Podcasts about Coma Berenices

A busy galaxy is puffing out material like a factory smokestack. The “plume” is 20,000 light-years long, and it contains enough gas to make 50 million stars as massive as the Sun. NGC 4383 is about 60 million light-years away. It’s a member of the Virgo Cluster – a collection of hundreds of galaxies. Like our home galaxy, the Milky Way, NGC 4383 is a spiral. Bright “arms” of hot, young stars wrap around the galaxy’s heart. The galaxy is a hotbed of star formation – it’s giving birth to thousands of stars. Many of them are especially hot and massive. They blow strong winds of hot gas. And when they die, they explode, creating an even heavier flow. That flow pushes the gas that’s around the stars, creating the powerful “chimney.” Gas in that outflow moves at an average of about 670,000 miles per hour. And every year, enough gas is added to make two more Suns. All that activity reduces the amount of gas available to make more stars. So eventually, the outflow of gas will shut down the stellar nursery in this busy galaxy. Although it’s a member of the Virgo Cluster, NGC 4383 is located within the borders of Coma Berenices. The constellation is low in the east in early evening. It consists of a faint spray of sparkly stars, although you need dark skies to see them. You need a telescope to see NGC 4383. Script by Damond Benningfield

The sky is divided into 88 constellations. They’re named for animals, places, characters from mythology, and even scientific instruments. But only one is named for a real person. Coma Berenices represents the hair of Queen Berenice II of Egypt. She reigned more than 2200 years ago. Her husband was King Ptolemy III. When he headed off to war, she pledged to sacrifice her beautiful hair to the gods if he returned safely. He did, so she placed her hair inside a temple. It vanished. A court astronomer told the king that her locks had been placed in the stars, in a sparkly group near the tail of the lion. So the region became known as Berenice’s Hair, although it wasn’t depicted as a constellation until the 1500s. When astronomers drew up a formal list of constellations, in the 1900s, Coma made the cut. Most of the visible stars there really are related. They belong to the Coma Star Cluster. It’s a group of dozens of stars, centered about 280 light-years away. The stars are all about 450 million years old – just one-tenth the age of the Sun. Coma Berenices is low in the east in early evening. Its stars are faint, so you need a dark sky to see them – moonlight or city lights overpower the beautiful tresses of Queen Berenice. Among astronomers, Coma is best known for its many galaxies, and we’ll talk about one of them tomorrow. Script by Damond Benningfield

Astronomy Daily - The Podcast: S03E246Welcome to Astronomy Daily, your daily source of space and astronomy news. I'm Anna, and today, as we close out 2024, we've got an exciting lineup of stories, from stellar explosions to perfect planetary systems and upcoming cometary visitors.Highlights:- Stellar Explosion Captured by Hubble: The Hubble Space Telescope has captured a breathtaking image of Galaxy Lida 22057, located 650 million light years away in the constellation Gemini, featuring the spectacular supernova SN2024PI. This type Ia supernova, observed as a pale blue dot near the galaxy's core, offers insights into stellar evolution and the processes that shape our universe.- Space Launches Break Records: 2024 has been a record-breaking year for space launches, with 259 orbital missions successfully placing over 2,700 payloads into orbit. SpaceX dominated with 134 launches, delivering 85% of all payloads to space, including over 1,900 Starlink satellites. The US and China led the launch landscape, with India and Europe gearing up for increased activity in 2025.- India's Space Docking Experiment: India's space program marks a significant milestone with the successful launch of Spadex, testing crucial docking technologies for future missions including the Gaganyaan program and Chandrayaan 4 lunar mission. The mission's success represents a major step forward in India's spacefaring capabilities.- NASA's Challenging Year: NASA faced dramatic challenges in 2024, including the extended stay of astronauts Suni Williams and Butch Wilmore on the ISS due to issues with the Boeing Starliner, the bittersweet end of the Ingenuity helicopter mission on Mars, and challenges with the Europa Clipper mission. Despite these hurdles, NASA continues its pursuit of space exploration.- Perfect Planetary System Discovered: Located 105 light years away in the constellation Coma Berenices, astronomers have discovered a remarkable star system dubbed mathematically perfect. The star HD 110067 hosts six exoplanets in a synchronized dance, offering insights into planetary formation and potential habitability.- Comet Atlas Approaches: Skywatchers can look forward to Comet Atlas (C2024G3) making its way toward the inner solar system, potentially shining as brightly as Venus. Scheduled to reach its closest approach to the sun on January 13, 2025, this comet promises an exciting start to the astronomical calendar.For more cosmic updates, visit our website at astronomydaily.io. Join our community on social media by searching for #AstroDailyPod on Facebook, X, Tumblr, YouTube, YouTubeMusic, and TikTok. Share your thoughts and connect with fellow space enthusiasts.Thank you for tuning in. This is Anna wishing you a Happy New Year and signing off. Until tomorrow's cosmic update, keep looking up and stay curious about the wonders of our universe.00:00 - Astronomy Daily brings you latest stellar explosions and upcoming cometary visitors02:26 - SpaceX dominated the landscape with 134 launches, accounting for 85% of payloads04:42 - India successfully launches Spadex space docking experiment06:55 - 2024 was a particularly challenging year for NASA with several significant developments09:14 - New research suggests HD 110067's stellar system is younger than previously thought12:59 - Happy New Year!Become a supporter of this podcast: https://www.spreaker.com/podcast/astronomy-daily-the-podcast--5648921/support.

