melodic shapes and textured environments while straddling a compositional line between chance and control. Musical reference points include Laurie Spiegel, Maryanne Amacher and Delia Derbyshire. Thematically, Apsides depicts a sonic portrait of the interaction between humankind and its culturally entrenched position among technological systems and media ecologies, a relationship merging the animate with the inanimate in a congealed ‘machinic’ exchange between signal and receiver.

[bluewindfall]

7, 10 and 12 for the writer ask? : )

^^ Hehe, thank you so much for the ask!!! 

7. Share a snippet from one of your favorite pieces of prose you’ve written and explain why you’re proud of it.

Wow, this was so hard to decide on, but I think I like this line a lot. :)

He feels unbalanced, like a coin sent spiraling in relentlessly widening ellipses, trying to reach a faraway speck of a destination.

This is from the smoldering footsteps one, but I wrote it before I decided on the chapter title. :D It felt like it fit nicely because elliptical orbits have apsides, so I was really happy with that. I always try to have a theme with the chapter titles of my fics, but this one felt a bit more thoughtful than my other ones. 

10. Which fic has been the easiest to write?

Haha, definitely "The Art of Picking a Good Kabocha.” It just feels more casual than my other fics, and there’s not really a plot to it. In general, it’s rather indulgent but the mood is really light. ^^ Also, all of it is fluff, so you can squish it down and there’s nothing there. :) I wrote it during last summer when I was super stressed out, so I mostly wrote whatever I wanted to and didn’t really expect anyone else to read it. 

I really like it a lot though. Most of the time going back to read it gives me second-hand embarrassment, but sometimes it makes me really happy when I’ve had a bad day. 

12. Is there an episode above all others that inspires you just a little bit more?

Yeah!! I've watched the first episode of the Kyoto arc over and over so many times! It just has that really nice feeling of summer for me, and the art is so pretty and blue, it’s totally my favorite episode. Also, there’s great Yukio character development, so I like to go back to it whenever I get stuck trying to write his dialogue. 

I also really love episode 10, the one with Kuro, in the first season!! It’s rather lighthearted and cute, but the first time I watched it, I think I actually cried a little too. All the interactions in there are great, and it always makes me more motivated to write. ^^ 

Again, thanks so much for the ask!! Answering these unexpectedly gave me a lot of motivation to write. :D

[michellecathlene]

184784 Bettiepage is an asteroid of the main band. Discovered at Catalina on 2005-10-03 by the Catalina Sky Survey, it presents an orbit characterized by a semi -gaunt of 3,0813743 UA and by an ignitricity of 0.0748977, inclined by 8.57781 ° compared to the ecliptic. The asteroid is dedicated to the American model Bettie Page.

This sketch illustrates the object's approximate orbit for the epoch given. Yellow/blue indicate where the object's orbital plane is above/below the plane of the ecliptic, respectively. The solid colored arcs show the orbits of the planets Mercury through Neptune. The grey line shows the line of apsides connecting the perihelion and aphelion points along the major axis of the object's orbit.

[chromaji]

thinking about Apsides characters as gym leaders...

Luneres as a water type (sharpedo, starmie, poliwrath), Epsilon as psychic type (elgyem, starmie again, Deoxy-- I mean the metang line. maybe). Nashira as rock type (solrock/lunatone, minior, glimmora)... much to think about.

I guess i'd make full teams for them as if they're postgame rematches or else i'd have to figure out who goes in what order.

Though there are a lot of characters who'd be fighting for water type... maybe some characters would be type specific, while others cover certain playstyles or just vibes

[marcos008-blog]

Celtic heritage

Rue Kéréon with the Cathedral of Saint Corentin of Quimper in the background, Quimper, Brittany, France

Some background information:

The Cathedral of Saint Corentin of Quimper (in French: "Cathédrale Saint-Corentin de Quimper"), is a Roman Catholic cathedral and national monument of Brittany in France. It is located in the town of Quimper and is the seat of the Diocese of Quimper and Léon. Saint Corentin was its first bishop.

