Wednesday, May 31, 2017

Discerning Alcor in Horse and Rider Asterism Tests 20/20 Vision


Summary: Discerning Alcor, fainter of the naked eye double star known as the Horse and Rider asterism in the Big Dipper's handle, historically tests 20/20 vision.


Persian astronomer 'Abd al-Rahman al-Sufi provided mirror images of each constellation in his mid-10th century star atlas, The Book of Fixed Stars (Kitab al-Kawākib al-Thābita):
Left: depiction of the Great Bear, as seen directly in the night sky, in The Book of Fixed Stars; image from ca. 1009 copy in the Bodleian Library, the oldest extant copy: Abd-al-rahman al-Sufi, Public Domain, via Wikimedia Commons
Right: depiction of the Great Bear, as seen on a celestial globe, in The Book of Fixed Stars; image from ca. 1009 copy in the Bodleian Library, the oldest extant copy: Abd al-Rahman al-Sufi, Public Domain, via Wikimedia Commons

Discerning Alcor, fainter of the naked eye double star known as the Horse and Rider asterism in the asterismal Big Dipper's handle in the Great Bear (Ursa Major) constellation, historically tests 20/20 vision in the ancient and medieval Arab world.
Persian astronomer 'Abd al-Rahman al-Sufi (Dec. 7, 903-May 25, 986), writing in Arabic, discusses the Alcor vision test in his mid-10th century astronomical text, The Book of Fixed Stars (Arabic: Kitab al-Kawākib al-Thābita). Danish astronomer Hans Carl Frederik Christian Schjellerup (Feb. 8, 1827-Nov. 13, 1887) published a French translation of The Book of Fixed Stars in 1874.
The Persian astronomer lists 27 stars in the Great Bear (Arabic: al-dubb al-akbar). Number 26, in the middle of the tail, or in the middle of the Big Dipper asterism's handle, is identified as al-anâk (“little she-goat”). Western astronomy knows al-anâk under the traditional name of Mizar. Its astronomical designation is Zeta Ursae Majoris (ζ Ursae Majoris; Zeta UMa; ζ UMa).
al-Sufi indicates that the usual Arabic name for the small star above al-anâk is al-suhâ, “the little neglected (star).” In some dialects, al-anâk's companion star is known as al-nuaïsch (“little stretcher”), al-saïdak (“steadfast, trustworthy”) or al-schitâ (“winter”). Western astronomy knows al-suhâ under the traditional name of Alcor, a corruption of al-jaún, the Arabic word for a swift horse. Alcor's astronomical designation is 80 Ursae Majoris.
The Persian astronomer notes that al-suhâ is used as an eyesight test. He cites an Arabic proverb depicting al-suhâ as a touchstone of keen eyesight: “I show him al-suhâ, and he shows me the moon.”
Research by Dr. George M. Bohigian, an ophthalmologist at Washington University School of Medicine in St. Louis, Missouri, correlates the resolution, or separation, of Alcor from Mizar with the 20/20 line on the Snellen visual acuity eye chart. Each of the two E optotypes, or standardized visual test symbols, that appear in Snellen's 20/20 line subtends, or encloses, five arc minutes at a distance of 20 feet. Each of the five lines in the 20/20 E optotype measures one arc minute.
Arc minute, also known as minute of arc (MOA) and minute arc, is an angular measurement unit that is used in fields, such as astronomy, land surveying, navigation and ophthalmology, that involve extremely small angles. An arc minute equals one-sixtieth (1/60) of one degree, expressed decimally as 0.01667 degrees. One degree is one-three hundred sixtieth (1/360) of a circle. In the context of a circle, an arc minute is expressed as one-twenty-one thousand six hundredth (1/21600), the product of 1/60 times 1/360.
The separation between Alcor and Mizar measures 11.8 arc minutes, or 0.19667 degrees. Dr. Bohigian points out that, in the hand measurement of apparent distances between celestial objects, the width of the little finger, extended at arm’s length, represents one degree.
Seventeenth-century polymath Robert Hooke (July 28, 1635-March 3, 1703) noted in a lecture at central London’s Gresham College at the beginning of December 1673 the resolution limits of human vision in naked eye astronomy. The Cutleran lecture, funded by wealthy London merchant Sir John Cutler (ca. 1608-April 15, 1693), was subsequently published in 1674. Hooke’s findings reveal the impossibility of naked eye astronomers’ distinguishing “any distance in the Heavens less then [sic] half a minute, or thirty seconds, and hardly one of a hundred can distinguish a minute.” (Animadversions, page 7)
Dr. Bohigian equates the angle of separation between Mizar and Alcor, at 11.8 arc minutes, to an approximate equivalent of 20/200, the topmost line on the Snellen Eye Chart. But 20/20 visual acuity, which expresses normal clarity, or sharpness, of vision at a distance of 20 feet, considers factors such as brightness, contrast and sharpness. Also, the standardized black letters on the Snellen Eye Chart contrast easily with their white background, whereas white objects against the black background of space, especially in Alcor’s apparent closeness to Mizar, challenge visual sharpness. Dr. Bohigian finds that the unequal brightnesses, with Alcor at fourth magnitude and Mizar at second magnitude, as well as other factors, such as atmospheric distortion, ambient light pollution, dark adaptation and retinal light scatter, elevate the resolution of Alcor to “a good test of vision.”
An experiment conducted over two successive dates confirms Dr. Bohigian’s correlation of Alcor discernment with the Snellen Eye Chart’s 20/20 line. Ten participants, ranged in age from 12 to 49 and corrected to 20/20 or better, plainly discern Alcor on a cold, moonless country sky, free from urban light pollution. The next day the ten participants easily see the Snellen Eye Chart’s 20/20 line. Testing with increasingly powered spherical lenses yields image blurring on both occasions at the same parameters, with spherical power ranges of +0.50 to +0.75.
Dr. Bohigian assesses that discernment of Alcor, known as the Arab Eye Test, attests to the practicality of natural phenomenon.
The takeaway for discerning Alcor in the Big Dipper handle’s Horse and Rider asterism as a test of 20/20 vision is the night sky’s practical beauty.