Shortly after his marriage, the King of Egypt Ptolemy III, received word of imminent danger to his sister. In return for his safety as his marched to Syria to save his sister's life, his loving wife promised to sacrifice a lock of her hair in return for his safety. Upon his return from the campaign, a lock of hair from the Queen's head was cut and dedicated to the gods, only to disappear by the following day. Later, the court astronomer Conon then announced that he had discovered the lock in the night. To this day, the constellation is called Coma Berenices ("Berenice's Lock"). Key quotes: “Berenice was already hailed as Basilissa (queen) on coins even in her father's lifetime and, upon her marriage, she would be known as Berenice II Euergetis (‘Berenice the Benefactress').” “Allegedly, Demetrius and Apama soon became lovers. According to legends, Berenice killed Demetrius after seeing him in bed with her mother.” “Controlling the narrative of the retelling of Demetrius' murder would have been one of the earliest challenges that the newlyweds faced.” “Ptolemy III needed to introduce a new mythological basis for the new chapter brought about by his own marriage to Berenice, strengthening his dynastic continuity.” “In the poem Berenice's Lock, Callimachus provided further details of the event, that Zephyrus carried off the lock at the command of Aphrodite who then placed it among the stars.” Join us as we unravel the romance, drama and politic of Berenice II, the girl who became Queen. For more historical insights, visit Martini Fisher's website and check out her book “Time Maps: Mesopotamia”.

Zwischen den Sternbildern Löwe und Bootes funkelt das Haar der ägyptischen Regentin Berenike. Bei den Galaxien in diesem lichtschwachen Sternbild entdeckte der Schweizer Astronom Fritz Zwicky erste Hinweise auf die Dunkle Materie. Lorenzen, Dirk www.deutschlandfunk.de, Sternzeit

A nearby star has one of the largest families of planets yet seen — an even half-dozen. Only two other known exoplanet families are bigger. But this system is different from the others. All of the planets march in time — their orbits are in perfect sync. The star is known as HD 110067. It's about a hundred light-years away, in the constellation Coma Berenices, which is in the east this evening. The star is a bit smaller and cooler than the Sun. But it's probably several billion years older. And that's one reason its planetary system is remarkable. The planets appear to range from about two to three times the size and mass of Earth. The innermost planet orbits once every nine days, while the outermost world takes about 55 days — much shorter than the orbit of Mercury, the Sun's closest planet. And all of the orbits are synchronized. Each of the four inner planets completes three orbits for every two orbits of the next one out. And planet number five completes four orbits for every three made by the most-distant planet. Planetary systems may all be born in sync. But few of them stay that way. Passing stars can nudge some of the planets into different orbits. So can collisions between planets, as well as the presence of especially heavy planets. So far, then, the HD 110067 system is unique — a family of planets that's remained in sync for a long, long time. Script by Damond Benningfield

