Wednesday, September 30, 2020

First October 2020 Full Moon Shows Apollo 11’s Mare Tranquillitatis


Summary: The first October 2020 full moon shows Apollo 11’s Mare Tranquillitatis on Oct. 1, as the Man in the Moon’s left eye for Northern Hemisphere viewers.


NASA’s Lunar Reconnaissance Orbiter Camera (LROC) image Sept. 29, 2009, shows the Apollo 11 landing site (Eagle Descent Stage), along with Laser Ranging Retro-Reflector (LRRR) and Passive Seismic Experiment (PSE), west of Little West and West craters, on the flats of southwestern Mare Tranquillitatis: NASA/Goddard Space Flight Center/Arizona State University, via NASA

The first October 2020 full moon shows Apollo 11’s Mare Tranquilitatis on Thursday, Oct. 1, as the irregularly shaped, dark lava plain that Northern Hemisphere viewers identify as the Man in the Moon’s left eye.
The first of two full moons shining in October 2020 takes place Thursday, Oct. 1, at 21:05 Greenwich Mean Time/Coordinated Universal Time (5:05 p.m. Eastern Daylight Time), according to retired NASA astrophysicist Fred Espenak’s AstroPixels website. The month’s second full moon, known as a blue moon, happens Oct. 31, at 09:49 GMT/UTC (5:49 p.m. EDT).
At 100 percent lunar surface visibility, the full moon Thursday, Oct. 1, shows Apollo 11’s Mare Tranquillitatis as the middle of three dark, roughly circular shapes that slant downward below Mare Crisium (Sea of Crises). The oval, wringled-edged lava plain perches by itself near the moon’s leading limb. Mare Crisium is centered at 16.18 degrees north latitude, 59.1 degrees east longitude. Its diameter measures 555.92 kilometers.
The National Aeronautics and Space Administration’s (NASA) Apollo 11 mission safely landed American astronauts Neil Alden Armstrong (Aug. 5, 1930-Aug. 25, 2012) and Edwin “Buzz” Eugene Aldrin Jr. (born Jan. 20, 1930) as the first two people on Earth’s moon. The Apollo Lunar Module Eagle made the first manned landing July 20, 1969, at 20:17 UTC (4:17 p.m. EDT), in southwestern Mare Tranquillitatis.
Mare Tranquillitatis is an irregularly shaped, basaltic lava plain in the near side of the moon’s northeastern quadrant. Planetographic coordinates for Mare Tranquillitatis identify the lava plain’s center latitude at 8.35 degrees north and its center longitude at 30.83 degrees east, according to the International Astronomical Union’s (IAU) Gazetteer of Planetary Nomenclature. Its northernmost and southernmost latitudes reach to 19.37 degrees north and minus 4.05 degrees south, respectively. As an eastern hemisphere lava plain, its easternmost and westernmost longitudes extend to 45.49 degrees east and 16.92 degrees east, respectively.
With a diameter of 875.75 kilometers (544.16 miles), Mare Tranquillitatis lies in the Tranquillitatis Basin. The basin’s formation likely traces to a very large impact in the moon’s early prehistory, probably dating back more than 3.9 billion years, according to the Lunar Reconnaissance Orbiter mission pages on NASA’s website. Tranquillitatis Basin is centered on 0.68 degrees north latitude, 23.43 degrees south longitude. The basin’s northernmost and southernmost latitudes roughly extend from 20.4 degrees north to minus 4.4 degrees south. Its easternmost and westernmost longitudes roughly stretch from 45.9 degrees east to 15.0 degrees east.
Italian Jesuit astronomers Francesco Maria Grimaldi (April 2, 1618-Dec. 28, 1663) and Giovanni Battista Riccioli (April 17, 1598-June 25, 1671) are credited with naming Mare Tranquillitatis in 1651. The name appeared in a lunar map in their two-volume, encyclopedic reference work on astronomy, Almagestum Novum (New Almagest).
Mare Tranquillitatis translates as Sea of Tranquility, in American English. British English doubles the letter l for spelling as Sea of Tranquillity.
The Eagle landed approximately 400 meters (1,312 feet) west of West Crater, according to the Smithsonian’s National Air and Space Museum website. The sharp-rimmed, rayed crater is centered at 0.67 degrees north latitude, 23.49 degrees east longitude. West Crater’s diameter measures 0.19 kilometers.
The Apollo 11 landing site is proximitous to Little West Crater, according to NASA Goddard Space Flight Center and Arizona State University’s Lunar Reconnaissance Orbiter Camera (LROC) website. Little West Crater lies approximately 50 meters (164 feet) east of the landing site. The Gazetteer of Planetary Nomenclature gives center coordinates of 0.67 degrees north latitude and 23.48 degrees east longitude for Little West. The small crater’s diameter measures 0.04 kilometers.
At 20:17:58 UTC, approximately 18 seconds after the Eagle’s successful landing, Commander Armstrong referred to the landing site as Tranquility Base. In 1970, the International Astronomical Union, which serves as the international authority for planetary and satellite names, approved Statio Tranquillitatis (Tranquility Base) as the site’s official name. IAU naming conventions require that the dark patches, mistakenly perceived as seas by early astronomers, have names in Latin that describe weather and abstract concepts.
Statio Tranquillitatis has a center latitude of 0.67 degrees north. Its center longitude is 23.47 degrees east.
The takeaway for the first October 2020’s showing of Apollo 11’s Mare Tranquillitatis is that the first two humans to walk on the moon landed in southwestern Mare Tranquillitatis, the dark lava plain that represents the Man in the Moon’s left eye for Northern Hemisphere moonwatchers.