Left: Snellen Eye Chart; 20/20 line is above red line: Jeff Dahl, Public Domain, via Wikimedia Commons;
Right: Snellen Eye Chart’s E optotype encloses five arc minutes, with each line registering one arc minute: Alessio Facchin, CC BY SA 3.0, via Wikimedia Commons

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
Left: depiction of the Great Bear, as seen directly in the night sky, in The Book of Fixed Stars; image from ca. 1009 copy in the Bodleian Library, the oldest extant copy: Abd-al-rahman al-Sufi, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Book_of_the_Fixed_Stars_Auv0052_ursa_major.jpg
Right: depiction of the Great Bear, as seen on a celestial globe, in The Book of Fixed Stars; image from ca. 1009 copy in the Bodleian Library, the oldest extant copy: Abdal-Rahman al-Sufi, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Al_Sufi_-_Book_of_Fixed_Stars_-_Ursa_Major_(The_Great_Bear)_-_Bodleian_Library_-_Marsh_144.jpg
Left: Snellen Eye Chart: Jeff Dahl, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Snellen_chart.svg
Right: Snellen Eye Chart’s E optotype: Alessio Facchin, CC BY SA 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Esnellen2.png

For further information:
“A Handy Guide to Measuring the Sky.” Time And Date > Sun & Moon.
Available @ https://www.timeanddate.com/astronomy/measuring-the-sky-by-hand.html
Avramov, Iordan. “Letter Writing and the Management of Scientific Controversy: The Correspondence of Henry Oldenburg (1661-1677).” Pages 337-363. In Toon Van Houdt; Jan Papy; Gilbert Tournoy; Constant Matheeussen, eds. Self-Presentation and Social Identification: The Rhetoric and Pragmatics of Letter Writing in Early Modern Times. Supplementa Humanistica Lovaniensia XVIII. Leuven, Belgium: Leuven University Press, 2002.
Berman, Bob. “Eye See, You See.” Astronomy Magazine > Bob Berman's Strange Universe. Sept. 1, 2004.
Available via Astronomy Magazine @ http://astronomy.com/columnists/bob%20berman/2004/09/bob%20bermans%20strange%20universe%20eye%20see%20you%20see
Bohigian, George M. “An Ancient Eye Test Using the Stars.” Survey of Ophthalmology, vol. 53, no. 5 (September-October 2008): 536-539.
Available @ http://www.surveyophthalmol.com/article/S0039-6257(08)00119-7/fulltext
Duane, Thomas. Clinical Opthalmology. Philadelphia PA: Harper & Row, 1982.
Hafez, Ihsan; F. Richard Stephenson; Wayne Orchiston. “'Abdul-Rahman al-Sufi and His Book of the Fixed Stars: A Journey of Re-Discovery.” In Wayne Orchiston, Tsuko Nakamura, Richard G. Strom, eds., Highlighting the History of Astronomy in the Asia-Pacific Region. Pages 121-138. New York NY; Dordrecht; Heidelberg, Germany; London, England: Springer Science+Business Media LLC, 2011.
Available via Google Books @ https://books.google.com/books?id=vOUWfhBheDIC&pg=PA121#v=onepage&q&f=false
Hooke, Robert. Animadversions on the First Part of the Machina Coelestis of the Honourable, Learned, and Deservedly Famous Astronomer Johannes Helevius, Consul of Dantzick Together With an Explication of Some Instruments. London, England: John Martyn, Printer to the Royal Society, 1674.
Available @ http://quod.lib.umich.edu/e/eebo/A44313.0001.001?rgn=main;view=fulltext
J.E.L.D. “Hans Carl Frederik Christian Schjellerup.” Royal Astronomical Society, vol. XLVIII (48), no. 4 (February 1888): 171-174.
Available @ http://mnras.oxfordjournals.org/content/48/4/171
Mamajek, Eric E.; Matthew A. Kenworthy; Philip M. Hinz; Michael R. Meyer. “Discovery of a Faint Companion to Alcor Using MMT/AO μ5 m Imaging.” The Astronomical Journal, vol. 139, issue 3 (March 2010): 919-925.
Available @ http://iopscience.iop.org/article/10.1088/0004-6256/139/3/919
Marriner, Derdriu. “Big Dipper's Naked Eye Double Star Mizar and Alcor Are Six Stars.” Earth and Space News. Wednesday, May 17, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/05/big-dippers-naked-eye-double-star-mizar.html
Moore, Patrick. Astronomers' Stars. New York NY: W.W. Norton & Co., 1987.
Rubin, Melvin L.; Gordon Lynn Walls. Fundamentals of Visual Science. Springfield IL: Charles C. Thomas, 1969.
Schjellerup, H.C.F.C. (Hans Carl Frederik Christian). Description des Étoiles Fixes Composée au Milieu du Dixième Siécle de Notre Ère par l’Astronome Persan Abd-al-Rahman al-Sufi. Traduction Littérale de Deux Manuscrits Arabes de la Bibliothèque Royale de Copenhague et de la Bibliothèque Impériale de St. Pétersbourg. Avec des Notes par H.C.F.C. Schjellerup. St. Petersburg, Russia: Commissionnaires de l’Académie Impériale des Sciences, 1874.
Available via Atlas Coelestis di Felice Stoppa @ http://www.atlascoelestis.com/Sufi%20schjelerup%20Description%20des%20%C3%83%C2%A9toiles%20fixes.pdf
Available via Google Books @ https://books.google.com/books?id=nJRHAAAAYAAJ
Available via MENAdoc Digital Collections @ http://menadoc.bibliothek.uni-halle.de/ssg/content/titleinfo/459362
Upton, J.M. (Joseph M.) “A Manuscript of 'The Book of the Fixed Stars' by 'Abd ar-Rahman as-Sufi.”Metropolitan Museum Studies, vol. 4, no. 2 (March 1933): 179-197.
Available @ https://www.jstor.org/stable/1522800?seq=1#page_scan_tab_contents
Wooldridge, Maurice. “Seeing Stars: The Arabic Eye Test Revisited.” The British Medical Journal, vol. 310 (Feb. 4, 1995): 297.
Available @ http://www.bmj.com/content/310/6975/297
Zimmerman, Neil; Ben R. Oppenheimer; Sasha Hinkley; Douglas Brenner; Ian R. Perry; Anand Sivaramakrishnan; Lynne Hillenbrand; Charles Beichman; Justin R. Crepp; Gautam Vasisht; Lewis C. Roberts Jr.; Rick Burruss; David L. King; Rémi Soummer; Richard Dekany; Michael Shao; Antonin Bouchez; Jennifer E. Roberts; Stephanie Hunt. “Parallactic Motion for Companion Discovery: An M-Dwarf Orbiting Alcor." The Astrophysical Journal, vol. 709, no. 2 (Feb. 1, 2010): 733-740. DOI: 10.1088/0004-637X/709/2/733
Available @ http://iopscience.iop.org/article/10.1088/0004-637X/709/2/733/meta