Descriptions of the Coma Cluster of galaxies sound like bad car-dealership commercials. The cluster contains more than a thousand galaxies. They're bound together by their mutual gravitational pull. The heart of the cluster is about 330 million light-years away. But the cluster may span as much as two hundred million light-years. But wait — that's not all! There's a lot more to the cluster than we can see. In 1933, Fritz Zwicky found that galaxies in the cluster are moving fast — too fast for the cluster to be held together by the gravity of the visible matter. He concluded that most of the cluster must consist of dark matter — matter that produces no energy, but pulls on the visible matter around it. Today, astronomers calculate that dark matter must make up at least 90 percent of the cluster's mass. But wait! We're not through yet! More galaxies are falling into the Coma Cluster. One group is led by the giant galaxy NGC 4839. Gas is being stripped from the group. It forms a hot tail that's a million-and-a-half light-years long. The group may have plunged through the cluster once, and now is making a second pass. But wait! Oh, well — that's all we have time for! We'll just give you the cluster's address. It's in Coma Berenices. The constellation climbs into good view, in the east, by 8 or 9 o'clock. Some of its brighter stars form sparkling ribbons — with a cluster of galaxies far beyond. Script by Damond Benningfield

A sprinkling of faint stars stands in the east a few hours after sunset right now. It's to the upper right of brilliant Arcturus, the brightest star in that part of the sky. Those ribbons of stars are the main features of Coma Berenices. The constellation represents Queen Berenice II of Egypt. The legend says that when her husband was about to head into battle, she offered her beautiful golden hair to the gods in exchange for his safety. When he returned undamaged, she cut her hair and placed it in a temple. Legend says the gods then placed it in the stars. The brightest of those stars, Beta Coma, looks a lot like the Sun. It's about the same size, mass, and brightness. It's also about the same color — fittingly enough, bright gold, which shows up in binoculars or a telescope. Long-term observations reveal that Beta Coma produces a 16-and-a-half-year magnetic cycle — half again the length of the solar cycle. During that cycle, the star probably goes through periods of high and low magnetic activity. During active times, more of the dark storms known as “starspots” probably speckle its surface — the result of lines of magnetic force getting twisted and stretched. When they snap, they produce powerful outbursts known as flares — eruptions that are equal to millions or billions of nuclear bombs. Coma's real claim to fame isn't its stars, though — it's a cluster of galaxies. We'll have more about that tomorrow. Script by Damond Benningfield

La aleatoriedad es la marca del jienense, que en la eclosión de su breve pero intensa carrera se enfoca en los modelos científicos, sirviéndose de los ordenadores para sus necesidades creativas. Así compone sistemas de simulación fractal, técnica en la que es pionero._____Has escuchadoAnemos C (1976). Grup Instrumental de València; Joan Cerveró, director. Anemos (2009)Coma Berenices: para orquesta (1996). Orquesta Sinfónica de Galicia; José Ramón Encinar, director. Col Legno (2003)Zayin V: para trío de cuerdas (1995). Mariana Todorova, violín; David Quiggle, viola; Suzana Stefanovic, violonchelo. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 5 de octubre de 2011_____Selección bibliográficaCHOUVEL, Jean-Marc, “Mathématique et expression: conversation posthume avec Francisco Guerrero”. Papeles del Festival de Música Española de Cádiz, n.º 3 (2007-2008), pp. 57-61*FERRO RÍOS, Inmaculada, “Francisco Guerrero: binomio, música y matemáticas”. Papeles del Festival de Música Española de Cádiz, n.º 3 (2007-2008), pp. 31-42*GAN QUESADA, Germán, “Francisco Guerrero (1951-1997): una invitación a la escucha”. Boletín del Instituto de Estudios Giennenses, n.º 221 (2020), pp. 527-548*GARCÍA, Juan Alfonso, “Memoranda de Francisco Guerrero”. Papeles del Festival de Música Española de Cádiz, n.º 3 (2007-2008), pp. 87-90*GARCÍA ESTEFANÍA, Álvaro, Francisco Guerrero Marín. Fundación Autor, 2000*GUERRERO MARÍN, Catalina, “Guerrero en la intimidad”. Papeles del Festival de Música Española de Cádiz, n.º 3 (2007-2008), pp. 97-99*IGOA MATEOS, Enrique, “Contribución al cine de Francisco Guerrero”. Papeles del Festival de Música Española de Cádiz, n.º 3 (2007-2008), pp. 23-29*MORATE BENITO, Miguel, “Francisco Guerrero Marín (1951-1997)”. En: Semblanzas de compositores españoles. Fundación Juan March, 2011: [PDF]*RUSSOMANO, Stefano, “La verdad de la música”. Papeles del Festival de Música Española de Cádiz, n.º 3 (2007-2008), pp. 109-110* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