Apollo 11’s Mare Tranquillitatis (Sea of Tranquility) landing site lies in the lava plain’s southwestern flats; Mare Crisium (Sea of Crises) perches near the moon’s leading limb, above the southeasterly slanting trio of Mare Serenitatis (Sea of Serenity), Mare Tranquillitatis and Mare Fecunditatis (Sea of Fecundity); Friday, Oct. 22, 2010, 23:21, image of full moon photographed from Madison, north central Alabama, with Canon EOS Rebel T1i (EOS 500D) digital camera on Celestron 9.25 Schmidt-Cassegrain telescope: Soerfm, CC BY SA 3.0 Unported, 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:
NASA’s Lunar Reconnaissance Orbiter Camera (LROC) image Sept. 29, 2009, shows the Apollo 11 landing site (Eagle Descent Stage), along with Laser Ranging Retro-Reflector (LRRR) and Passive Seismic Experiment (PSE), west of Little West and West craters, on the flats of southwestern Mare Tranquillitatis: NASA/Goddard Space Flight Center/Arizona State University, via NASA @ https://www.nasa.gov/mission_pages/LRO/multimedia/lroimages/lroc_20090929_apollo11.html
Apollo 11’s Mare Tranquillitatis (Sea of Tranquility) landing site lies in the lava plain’s southwestern flats; Mare Crisium (Sea of Crises) perches near the moon’s leading limb, above the southeasterly slanting trio of Mare Serenitatis (Sea of Serenity), Mare Tranquillitatis and Mare Fecunditatis (Sea of Fecundity); Friday, Oct. 22, 2010, 23:21, image of full moon photographed from Madison, north central Alabama, with Canon EOS Rebel T1i (EOS 500D) digital camera on Celestron 9.25 Schmidt-Cassegrain telescope: Soerfm, CC BY SA 3.0 Unported, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Apollo-11-landing-site.png

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Monday, September 28, 2020

Met Opera Premiered Lucia di Lammermoor Oct. 24, 1883, in First Season


Summary: Met Opera premiered Lucia di Lammermoor Oct. 24, 1883, as the second opera in the company’s opening season.


High fashion house Worth of Paris designed Marcella Sembrich's costumes for her Met Opera debut role as Donizetti's Lucia di Lammermoor: The Sembrich @TheSembrich, via Facebook Oct. 24, 2020