Monday, May 29, 2017

2016-2017 Metropolitan Opera Season Debuted Four Conductors


Summary: The 2016-2017 Metropolitan Opera season debuted four conductors, comprising one female and three males, for four of the season’s 26 productions.



photo of Susanna Mälkki by Rex Features, via Associated Press: The Metropolitan Opera @MetOpera via Facebook Oct. 18, 2016

The 2016-2017 Metropolitan Opera season debuted three conductors for three of the season’s 26 operas and marked the milestone debut of the Metropolitan Opera’s fourth female conductor.
L’Amour de Loin, by Finnish composer Kaija Saariaho, marked its Metropolitan Opera premiere during the 2016-2017 season. The production’s eight performances began Dec. 1 and closed Dec. 29. Susanna Mälkki, who has served as Chief Conductor of the Helsinki Philharmonic Orchestra since autumn 2016, debuted on opening night as the production’s conductor. The Finnish conductor’s appearance on the podium brings to four the number of debuts by female conductors at the Metropolitan Opera.
Sarah Caldwell debuted as the Metropolitan Opera’s first female conductor during the 1975-1976 season. The American conductor’s debut happened Jan. 13, 1976, for the season’s production of La Traviata by Italian opera composer Giuseppe Verdi (Oct. 10, 1813-Jan. 27, 1901). Sarah Caldwell returned to the conductor’s podium for the Met’s 1977-1978 season. She conducted all five of the season’s performances of L’Elisir d’Amore by Gaetano Donizetti (Nov. 29, 1797-April 8, 1848).
Simone Margaret Young claimed status during the 1995-1996 season as the Met’s second female conductor. The Australian conductor debuted April 10, 1996, for the season’s production of La Bohème by Italian opera composer Giacomo Puccini (Dec. 22, 1858-Nov. 29, 1924).
During the 2013-2014 season, Jane Glover debuted as the Met’s third female conductor. The British conductor’s debut on the podium occurred Dec. 16, 2013, for the Met’s English-language, holiday presentation of The Magic Flute by German Classical Era composer Wolfgang Amadeus Mozart (Jan. 27, 1756-Dec. 5, 1791). Jane Glover dedicated her appearances on the conductor’s podium to Dr. Agnes Varis (Jan. 11, 1930-July 29, 2011) in appreciation of the philanthropist’s championing of female conductors.
The 2016-2017 Metropolitan Opera season’s production of Salome by Richard Strauss (June 11, 1864-Sept. 8, 1949) occasioned the season’s second conducting debut. Dec. 5 was opening night for Salome’s six performances. Opening night marked Johannes Debus’s debut on the Met’s podium. Salome closed Dec. 28. The German conductor has been the Canadian Opera Company’s music director since 2009.
Verdi’s Rigoletto welcomed the 2016-2017 Metropolitan Opera season’s third conducting debut.  Rigoletto’s performances ran from Jan. 20 through April 27. Opening night marked the debut of Pier Giorgio Morandi on the conductor’s podium. Since 1990, the Italian conductor has appeared as guest conductor in major opera houses in the Americas, Asia and Europe. A 10-year career as principal oboist in Milan’s Orchestra del Teatro alla Scala preceded Pier Giorgio Morandi’s switch to conducting.
The 2016-2017 Metropolitan Opera season's production of Eugene Onegin by Pyotr Ilyich Tchaikovsky (May 7, 1840-Nov. 6, 1893) marked the season's fourth conducting debut. Met Opera offered seven performances of the Russian composer's opera, opening March 30 and closing April 22. American conductor Joel Revzen led two performances, on April 15 and 18. He substituted for British conductor Robin Ticciati, who was ill.
The 2016-2017 season’s milestone debut of Susanna Mälkki as the Metropolitan Opera’s fourth female conductor occurred during the benchmark premiere of L’Amour de Loin as the opera company’s second, female-composed opera. The Metropolitan Opera’s first staging of an opera by a female composer took place March 12, 1903, with the North American premiere of Der Wald (“The Forest”) by English composer Ethel Mary Smyth (April 23, 1858-May 8, 1944).
The takeaway for the 2016-2017 Metropolitan Opera season’s debut of four conductors is the welcome appearances of German conductor Johannes Debus, Italian conductor Pier Giorgio Morandi and American conductor Joel Revzen as well as the milestone achieved by the Met’s fourth female conductor, Susanna Mälkki, during the opera company’s premiere of L’Amour de Loin by Finnish composer Kaija Saariaho.