A cosmic jellyfish floats through a giant cluster of galaxies. It has a twisting “tentacle” that's 200,000 light-years long — a trail of gas that's given birth to hundreds of thousands of stars. Galaxy D100 is in the Coma Cluster, a collection of thousands of galaxies. It's classified as a “jellyfish” galaxy. Astronomers have discovered dozens of them. All of them are wide, thin disks, with tentacles of gas dangling behind them. And all of them are members of big clusters. A galaxy turns into a jellyfish as gravity pulls it toward the center of a cluster at millions of miles per hour. The falling galaxy plows through massive amounts of gas between the cluster's galaxies. That forces gas out of its own disk. The gas forms long ribbons behind the galaxy — the tentacles of the jellyfish. Gas in the tentacles clumps together, giving birth to bright new stars and setting the tentacles aglow. D100 began forming its tentacle about 300 million years ago. As gas was ripped from its disk, star formation shut down in the disk and began in the tentacle. Stars are being born in clumps that are a few hundred light-years wide. The largest clump is just outside the disk, and contains about 200,000 stars. The Coma Cluster is in the constellation Coma Berenices, which is high in the sky at nightfall. D100 is plunging toward the center of the cluster, leaving a trail of young stars behind it.  Script by Damond Benningfield Support McDonald Observatory

Intento de observación (que salió medianamente bien) con el Dobson de 40. Estamos en mitad de la primavera boreal, y este tiempo atrás, entre unas cosas y otras la meteorología no nos ha permitido realizar ninguna salida observacional seria. En esta ocasión el fin de semana se abría ante nosotros y después de una semana con el cielo completamente despejado ha amanecido nublado, ha estado lloviendo… las predicciones decían que se despejaría alrededor de la media noche y al final, efectivamente, ha despejado. La parte negativa del inicio de la observación es que hace viento y mueve el telescopio. Puedo reducir el efecto quitándole la camisa al telescopio pero el fondo del cielo pierde oscuridad. La alternativa elegida es aspirar a objetos algo más fáciles ya que ni se pueden maximizar aumentos si se puede optar por objetos en el límite de la detección. Aun con todo eso he podido dar un repaso a una listita de objetos (ya vistos en anteriores capítulos) bastante vistosos por su aspecto. *Objetos descritos en esta sesión: • NGC 4565 Galaxia larga de canto en Coma Berenices atravesada por una fina banda oscura. • NGC4631 con NGC4627 galaxias en Canes Venatici. • NGC4656 galaxia en Canes Venatici. • M53 Globular en Coma Berenices. • NGC4567 - 4568 las galaxias siamesas de Virgo • M64 Galaxia en Coma Berenices • M104 Galaxia en Virgo • NGC3003 Galaxia en Leo Minor • NGC3079 Galaxia en Ursa Major • Hickson 61 (4169, 4173, 4174 y 4175) Cuarteto de galaxias en Coma Berenices Molesta un poco, (bueno, un mucho), retirarse cuando el cielo está dando lo mejor de sí y cuando las condiciones son las que querías que se hubiesen dado desde un principio. De todos modos, la diversión de haber buscado, encontrado y observado detenidamente esta relación de objetos compensa lo suficiente. Aunque todavía estaban suficientemente altas las grandes areas que esconden tantos Universos Isla, ya iban apareciendo y ganando presencia por el Este las constelaciones típicas del verano, Al sur Escorpio prácticamente sobre el horizonte y al norte La Osa cayendo y Cassiopea ganando altura. Es una época esta, la primavera boreal, en la que la meteo es bastante caprichosa y no pocos años nos hemos quedado sin poder observar una noche en condiciones. Espero que antes de la siguiente estación podamos conseguir salir al menos una vez más. * Enlaces y formas de contacto: https://linktr.ee/luces_x