Met Opera premiered Lucia di Lammermoor Oct. 24, 1883, as the second opera in the New York City-based opera company’s opening season, 1883-1884.
The three-act dramma tragico (tragic opera) by Italian opera composer Gaetano Donizetti (Nov. 29, 1797-April 8, 1848) received 10 performances in the Met Opera's opening season. The Metropolitan Opera House was the venue for the premiere, Wednesday, Oct. 24, as well as for the second (Friday, Nov. 2), third (Monday, Dec. 3) and 10th, closing (Monday, April 7) performances. Lucia di Lammermoor's fourth performance, Thursday, Dec. 27, took place at the Boston Theatre in Boston, Massachusetts. The opera's fifth performance was staged Tuesday, Jan. 15, 1884, at the Chestnut Street Opera House in Philadelphia, Pennsylvania. The sixth performance, Tuesday, Jan. 22, took place at Haverly’s Theatre in Chicago, Illinois. The seventh performance, Wednesday, Feb. 6, was staged at the Olympic Theater in St. Louis, Missouri. The eighth performance, Wednesday, Feb. 13, was given at the Music Hall, Cincinnati, Ohio. The ninth performance, Tuesday, Feb. 26, was offered at the National Theater in Washington, D.C.
The Metropolitan Opera Archives Database (MetOpera Database) notes that a full performance of Les Huguenots by German Jewish opera composer Giacomo Meyerbeer (Sept. 5, 1791-May 2, 1864) originally had been scheduled for Monday, April 7. The illness of the opera's Valentine, Swedish operatic soprano Christine Nilsson (Aug. 20, 1843-Nov. 20, 1921), necessitated the staging of only the first act of Les Huguenots and the substitution of an abbreviated performance of Lucia di Lammermoor (Acts I and II).
Auguste Vianesi (Nov. 2, 1837-Nov. 4, 1908) conducted the Wednesday premiere of the three-act dramma tragico (tragic opera) by Italian opera composer Gaetano Donizetti (Nov. 29, 1797-April 8, 1848). The Legnano, Italy-born, later French-naturalized conductor had made his Met Opera debut two days earlier, Monday, Oct. 22, in the opening season’s first opera, Faust by French composer Charles-François Gounod (June 17, 1818-Oct. 18, 1893).
Polish coloratura soprano Marcella Sembrich (Feb. 15, 1858-Jan. 11, 1935) garnered her Met Opera debut in the title role. She appeared as the love-maddened heroine in all of the opening season’s 10 performances. The Polish coloratura soprano's appearance in the opera's premiere marked her Met Opera debut.
Italo Campanini (June 30, 1845-Nov. 14, 1896) appeared in the premiere as Sir Edgardo di Ravenswood in Donizetti’s Scotland-set, Romeo and Juliette-style tragedy. The Italian operatic tenor had made his Met Opera debut two days earlier, Monday, Oct. 22, in the title role of the opera company’s first season opener, Gounod's Faust.
Italo Campanini sang in six of the season’s 10 performances. He shared the role of Edgardo with Victor Capoul and Roberto Stagno.
Victor Capoul (Feb. 27, 1839-Feb. 18, 1924) sang Edgardo in the season’s fifth performance, Tuesday, Jan. 15. The French operatic tenor had made his Met Opera debut two and one-half months earlier, Saturday, Oct. 27, 1883, in the title role in the season's second performance of Faust.
Italian operatic tenor Roberto Stagno (Oct. 18, 1840-April 26, 1897) appeared as Edgardo in the season’s sixth (Tuesday, Jan. 22), seventh (Wednesday, Feb. 6) and ninth (Tuesday, Feb. 26) performances. Roberto Stagno had made his Met Opera debut Oct. 26, 1883, as Manrico in the season’s premiere of Il Trovatore by Italian opera composer Giuseppe Verdi (Oct. 10, 1813-Jan. 27, 1901).