Finnish composer Susanna Mälkki's debut as the Metropolitan Opera's fourth female conductor takes place in the premiere of the opera house's second female-composed opera, L'Amour de Loin by Finnish composer Kaija Saariaho: The Metropolitan Opera @MetOpera via Facebook Feb. 17, 2016

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
photo of Susanna Mälkki by Rex Features, via Associated Press: The Metropolitan Opera @MetOpera via Facebook Oct. 18, 2016, @ https://www.facebook.com/MetOpera/posts/10157717705630533
Finnish composer Susanna Mälkki's debut as the Metropolitan Opera's fourth female conductor takes place in the premiere of the opera house's second female-composed opera, L'Amour de Loin by Finnish composer Kaija Saariaho: The Metropolitan Opera @MetOpera via Facebook Feb. 17, 2016, @ https://www.facebook.com/MetOpera/photos/a.10156647457545533/10156647458075533/

For further information:
"Debut: Joel Revzen." MetOpera Database > [Met Performance] CID: 356693 Eugene Onegin {153} Metropolitan Opera House: 04/15/2017.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=356693
“Debut: Sarah Caldwell.” MetOpera Database > [Met Performance] CID: 243930 La Traviata {622} Metropolitan Opera House: 01/13/1976.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=243930
“Debuts: Jane Glover, Andre Gulick, Julius Ahn.” MetOpera Database > [Met Performance] CID: 355192 Die Zauberflöte {409} Metropolitan Opera House: 12/16/2013.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=355192
“Debuts: Johannes Debus, Kang Wang, Nicholas Brownlee.” MetOpera Database > [Met Performance] CID: 356554 Salome {32} Metropolitan Opera House: 12/05/2016.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=356554
“Debuts: Pier Giorgio Morandi, Andrea Mastroni, Nelson Martinez.” MetOpera Database > [Met Performance] CID: 356600 Rigoletto {879} Metropolitan Opera House: 01/20/2017.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=356600
“Debuts: Roberto Alagna, William Shimell, Simone Young.” MetOpera Database > [Met Performance] CID: 323890 La Bohème {1031} Metropolitan Opera House: 04/10/1996.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=323890
“Debuts: Susanna Mälkki, Sybille Wilson.” MetOpera Database > [Met Performance] CID: 356550 L’Amour de Loin {1} Metropolitan Opera House: 12/01/2016.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=356550
Helsinkiphilharmonic @HelsinkiPhil. “Mälkki is one of the brightest lights in the world of classical music: Susanna Malkki on Her Met Opera Debut.” Twitter. Dec. 15, 2016.
Available @ https://twitter.com/HelsinkiPhil/status/809321148282503168
Littler, William. “Johannes Debus Makes his New York Debut With Strauss’s Salome.” The Star > Entertainment > Music. Jan. 28, 2017.
Available @ https://www.thestar.com/entertainment/music/2017/01/28/maestro-johannes-debus-makes-his-debut-with-strausss-salome.html
Marriner, Derdriu. “2016-2017 Metropolitan Opera Saturday Matinee Broadcast Season Summary.” Earth and Space News. Monday, May 15, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/05/2016-2017-metropolitan-opera-saturday.html
Marriner, Derdriu. “2016-2017 Metropolitan Opera Season Debuted 44 Singers.” Earth and Space News. Monday, May 22, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/05/2016-2017-metropolitan-opera-season.html
Marriner, Derdriu. "L'Amour de Loin Is the Dec. 10, 2016, Metropolitan Opera Saturday Matinee Broadcast." Earth and Space News. Monday, Dec. 5, 2016.
Available @ https://earth-and-space-news.blogspot.com/2016/12/lamour-de-loin-is-dec-10-2016.html
Metropolitan Opera. “L’Amour de Loin: Live in HD Intermission Interview.” YouTube. Dec. 15, 2016.
Available @ https://www.youtube.com/watch?v=2kHlFaxWLM8
The Metropolitan Opera @MetOpera. "Congratulations to Susanna Mälkki, who was just named Musical America Worldwide's conductor of the year! Mälkki is currently chief conductor of the Helsingin kaupunginorkesteri HKO and she will make her Met Opera debut this Dec conducting Kaija Saariaho's L'Amour de loin." Facebook. Oct. 18, 2016.