The Big Dipper moves high overhead this evening, with the bowl turned upside down. As you take in the view, link the two stars at the outer edge of the bowl. If you follow that line down toward the horizon, the first moderately bright star you come to is Polaris. Earth's north pole aims directly at the star, so it's also known as the North Star or the Pole Star — it marks true north in the sky. Another north pole stands at about the same height at that hour. It's in Coma Berenices, a faint constellation that's well above Arcturus, a bright yellow-orange star that's low in the east. That spot marks the north galactic pole — the projection of the north pole of the Milky Way Galaxy. The galaxy is shaped like a disk. It's about a hundred thousand light-years across, and about ten thousand light-years thick. If you draw a line through the center of the galaxy, at a right angle to the disk, and project it above the disk, it aims toward Coma Berenices. When we look in that direction, we're looking through a thin section of the Milky Way, so there aren't many really bright stars in that part of the sky. Instead, we're looking into intergalactic space. And in fact, a telescope reveals many other galaxies in that direction. More than a thousand of them form a giant cluster, known as the Coma Cluster — a beautiful collection of galaxies that stands due north. Tomorrow: A shower of space rocks pelts Illinois.  Script by Damond Benningfield Support McDonald Observatory

The Coma Cluster consists of more than a thousand galaxies, all moving through space together. Yet most of the cluster is invisible — it consists of dark matter. It produces no energy, but its gravity pulls on the visible matter around it. The Coma Cluster provided the earliest evidence of dark matter. It was first suspected by Fritz Zwicky, who was born 125 years ago this week. We'll have more about him tomorrow. Zwicky was studying observations of the Coma Cluster made by Edwin Hubble, the namesake of Hubble Space Telescope. He found that many of the galaxies were moving too fast to be held by the gravity of the cluster's visible matter. He surmised that some form of “dark matter” was contributing to the cluster's total gravity. But there were so many uncertainties in the observations that other astronomers didn't buy it. It wasn't until the 1970s that enough evidence began to pile up to convince most astronomers. Today, we know that dark matter makes up about 85 percent of all the matter in the universe. Yet we still don't know what it is. The leading idea has been that it's a heavy subatomic particle. But searches have all come up empty. So new searches are focusing on much lighter particles — perhaps the “missing mass” of the universe. The Coma Cluster is in the constellation Coma Berenices, which climbs into good view in the northeast by 10 or 11 p.m. Small telescopes reveal several of the cluster's galaxies.  Script by Damond Benningfield Support McDonald Observatory

All throughout the Universe, we see stars and galaxies everywhere we look. But as we look to greater and greater distances, we're only seeing the light that's the easiest to see: the ones from the brightest, most visible objects. But the most numerous objects of all are exactly the opposite: less luminous, smaller, and lower in mass. How can we hope to find and catalogue them all if they're the hardest ones to find? The answer lies in measuring the closest stars to us. If we can measure the stars that persist in our own backyard, cataloguing them and taking as complete a census as possible, we can then combine what else we know about stars and starlight and the environments in which new stars form to reconstruct precisely what we believe is out there: not just here-and-now, but elsewhere and all throughout cosmic time. Here to bring us up to speed on how this attempt to catalogue and categorize the stars in the Universe, I'm so pleased to welcome PhD candidate at Georgia State University Eliot Vrijmoet to the show, who takes us on a fascinating journey to the edge of our knowledge, and from there we'll peer over the horizon to what just might come next. Enjoy the latest episode of the Starts With A Bang podcast! Star density maps of the Gaia Catalogue of Nearby Stars. The Sun is located at the centre of both maps. The regions with higher density of stars are shown; these correspond with known star clusters (Hyades and Coma Berenices) and moving groups. Each dotted line represents a distance of 20 parsecs: about 65 light-years. (Credit: ESA/Gaia/DPAC - CC BY-SA 3.0 IGO)

May is a busy month!  There's a deep Total Lunar Eclipse, several planetary conjunctions and we explore the galaxy rich constellations Coma Berenices and Virgo. 

If you want to see a lot of galaxies, you need to look up — not just up into the sky, but up and away from our own galaxy, the Milky Way. And the best spot for doing that is in and around the constellation Coma Berenices, which climbs high overhead on spring evenings. It's the location of the north galactic pole — the spot that's 90 degrees away from the plane of the Milky Way. That plane outlines the disk of the Milky Way. It's filled with stars and with clouds of gas and dust. There's so much stuff that it's hard to see the intergalactic space beyond. As you look farther from the glowing band of the Milky Way, though, many more galaxies come into view. Some of them are visible through binoculars, though most of them require a telescope. In fact, there are large clusters of galaxies in Coma Berenices and the adjoining constellation Virgo. In all, they contain several thousand galaxies. There are many other galaxies over in the opposite direction from Virgo, near the Big Dipper. HETDEX, a large project at McDonald Observatory, is looking at thousands of remote galaxies in that region to study dark energy — a force that's causing the universe to expand faster as it ages. Coma Berenices is low in the east at nightfall, then wheels high overhead after midnight. In early evening, the north galactic pole is to the right of the tip of the Big Dipper's handle. Galaxies are scattered all across that region — high “above” the Milky Way.  Script by Damond Benningfield Support McDonald Observatory