Giuseppe Kaschmann (July 14, 1850-Feb. 11, 1925) appeared in the premiere as Lord Enrico Asthon, Lord of Lammermoor, Lucia’s scheming brother. The Croatian-Austrian operatic baritone’s appearance in the premiere marked his Met Opera debut. Giuseppe Kaschmann sang in six of the season’s 10 performances.
Giuseppe Kaschmann shared the role of Enrico with Giuseppe Del Puente. Giuseppe Del Puente (Jan. 30, 1841-May 25, 1900) sang Enrico in the season’s fourth (Thursday, Dec. 27), fifth (Tuesday, Jan. 15, 1884), sixth (Tuesday, Jan. 22) and closing night (Monday, April 7) performances. The Italian baritone and composer had made his Met Opera debut Oct. 22, 1883, as Valentin in the season premiere of Faust.
Achille Augier sang Raimondo, a chaplain who is Lucia's tutor, in all 10 performances. His premiere appearance marked his Met Opera debut.
The MetOpera Database credits Amadeo Grazzi and Imogene Forti as Normanno, Captain of the Guard, and Alisa, Lucia's companion, respectively, in the opera's first nine performances. The role singers are listed as "unknown" for the 10th, last performance, April 7.
Vincenzo Fornaris appeared in the premiere as Lord Arturo Bucklaw, Lucia’s husband, who does not survive their wedding night. The Italian tenor's premiere appearance marked his Met Opera debut. The MetOpera Database credits Vincenzo Fornaris with appearances in the season’s first nine performances of Lucia di Lammermoor. The singer of Arturo is listed as “unknown” for the closing night performance, April 7.
Mr. Corani and Mr. Abbiati are identified as the production’s directors. The MetOpera Database notes: “The credits for Corani and Abbiati did not appear in company programs until December 3, 1883.” Henry De Courtney Corani (ca. 1849-May 1905) was the company’s first stage director. The two directors made their Met Opera debut Monday, Oct. 22, 1883, in the first season's first premiere, Gounod's Faust.
Charles Fox, Jr., William Schaeffer, Gaspar Maeder (ca. 1840-Jan. 18, 1892) and Mr. Thompson are credited as the production set designers. All four had made their Met Opera debut Monday, Oct. 22, 1883, in the opening season's first premiere, Gounod's Faust.
The MetOpera Database notes that Worth of Paris designed Marcella Sembrich’s costumes. English fashion designer Charles Frederick Worth (Oct. 13, 1825-March 10, 1895) had opened the high fashion house in 1858 in Paris, northern France, at 7 rue de la Paix in the second arrondissement (2e arrondissement).
Except for Lucia’s costumes, Henry Dazian (May 3, 1854-May 4, 1937) and D. Ascoli are credited as the production’s costume designers. Dazian and Ascoli joined the production's directors and set designers in making their Met Opera debut Monday, Oct. 22, 1883, in the opera house's inaugural premiere, Gounod's Faust.
Il Trovatore, by Italian opera composer Giuseppe Verdi (Oct. 10, 1813-Jan. 27, 1901), succeeded Lucia di Lammermoor as the third first season premiere. Il Trovatore premiered Friday, Oct. 26, 1883.
The takeaways for Met Opera’s premiere of Lucia di Lammermoor Oct. 24, 1883, are that Italian composer Gaetano Donizetti’s Scottish, feud-fueled tragedy was staged as the second opera in Met Opera’s opening season and introduced Polish coloratura soprano Marcella Sembrich as the opera company’s first Lucia.