Available @ https://www.facebook.com/MetOpera/posts/10157717705630533
The Metropolitan Opera @MetOpera. "Finnish composer Kaija Saariaho’s breakthrough opera will now finally have its Metropolitan Opera premiere in a dazzling new production by Robert Lepage, featuring glimmering ribbons of LED lights that extend across the length of the stage and over the orchestra pit. Eric Owens is the knight on a quest of love and Susanna Phillips, Soprano is his lover on the other side of the sea. Conductor Susanna Mälkki makes her Met debut." Facebook. Feb. 17, 2016.
Available @ https://www.facebook.com/MetOpera/photos/a.10156647457545533/10156647458075533/
“Pier Giorgio Morandi.” Musical World > Artists.
Available @ http://musicalworld.com/artists/pier-giorgio-morandi/
Smyth, Ethel. Impressions That Remained: Memoirs. New York NY: Alfred A. Knopf, 1946.
Available @ https://archive.org/stream/impressionsthatr010821mbp#page/n460/mode/1up
Wall Street Journal. “Conductor Susanna Mälkki on Her Met Opera Debut.” Wall Street Journal. Dec. 13, 2016.
Available @ https://www.youtube.com/watch?v=rdn5QawtZL0
Woolfe, Zachary. “Missing From Podiums: Women.” The New York Times > Arts > Music. Dec. 30, 2013.
Available @ http://www.nytimes.com/2013/12/22/arts/music/female-conductors-search-for-equality-at-highest-level.html
WSJ Life & Arts @WSJLife. “An interview with conductor Susanna Malkki, who comes to the @MetOpera in December.” Twitter. Oct. 23, 2016.
Available @ https://twitter.com/WSJLife/status/790190373402476544


Sunday, May 28, 2017

North American Memorial Day Remembrance Gardens in Pink, Red and White


Summary: The Tomb of the Unknown Soldier ceremony in 1921 gives North American Memorial Day remembrance gardens carnations, chrysanthemums, roses and snapdragons.


roses for remembrance, Memorial Day weekend, Arlington National Cemetery, Virginia; May 25, 2015: Elvert Barnes, CC BY SA 2.0, via Flickr

North American Memorial Day remembrance gardens assemble pink, red and white carnations, chrysanthemums and roses and red-purple snapdragons as accolades to all in-service, wartime casualties of known and unknown gravesites and identities.
The last Monday in May, like July 4th and November 11th, brings civilian populations and military personnel to cemeteries throughout the continental and insular United States. Memorial Day for the fallen, compared to July Fourth for independence and November 11th for dead and living veterans, calls upon Confederate and Union graveside customs. The Richmond Times-Dispatch dates Memorial Day to the War Between the States (April 12, 1861-May 9, 1865), with Confederate decorations in Warrenton, Virginia, June 3, 1861.
The Grand Army of the Republic endorses 1868 as the first yearly Decoration Day, with the GAR furnishing flowers for Union burial plots in Decatur, Illinois.

Public Laws 89-554 of Sept. 6, 1966, and 90-363 of June 28, 1968, respectively finalize Memorial Day's name and occurrence as the last Monday in May.
The Tomb of the Unknown Soldier in Arlington, Virginia, gets high-profile, world-famous observances of Memorial Day and of Veterans Day since its first observance in 1921. It has six sculpted, 12-berried, 38-leafed wreaths for the First World War's (July 28, 1914-Nov. 11, 1918) Ardennes, Belleau Wood, Château-Thierry, Meuse-Argonne, Oisiu-Eiseu and Somme campaigns. News sources identify its first flower- and wreath-laying ceremonies as Nov. 11, 1921, even though laurel wreaths and pink blooms indicate Memorial more than Veterans Day.
North American Memorial Day remembrance gardens jumble expeditionary force chrysanthemums, Congressional roses and snapdragons, navy chrysanthemums and roses, presidential roses and Supreme Court carnations and chrysanthemums.