I read from columnar to comb.     The word of the episode is "Coma Berenices". https://en.wikipedia.org/wiki/Coma_Berenices     Featured in a Top 10 Dictionary Podcasts list! https://blog.feedspot.com/dictionary_podcasts/     Backwards Talking on YouTube: https://www.youtube.com/playlist?list=PLmIujMwEDbgZUexyR90jaTEEVmAYcCzuq     dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar 917-727-5757

Spring is known as galaxy season. These three constellations have many galaxies that are easily visible with amateur telescopes. 

In diesen dunklen Nächten ohne viel Mondlicht lässt sich ein eher unscheinbares Sternbild hoch am Südhimmel gut erkennen. Zwischen Löwe und Bootes funkelt das Haar der Berenike. Der griechische Astronom Ptolemaeus erwähnte in seinem Hauptwerk Almagest diese Sterne am Ende des Eintrags zum Löwen. Von Dirk Lorenzen www.deutschlandfunk.de, Sternzeit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

A brief description of the notable celestial objects located in the constellation of Coma Berenices.

Spencer Michaud discusses the astrology for the week of Nov. 2-8, 2020 Topics discussed include CONSTELLATIONS: CRUX, CORONA BOREALIS, COMA BERENICES, CORVUS, VIRGO, LIBRA, FIXED STARS: ACRUX, ALPHECCA, DIADEM, VINDEMIATRIX, ZUBEN ELGENUBI, ALGORAB, MERCURY DIRECT, MORNING STAR MERCURY, MERCURY square SATURN, VENUS in LIBRA II, LAST QUARTER MOON, TAROT: III of SWORDS #astrology #weeklyforecast #horoscope #capricorn #aries #taurus #virgo #libra #scorpio #venus #mercury #sun #mars #saturn #marsretrograde #mercurydirect #lastquartermoon #tarot #decans #fixedstars #traditionalastrology #mythology Introduction – 00:00 Planetary Condition – 4:28 Monday – 34:09 Tuesday – 36:47 Wednesday – 53:20 Thursday – 1:09:02 Friday – 1:16:01 Saturday – 1:25:04 Sunday – 1:32:19 Please like, subscribe, and share! Finding value in these videos? Help Spencer keep creating content by leaving a tip! Your donations are much appreciated! : ) Venmo: @spencermichaud PayPal Me: http://www.paypal.me/spencermichaud Thank you for supporting your local astrologer! : ) Book a reading: https://spencermichaudastrology.as.me/ Visit the blog: http://www.spencermichaud.com Apple Podcasts: https://podcasts.apple.com/us/podcast/spencer-michaud-astrology/id1498982837 Soundcloud: http://www.soundcloud.com/spencermichaudastrology Facebook: http://www.facebook.com/spencermichaudastrology

Spencer Michaud discusses the astrology for the week of Sept. 7-13, 2020 Topics discussed include CONSTELLATIONS: LEO, VIRGO, COMA BERENICES, ANDROMEDA FIXED STARS: VERTEX, DIADEM, VINDEMIATRIX, DENEBOLA, SUN trine JUPITER Rx, MARS RETROGRADE, LAST QUARTER MOON, SUN opposite NEPTUNE Rx, MERCURY in LIBRA II, JUPITER DIRECT, SUN in VIRGO III, TAROT: III of SWORDS, X of PENTACLES #astrology #weeklyforecast #horoscope #capricorn #aries #taurus #leo #virgo #libra #mercury #sun #mars #marsretrograde #jupiter #neptune #lastquartermoon #tarot #decans #fixedstars #traditionalastrology #mythology Introduction – 00:00 Planetary Condition – 4:34 Monday – 29:20 Tuesday – 33:10 Wednesday – 36:35 Thursday – 1:18:07 Friday – 1:23:33 Saturday – 1:37:20 Sunday – 1:52:04 Please like, subscribe, and share! Finding value in these videos? Help Spencer keep creating content by leaving a tip! Your donations are much appreciated! : ) Venmo: @spencermichaud PayPal Me: http://www.paypal.me/spencermichaud Thank you for supporting your local astrologer! : ) Book a reading: spencermichaudastrology@gmail.com Visit the blog: http://www.spencermichaud.com Apple Podcasts: https://podcasts.apple.com/us/podcast/spencer-michaud-astrology/id1498982837 Soundcloud: http://www.soundcloud.com/spencermichaudastrology Facebook: http://www.facebook.com/spencermichaudastrology