Polish coloratura soprano Marcella Sembrich originated the Metropolitan Opera's role of Lucia in the company's opening season premiere of Italian composer Gaetano Donizetti's Lucia di Lammermoor, Oct. 24, 1883; House of Worth designed the costumes for the role: The Sembrich via Facebook March 25, 2015

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

Image credits:
High fashion house Worth of Paris designed Marcella Sembrich's costumes for her Met Opera debut role as Donizetti's Lucia di Lammermoor: The Sembrich @TheSembrich, via Facebook Oct. 24, 2020, @ https://www.facebook.com/TheSembrich/photos/a.481908958541300/3343501969048637/
Polish coloratura soprano Marcella Sembrich originated the Metropolitan Opera's role of Lucia in the company's opening season premiere of Italian composer Gaetano Donizetti's Lucia di Lammermoor, Oct. 24, 1883; House of Worth designed the costumes for the role: The Sembrich via Facebook March 25, 2015, @ https://www.facebook.com/TheSembrich/photos/a.481908958541300/814633401935519/?type=3&theater

For further information:
"Debut: Victor Capoul." MetOpera Database > [Met Performance] CID: 1030 Faust {2} Matinee ed. Metropolitan Opera House: 10/27/1883.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=1030
"Debuts: Italo Campanini, Christine Nilsson, Franco Novara, Giuseppe Del Puente, Sofia Scalchi, Louise Lablache, Ludovico Contini, Auguste Vianesi, Mr. Corani, Mr. Abbiati, Charles Fox, Jr., William Schaeffer, Gaspar Maeder, Mr. Thompson, D. Ascoli, Henry Dazian." MetOpera Database > [Met Performance] CID:1000 Metropolitan Opera Premiere Faust {1} Metropolitan Opera House: 10/22/1883. Metropolitan Opera Premiere Opening Night {1}.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=1000
"Debuts: Marcella Sembrich, Giuseppe Kaschmann, Achille Augier, Amadeo Grazzi, Imogene Forti, Vincenzo Fornaris." MetOpera Database > [Met Performance] CID: 1010 Metropolitan Opera Premiere Lucia di Lammermoor {1} Metropolitan Opera House: 10/24/1883.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=1010
Marriner, Derdriu. “Lucia di Lammermoor Is April 7, 2018, Met Opera Saturday Matinee Broadcast." Earth and Space News. Monday, April 2, 2018.
Available @ https://earth-and-space-news.blogspot.com/2018/04/lucia-di-lammermoor-is-april-7-2018-met.html
Marriner, Derdriu. "Metropolitan Opera Premiered 20 Operas During Opening Season 1883-1884." Earth and Space News. Monday, Sept. 14, 2020.
Available @ https://earth-and-space-news.blogspot.com/2020/10/metropolitan-opera-premiered-20-operas.html
“Metropolitan Opera Premiere: Faust.” MetOpera Database > [Met Performance] CID: 1000 Metropolitan Opera Premiere Faust {1} Metropolitan Opera House: 10/22/1883.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=1000
“Metropolitan Opera Premiere: Il Trovatore.” MetOpera Database > [Met Performance] CID: 1020 Metropolitan Opera Premiere Il Trovatore {1} Metropolitan Opera House: 10/26/1883.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=1020
“Metropolitan Opera Premiere: Lucia di Lammermoor.” MetOpera Database > [Met Performance] CID: 1010 Metropolitan Opera Premiere Lucia di Lammermoor {1} Metropolitan Opera House: 10/24/1883.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=1010
Rous, Samuel Holland. The Victrola Book of the Opera: Stories of One Hundred and Twenty Operas With Seven-Hundred Illustrations and Descriptions of Twelve-Hundred Victor Opera Records. Fourth revised edition. Camden NJ: Victor Talking Machine Company, 1917.
Available via Internet Archive @ https://archive.org/details/victrolabookofop00vict
The Sembrich @TheSembrich. "137 years ago TODAY, Mme. Sembrich made her American debut with the Met Opera as Lucia di Lammermoor in Donizetti's operatic masterpiece! She would go on to sing 466 performances with the company!" Facebook. Oct. 24, 2020.
Available @ https://www.facebook.com/TheSembrich/photos/a.481908958541300/3343501969048637/


Sunday, September 27, 2020

Root-Stem Transition Zones Aim Loading Forces Through Roots and Soils


Summary: Root-stem transition zones aim loading forces from mechanical stress through roots and soils, according to Arboriculture & Urban Forestry September 2020.


The juncture of root tissue with stem tissue is known as a tree's root-stem transition zone (RSTZ): USDA Forest Service -- Northeastern Area , USDA Forest Service, Bugwood.org, CC BY 3.0 United States, via Forestry Images

Root-stem transition zones aim loading forces from mechanical stress, through roots, into soils, according to Strain Patterns Across the Root-Stem Transition Zone in Urban Trees in Arboriculture & Urban Forestry September 2020.
Kenneth E. Beezley, Gregory A. Dahle, Jason Miesbauer and David DeVallance begin with plant growth as nutrient-economizing for light competition and reactive tissue-forming against mechanical stress. West Virginia-, Illinois- and Slovenia-based co-authors consider as strain- and stress-counteractive branch-bending, stem-bending; growth-adapting; mass-damping; root-anchoring, root-plate tilting; soil and root-interactive; stem-deflecting, stem-tilting; and wood-shedding countermeasures. Predisposing factors such as compromised soil properties, construction-driven intrusion of root zones, roots priorly wind-damaged and unstable soil conditions draw tree failure from mild-weather, mild-wind events.
Root-stem transition zones encompass areas where root tissues encounter trunk tissues and where elevated radial growth ensues, from canopy stress, as swelling from tree-base torsional strain.