Digital archives keep online images from contemporary newspapers of giant pink chrysanthemums from General John Pershing (Sept. 13, 1860-July 15, 1948) for the American Expeditionary Force.
News sources list roses and snapdragons from House Speaker Frederick Gillett (Oct. 16, 1851-July 31, 1935) and Vice President Calvin Coolidge (July 4, 1872-Jan. 5, 1933). They mention Chief Justice William Taft's (Sept. 15, 1857-March 8, 1930) carnation-mixed chrysanthemums and Navy Secretary Edwin Denby's (Feb. 18, 1870-Feb. 8, 1929) chrysanthemums and roses. They note President Warren Harding's (Nov. 2, 1865-Aug. 2, 1923) crimson roses alongside Congress's pink roses, the army's white roses and the French government's pink blooms.
North American Memorial Day remembrance gardens offer the unknown soldier, escorted from France by Rear Admiral Lloyd Chandler (Aug. 17, 1869-Jan. 17, 1947), flowers and wreaths.

Carnations (Dianthus caryophyllus [divine flower, nut leaf]) provide fragrant pink or purple blooms, April to August outdoors and year-round indoors, amid essential oil-bearing, gray-green, linear leaves.
Fragrant chrysanthemums (golden flowers) qualify as fall bloomers outside and year-round bloomers inside amid aromatic alternate-arranged, obovate leaves on pyrethrum-filled stems as natural pest-killing pyrethrin sources. Sweet-scented roses revel in bloom times that run from Memorial Day to Labor Day as the respectively unofficial first and last days of North American summers. Snapdragons (Antirrhinum majus [big nose-like (capsule)]) sustain five-lobed flower-clustered spikes alongside deep green, lance-shaped foliage in sunny, well-drained soils, with bay laurel, carnations, chrysanthemums and roses.
North American Memorial Day remembrance gardens trigger Maytime and year-round accolades with bright green-leafed, green- to black-berried laurel wreaths and carnation, chrysanthemum, rose and snapdragon arrangements.

roses for remembrance beyond Memorial Day: wreaths sweetened with roses honor the Tomb of the Unknown Soldier; Arlington Cemetery, Virginia; Dec. 7, 2009: Richard Gillin (photoverulam), CC BY SA 2.0, via Flickr

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
roses for remembrance, Memorial Day weekend, Arlington National Cemetery, Virginia; May 25, 2015: Elvert Barnes, CC BY SA 2.0, via Flickr @ https://www.flickr.com/photos/perspective/22200674115/
roses for remembrance beyond Memorial Day: wreaths sweetened with roses honor the Tomb of the Unknown Soldier; Arlington Cemetery, Virginia; Dec. 7, 2009: Richard Gillin (photoverulam), CC BY SA 2.0, via Flickr @ https://www.flickr.com/photos/photoverulam/5676421217/

For further information:
Jones, Reverend J. William. (Ed.) "The First Confederate Memorial Day." From the Times-Dispatch, July 15, 1906. Southern Historical Society Papers, Volume 35.
Available @ http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A2001.05.0293%3Achapter%3D1.73
Modzelevich, Martha. "Antirrhinum majus, Common Snapdragon, Hebrew: לוע-ארי הגדול, Arabic: گل میمون." FlowersinIsrael.com.
Available @ http://www.flowersinisrael.com/Antirrhinummajus_page.htm
Public Law 89-554. 80 Stat. 515.
Available @ http://uscode.house.gov/statviewer.htm?volume=80&page=515
Public Law 90-363. 82 Stat. 250-251.
Available @ https://www.gpo.gov/fdsys/pkg/STATUTE-82/pdf/STATUTE-82-Pg250-3.pdf


Saturday, May 27, 2017

Age and Canopy Area Cost Less and Tell More in Urban Tree Inventories


Summary: Age and canopy area give more accurate, economical urban tree inventories than do basal area, diameter, normal circumference and trunk area, and volume.


Pink trumpets (Tabebuia impetiginosus) number among the 145-tree sample studied for tree appraisal assessment variables, such as age and canopy area, in northern Argentina's province of Santiago del Estero; Tabebuia impetiginosus in Oberá, Misiones Province, northeastern Argentina, Sept. 1, 2014: Leandro Kibisz, CC BY SA 4.0, via Wikimedia Commons

An article in Arboriculture & Urban Forestry May 2017 accepts acoustic stress-absorbing, climate-regulating, pollutant-filtering, recreational, refrigerating roles beyond mainly ornamental functions of urban trees when assembling urban tree inventories for town planning.
Lucrecia Contato-Carol in Argentina and Esperanza Ayuga-Téllez, Concepción González-García, M. Ángeles Grande-Ortiz and Alvaro Sánchez-Medina in Spain broach the numerous tree-appraising formulas and standards brandished worldwide. One researcher in Santiago del Estero and four in Madrid classify tree-appraising assessment variables, unlike in criteria and outcome considerations, into economic, health and tree-size divisions. They define age, basal area, canopy area, diameter at breast height (dbh), normal circumference, normal trunk area and volume as common biometric (statistically analyzed) tree-size variables.
The article emphasizes age as the most important non-parametric (distribution-free) assessment method variable since inventory procedures evoking all physiological and environmental aspects never explain tree complexities.