The cathedral is notable in that, unlike other Gothic cathedrals, it slightly bends in the middle to match the contours of its location, and avoid an area that was swampy at the time of the construction. The church was the site of a devastating fire in 1620 when the bell tower was burned and the populace saw a green devil in the flames.

According to legend King Gradlon met Saint Corentin on the mountain Mėnez-Hom and was so impressed by the strength of his religious faith that he invited the hermit to become Bishop of Quimper.

The cathedral replaced an old Roman church which had a chapel attached to it called the "Chapelle de la Victoire" where Alain Canhiart, Count of Cornouaille, was buried in 1058. It was in 1239 that the first part of the cathedral was built. At that time Bishop Rainaud commissioned the building of the choir, but it was not until the coming of Duke Jean V at the beginning of the 15th-century that momentum gathered and the choir was covered with criss cross vaulting. In the same century, the western side of the cathedral and the nave emerged. The French revolution and the subsequent terror put paid to further progress, but after the Concordat, restoration of the cathedral followed as well as some additional construction.

When the cathedral was completed the choir was out of line with the nave, having a slight curve to the left, this to avoid disturbing an older chapel which contained the tomb of Alain Canhiart. Thus the cathedral has an odd shape, and rather imaginatively some have likened the top part of the cathedral’s inclination to the left as suggesting Christ’s head leaning to the left when he hung on the cross.

The choir of the cathedral presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of a three-sided choir apse which opens to a semi-circle composed of five chapels, an apsidal chapel of two bays and a flat apse consecrated to Our Lady. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements. A prominent transept links the two parts, whose significance recalls the large cathedrals of the Ile de France at the start of the 13th century.

The city of Quimper is the capital of the Breton department of Finistère in northwestern France. The town has about 64,000 residents and is built on the confluence of the three rivers Steir, Odet and Jet. Its name is the Breton word "kemper", meaning "confluence". Quimper is the ancient capital of Cornouaille, Brittany’s most traditional region, and has a distinctive Breton Celtic character.

Quimper was originally settled during Roman times. By the year 495, the town had become a Bishopric. Subsequently it also became the capital of the counts of Cornouailles. In the eleventh century, it was united with the Duchy of Brittany. During the War of the Breton Succession (1341 to 1364), the town suffered considerable damages. In 1364, the Duchy of Brittany passed to the House of Montfort.

High walls were built which surrounded the town area of around fifteen hectares. By 1450, about 4,500 people lived within these walls, but the area was only urbanised partially as it also included fields, orchards and gardens.

With the attachment of Brittany to France in 1532, the rivalry between episcopal and ducal power still continued but eased. An oligarchy of minor nobility and middle-class asserted itself. It provided a number of doctors, lawyers and sailors such as the Admiral of Kergelen. These large families had private mansions built in the city and acquired country estates.

At the end of the 17th century, Quimper numbered about 9,000 inhabitants. The walls of the town, having lost their military use, were no longer maintained. The fortified entrances were demolished, whilst the construction of new bridges improved traffic conditions. But the town had inherited an anarchic and insalubrious structure from the Middle Ages. In 1762, a fire storm ravaged the wooden houses of Rue Kéréon. In the following yeas a new building plan was established, the layout of the streets was straightened and stonewalled buildings were constructed.

In 1790, Quimper was designated county town of the department. In 1792, religious congregations were suppressed and numerous priests went into exile. Several family buyers profited from the sale of clergy property and several convents as well as other religious buildings were converted into barracks and prisons or held new administrations. Under the regime of the terror, revolutionary excesses multiplied: In this context witch hunts of priests, waves of arrests and public executions, ransacking of churches and the cathedral as well as destruction of statues and reliquaries took place.

Following the turmoil of the revolutionary period there was a time interval of relative prosperity during the Consulate and the Empire. Quimper took advantage of the marine blockade of Brest by the British Navy. The small merchant port on the Odet became the depot of the French wartime and merchant navy. But the peacetime of 1815 put an end to this intense activity.

In the 19th century, the ransacked religious buildings were restored or rebuilt. In 1857, the spires of the cathedral towers, classified as historic monuments in 1847, were constructed by Joseph Bigot. The arrival of the railway in 1864 brought new industrial activities: Potteries and food processing industries like canneries or ice factories occupied new industrial estates.