The Morgantown-based study finds root-stem transition zones featuring stem bases, stem-root-collars and, where stems form into large structural and then small-diameter roots, zones of rapid taper.
Tree crowns guide dynamic and static forces down along stems, whose bending generates roots flexing under stress, as force per unit area, and strain, as deformation. Elastic yield points higher and lower than mechanical stress and strain respectively herald original shapes and plastic deformation-altered shapes once loading forces head away from trees. Static load trials identify load-induced failure, loading-force intra-tree itineraries, risk assessment-estimated overall stability and root loss-induced short-term stability but ignore such dynamic wind-loading parameters as torsion.
West Virginia University-based, Morton Arboretum-based and University of Primorska-based co-authors judged digital image correlation mapping loading forces on strained outer-bark primary phloem least jeopardizing tree stability.

Three-dimensional digital image correlation mapping of black-speckled, white-painted root-stem transition zones keeps track of mechanical-load, stem-root transfers, strain types and magnitudes and loading-force and root-growth directions.
Pulling lines linked webbed-sling electric winches to load cells to let 15 mature 35-year-old to 45-year-old pin oaks (Quercus palustris) list 0.1 degree from natural lean. For 18,537-N pulling-force maximums and 99,105-N bending-moment averages on trees with mean 51-centimeter breast-height diameters and 19-meter heights, they manifested mean 5.5-meter heights and 42-centimeter diameters. Leeward roots netted 133 peak strain points from peak applied loading forces at 8 to 10 reference-mark niches and least, 3.8-percent tension, and most, 96.2-percent compression.
Tension strain in root-stem transition zones occurs less without, more with, windward roots, whose 131 peak strain points observed 95.4-percent, most tension and 4.6-percent, lowest compression.

Tangential roots, with 132 peak strain points, presented higher torsion strain than leeward and windward roots and second-highest compression and tension, at 34.8 and 65.2 percent.
Maximum strain queued non-significant relationships with root divergence from pulling-force direction, breast-height diameters, tree heights, peak loads, bending moments, soil moisture, overall and root-type reference marks. Mean maximum strain at reflection points and bending moments ran lowest, higher, highest 0.0492, 0.0910, 0.0911 percent and weakest, stronger, strongest in tangential, leeward, windward roots. Study trials never scrutinized shear plane stress and torsional strain and stress despite inconsistent, low tangential-root strain suggesting them and in-line neutral planes of unidirectional loading.
Mechanical stress and strain threaten tree stability through prevailing directions of winds and other loading forces troubling in-line leeward and windward roots in root-stem transition zones.

Static load tests of 15 mature pin oaks (Quercus palustris) were conducted between May 28, 2015, and June 24, 2015, on West Virginia University Morgantown's Evansdale Campus; 22-year-old Quercus palustris at The Morton Arboretum, Lisle, Illinois; Thursday, May 31, 2007: Bruce Marlin, CC BY SA 2.5 Generic, 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:
The juncture of root tissue with stem tissue is known as a tree's root-stem transition zone (RSTZ): USDA Forest Service -- Northeastern Area , USDA Forest Service, Bugwood.org, CC BY 3.0 United States, via Forestry Images @ https://www.forestryimages.org/browse/detail.cfm?imgnum=1407024
Static load tests of 15 mature pin oaks (Quercus palustris) were conducted between May 28, 2015, and June 24, 2015, on West Virginia University Morgantown's Evansdale Campus; 22-year-old Quercus palustris at The Morton Arboretum, Lisle, Illinois; Thursday, May 31, 2007: Bruce Marlin, CC BY SA 2.5 Generic, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Pin_oak_quercus_palustris.jpg

For further information:
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Available @ https://earth-and-space-news.blogspot.com/2011/08/natives-and-non-natives-as-successfully.html
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Available @ https://earth-and-space-news.blogspot.com/2011/06/tree-ring-patterns-for-ecosystem-ages.html
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Available @ https://earth-and-space-news.blogspot.com/2011/04/benignly-ugly-tree-disorders-oak-galls.html
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Available @ https://earth-and-space-news.blogspot.com/2011/02/tree-load-can-turn-tree-health-into.html
Marriner, Derdriu. 22 December 2010. “Tree Electrical Safety Knowledge, Precautions, Risks and Standards.” Earth and Space News. Saturday.
Available @ https://earth-and-space-news.blogspot.com/2010/12/tree-electrical-safety-knowledge.html