The article Selection of Tree-Size Variables for Appraisal Methods for Urban Trees According to Their Collinearity favors Arboriculture & Urban Forestry article findings from March 2009. Studies of urban tree physiology by Pierre Dutilleul, Pierre Jutras and Shiv Prasher of McGill University in Montreal, Canada, group quantitative over abiotic and biotic variables.
The current study handles marmalade orange (Citrus x aurantium), pink trumpet (Tabebuia impetiginosus) and rosewood (Tipuana tipu) among the 145-tree sample in Santiago del Estero, Argentina. It ignores conifers, as farm and private garden trees, and institutes cluster analysis to isolate redundant variables and multiple regression models to identify the variability-injecting variables.
Linear and Spearman combinations juggle analyses of correlations between the sets of two calculated and four direct-measured variables to judge information comparability for urban tree inventories.

Combining circumference 1.3 meters (4.26 feet) above ground level and height along the tree axis, from trunk base to upper canopy end, knows the greatest correlation. Linear and Spearman coefficients lend the least correlation between canopy area and height when looking at age, basal area, canopy diameter, height and normal trunk circumference.
Parametric and mixed-method appraisals "maximize the benefits of trees and minimize the costs in achieving these benefits" by monetarizing value from one of five tree-size variables. The study by Dutilleul, Jutras and Prasher contrastingly notes urban managers nestling multiple tree-size variables as "the simplest model for addressing the complexity of urban trees."
The current study opts for "which variables can explain the most variability with no problems of collinearity, in order to reduce costs in urban tree inventories."

Results from city squares and streets in Santiago del Estero present collinearity in accurately, totally predictable correlations of calculated basal area and direct-measured, normal circumference variables.
Canopy area, which quickens urban shade, qualifies as the variable least correlated with age, most measurable with other analyses, with remote sensing techniques and without fieldwork. Their combination into redundancy-free data sets renders "the greatest possible amount of information" and the "greatest simplification for appraising trees with the lowest loss of variability." They suppress inventory expenses since data-collecting costs are "directly related to the amount of information obtained on each tree and the expertise of the data collector."
Appraisers tackle town planning concerns over accurate, economical, timely urban tree inventories by trading variables that travel together for age and canopy area that travel independently.

Rosewoods (Tipuana tipu) number among the 145-tree sample studied for tree appraisal assessment variables, such as age and canopy area, in northern Argentina's province of Santiago del Estero; Tipuana tipu trees, with ground carpeted with their fallen flowers, Plaza República de Chile, Palermo neighborhood (barrio), Buenos Aires, eastern Argentina: Roberto Fiadone, CC BY SA 4.0, via Wikimedia Commons

Acknowledgment
My special thanks to:
talented artists and photographers/concerned organizations who make their fine images available on the internet;
University of Illinois at Urbana-Champaign for superior on-campus and on-line resources.

Image credits:
Pink trumpets (Tabebuia impetiginosus) number among the 145-tree sample studied for tree appraisal assessment variables, such as age and canopy area, in northern Argentina's province of Santiago del Estero; Tabebuia impetiginosus in Oberá, Misiones Province, northeastern Argentina, Sept. 1, 2014: Leandro Kibisz, CC BY SA 4.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Argentina_-_Misiones_-_Ober%C3%A1_-_Tabebuia_impetiginosa.JPG
Rosewoods (Tipuana tipu) number among the 145-tree sample studied for tree appraisal assessment variables, such as age and canopy area, in northern Argentina's province of Santiago del Estero; Tipuana tipu trees, with ground carpeted with their fallen flowers, Plaza República de Chile, Palermo neighborhood (barrio), Buenos Aires, eastern Argentina: Roberto Fiadone, CC BY SA 4.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Plaza_Rep%C3%BAblica_de_Chile,_Buenos_Aires,_Palermo,_Tipuana_tipu_03.jpg

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Friday, May 26, 2017

Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Monet Seascape


Summary: Latin America finds itself short a Monet for public view since the artist's seascape is one of five second Chácara do Céu Museum art theft casualties.


Claude Monet's Marine (Portuguese: Marinha), 1880-1980 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI

The second Chácara do Céu Museum art theft perpetrators March 18, 1990, in Rio de Janeiro, Brazil, absconded with French Impressionist, French Post-Impressionist, Spanish modern and Spanish surrealist artworks and Spanish poetry.
Beware of six Carnival celebrators who bought museum tickets while bearing grenades, guns and knives under costumes, masks and wigs like 10,000 other Carmelite bloc revelers. The change from art-loving visitors to art-grabbing perpetrators called up one-half hour for countermanding alarm and surveillance systems and for collecting four paintings and one book. Displacement of five valuable artworks between 4 p.m. and 4:30 p.m. Brasília Time (7 p.m. and 7:30 p.m. Coordinated Universal Time) demonstrated decision-making before the deed.
Extraction of Henri Matisse's (Dec. 31, 1869-Nov. 3, 1954) gardenscape and of Oscar-Claude Monet's (Nov. 14, 1840-Dec. 5, 1926) seascape emphasized the Chácara's French familial origins.

Salvador Dalí's (May 11, 1904-Jan. 23, 1989) balconies, Matisse's garden, Monet's seascape and Pablo Picasso's (Oct. 25, 1881-April 8, 1973) bulls and dance favored the outdoors.
Monet's abundant artistic production generated many world-famous glimpses into rambunctious and reserved nature through bloom times at his property, Giverny, in France, homeland of Chácara's ideator. The Museo da Chácara do Céu (Museum of the Ranch of the Sky), like the Isabella Stewart Gardner Museum in Boston, Massachusetts, houses its builder's collections. It is the Brazilian and European art-, book-, object-filled architectural legacy of Raymundo Ottoni de Castro Maya (March 22, 1894-July 29, 1968), industrialist from Paris, France.
The second Chácara do Céu Museum art theft, in its non-closure and repeatability despite security updates, somewhat jeopardizes viewing experiences at a French-born Brazilianist's favorite residence.