During World War II, Quimper was occupied by the Germans since 18th June 1940. The city – though spared the bombardments – suffered hardships, arrests and deportations. Once the Normandy landings were declared, Breton Resistance members liberated the town on 8th August 1944 after violent clashes.

The town’s best known product is Quimper faience. It has been made here since 1690, using bold provincial designs of Jean-Baptiste Bousquet. And the city’s eating establishments boast some of the best crêpes and cider in Brittany.

Posted by Silanov on 2017-08-09 05:00:36

Tagged: , EU , Europe , France , Frankreich , Brittany , Bretagne , Finistère , Finistere , Quimper , Quimper Cathedral , Cathédrale Saint-Corentin de Quimper , Cathédrale Saint-Corentin , cathedral , Cathédrale , Kathedrale , dome , Dom , Münster , spires , Kirchtürme , church , église , Kirche , Catholic Cathedral , katholische Kathedrale , Catholic , katholisch , Gothic style , gotischer Stil , Gotik , Gothic , gotisch , street , Straße , city , town , Stadt , old town , historic quarter , historic district , Altstadt , historic , historisch , Middle Ages , dark age , Mittelalter , medieval , mitttelalterlich , framework , Fachwerk , timber framework , wooden framework , timber framing , half-timber house , half-timbered house , Fachwerkhaus , half-timber building , half-timbered building , Fachwerkgebäude , architecture , Architektur , houses , Häuser , shops , Geschäfte , restaurants , cafés , sky , Himmel , blue sky , blauer Himmel , summer , Sommer , September , 2016

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[polkadotpatterson]

First Line Meme

rules: list the first lines of the last ten (10) stories you published. look to see any patterns you notice yourself, and see if anyone else notices any. then tag some friends.

I was tagged by @waveridden! Thank you!

Listing these starting from most recent (and for multichapter fics, going by the date the first chapter was posted) 

eloise butterworth breaks the world (Party Crash fic with split timeline shenanigans) // It's nighttime, and Eloise Butterworth is playing. 

Snowglobe (Jasper Coven 12x100) // Jasper sends a letter every day.

a voice in a dream whispered a name (Dot in the blaseball-only AU) // Your name is PolkaDot Patterson.

deep down (Dot & Alto bring the Talkers to the Hall in S24) // The Talkers know exactly where they’re going.

alto solo (S23/24) // Alto is no stranger to small lineups.

the hand that you were dealt (Dot & Alto post-S16) // The Core is never quiet, not entirely.

damned if you do, damned if you don't (Lachlan hits a grand slam that wins the Beams the Underchampionship) // The Moist Talkers are up 8-1 in the bottom of the seventh, and their fans aren’t happy about it.

so much more (Dot & Alto talk after Alto’s first game as a batter) // Alto emerges from the Shadows already wielding their bat, blinking as if they've forgotten just how bright this world can be.

forever (Dot & Workman fluff set right after Dot comes back from alting) // Dot is, of course, overwhelmingly happy to be welcomed back by all the Moist Talkers.

apsides (Simon/Lachlan discipline era fic) // Lachlan would have noticed the spectacular leap and catch even if it hadn’t been made by an alien, but the blue blur of the comet-like trail streaming from their head certainly made it impossible to escape his attention. 

THOUGHTS: wow I sure do seem to be drifting towards short opening sentences, especially ones that have the main character's name in them! Those don't look very good on their own tbh, especially compared to the longer opening lines like the ones for damned if you do, damned if you don't and so much more. Though a small trend I seem to have lately is reusing the opening line throughout the fic, which I did with both “It's nighttime, and Eloise Butterworth is playing” and “Your name is PolkaDot Patterson”, and I think in both cases they worked very well even if neither are remarkable out of context. also absolutely none of these start with dialogue, which makes me wonder if any of my fics aside from the dialogue-only one even do start that way! I’ll have to go dig through the others later.

Compiling these was a really interesting experience! It's definitely going to make me think more about my opening lines.

I tag @cryinginblaseball and if anyone else wants to do it please feel free!