As with Boston's Isabella Stewart Gardner Museum, Chácara do Céu Museum was the home of collector Raymundo Ottoni de Castro Maya; Chácara do Céu's art-loving businessman in Museus Castro Maya (MCM) Catalogue ca. 1930-1935: Public Domain, via Wikimedia Commons

Architecture, art, books, furnishings, grounds and views keep the Chácara do Céu's three levels staffed and visited since the museum's opening to the public in 1968. They lead to Chácara do Céu's world renown, even to the Lands Down Under, as an architectural landmark, an 8,000-plus-volume library and a hundred-plus-million-dollar art collection. Contemporary newspaper coverage mentioned Australia and New Zealand as the homelands of the five tourists mugged by the second Chácara do Céu Museum art theft perpetrators. Newspaper articles at the time noted an estimated $50 million value for the five nabbed artworks and nothing for on-person possessions netted from the nine hostages.
A gallery owner-operator and a private curator offered overlapping observations on the French and Spanish origins of the second Chácara do Céu Museum art theft casualties.

Jean Boghici (Jan. 28, 1928-May 31, 2015), Ismail-born Romanian friend of Salvador Dalí, perceived an "unscrupulous" art collector planning artwork thefts for ransom upon their return.
Christina Penna queued up expert experience as a private curator cataloguing Cândido Portinari's (Dec. 29, 1903-Feb. 6, 1962) artworks in Brazil, including those at the Chácara. She reminds Brazilians that "This is very serious, for such an important Brazilian museum to have this loss" since "I think they knew what they wanted." The "globalization of this kind of crime" suggests that "Brazil is now part of the international circuit of art robbery" that sequesters artworks into private collections.
Who took the 25.59- by 35.83-inch (65- by 91-centimeter) painting titled Marine from 1880-1890, inventory number MCC424, during the second Chácara do Céu Museum art theft?

Chácara do Céu Museum impresses visitors with luxuriously furnished rooms and carefully displayed artworks; Chácara do Céu's dining room, April 23, 2012: Halley Pacheco de Oliveira, CC BY SA 3.0, via Wikimedia Commons

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
Claude Monet's Marine (Portuguese: Marinha), 1880-1980 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI @ https://www.fbi.gov/investigate/violent-crime/art-theft/fbi-top-ten-art-crimes/theft-museu-chacara-do-ceu-rio-de-janeiro
As with Boston's Isabella Stewart Gardner Museum, Chácara do Céu Museum was the home of collector Raymundo Ottoni de Castro Maya; Chácara do Céu's art-loving businessman in Museus Castro Maya (MCM) Catalogue ca. 1930-1935: Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Castro_Maya,_1930-35.jpg
Chácara do Céu Museum impresses visitors with luxuriously furnished rooms and carefully displayed artworks; Chácara do Céu's dining room, April 23, 2012: Halley Pacheco de Oliveira, CC BY SA 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Museu_da_Ch%C3%A1cara_do_C%C3%A9u_-_Sala_de_Jantar.jpg?uselang=pt

For further information:
Agence France-Presse. 26 February 2006. "Brazil Art Heist Is Cloaked by Carnival." The New York Times > World > Americas.
Available @ http://www.nytimes.com/2006/02/26/world/americas/brazil-art-heist-is-cloaked-by-carnival.html
Marriner, Derdriu. 19 May 2017. "Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Matisse Garden." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/05/second-chacara-do-ceu-museum-art-theft_19.html
McMahon, Colin. 28 February 2006. "Gunmen Use Brazil's Carnival as Cover in $50 Million Art Heist." Chicago Tribune > News.
Available @ http://articles.chicagotribune.com/2006-02-28/news/0602280108_1_picasso-art-thieves-million-art-heist
Nikkhah, Roya; and Andrew Downie. 26 February 2006. "Carnival Gang Grabs £30M Art Treasures from Rio Museum." The Telegraph > News > World News > South America.
Available @ http://www.telegraph.co.uk/news/worldnews/southamerica/argentina/1511532/Carnival-gang-grabs-30m-art-treasures-from-Rio-museum.html
Siquara, Carlos Andrei. 5 February 2016. "No Rastro de Obras Perdidas." O Tempo > Magazine > Diversão > Livro.
Available @ http://www.otempo.com.br/divers%C3%A3o/magazine/no-rastro-de-obras-perdidas-1.1226775
Skidmore, Thomas E. 1999. Brazil: Five Centuries of Change in Latin America. Latin American Histories series. New York NY: Oxford University Press.
Tardáguila, Cristina. 2016. A Arte do Descaso. Rio de Janeiro Brazil: Editora Intrínseca.
Available @ https://www.amazon.com.br/Arte-do-Descaso-Cristina-Tard%C3%A1guila/dp/8580578965/ref=sr_1_1_twi_pap_2?ie=UTF8&qid=1452189811&sr=8-1&keywords=a+arte+do+descas