En este sexto programa de la serie "A la escucha del virus" continuamos presentando un conjunto de audiciones en principio no relacionadas directamente con la pandemia que actualmente nos afecta —en una u otra medida— a todos, pero que quizá puedan alentar ciertas reflexiones —o, por lo menos, sensaciones— que nos ayuden a imaginar una representación diferente de la compleja y dolorosa situación que toda la humanidad está atravesando en estos días. Tras el movimiento de diástole o de expansión progresiva que, a lo largo de los cinco programas anteriores, nos llevó desde la escala microscópica del virus hasta las dimensiones enormes del universo, en este programa mantenemos esa perspectiva cósmica, mientras nos disponemos a iniciar un retorno paulatino, durante las próximas semanas, hasta alcanzar de nuevo, al final de esa sístole, las proporciones ínfimas propias de los virus. La semana pasada nuestra perspectiva galáctica permitía tomar en consideración el hecho de que la pandemia, de momento, solamente afecta a nuestro pequeño planeta dentro de la vastedad del cosmos. En esta edición de Ars Sonora añadiremos otras preguntas inspiradas por ese mismo salto de escala: ¿estamos, los seres humanos, confinados en nuestro sistema solar? ¿en nuestra galaxia? ¿en nuestro universo? ¿De qué depende, en fin, que nos sintamos o no confinados en un espacio determinado? Los confines de la imaginación, también los de la imaginación sonora (por usar una expresión propia del filósofo Eugenio Trías, que reflexionó ampliamente sobre la idea de límite), pueden ser aún más amplios que los contornos de nuestra galaxia… Pero también más opresivos, según los casos, que los de las más estrechas prisiones o las celdas más angostas. Nuestros prejuicios —también los musicales— pueden limitarnos, como seres humanos, mucho más que cualquier restricción física. Como ejercicio de flexibilidad estética, proponemos la audición de algunos fragmentos de composiciones procedentes de géneros y artistas tan diversos como Karlheinz Stockhausen (“Sternklang”), Merzbow (“Dark Star”), Francisco Guerrero (“Coma Berenices” y “Rigel”), Hans Zimmer (“Interstellar”) y Pink Floyd (“Interstellar Overdrive”). Escuchar audio

This week's High in the Sky features naked black holes, strap-ons, camel-leopards, and the most beautiful head of hair in the stars, Coma Berenices! Welcome to Cosmos with Cosmos: High in the Sky! Join the Fellowship as they discuss what you can find in the evening and early morning sky. Plus, find out about the latest astronomy events and upcoming rocket launches. So, grab your favorite drink, go outside, take a listen, and look up. *Always Drink Responsibly* Listen and Subscribe to us on: Anchor.fm Spotify Apple Follow Us! Twitter: @drinkingcosmos Instagram: @cosmoswithcosmos www.cosmoswithcosmos.com Music Credits: Eric Skiff - Resistor Anthems http://EricSkiff.com/music --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The sky offers two north poles. One is the celestial pole. It’s marked by Polaris, the North Star. Earth’s axis aims toward Polaris, so all the stars appear to rotate around it. And the star is in the same position in the sky all day and night — marking due north. The north galactic pole moves around the sky. It stays in the same constellation, but the constellation turns around Polaris, so the pole moves, too. This pole is based on the alignment of our home galaxy, the Milky Way. Astronomers have devised a set of galactic coordinates. The “east-west” line is marked by the plane of the galaxy’s disk. You can get a rough idea of the plane by looking at the hazy band of light that outlines the Milky Way. A lane down the middle of that band generally looks darker than the rest of it — a pretty good marker of the galactic plane. The east-west coordinates are centered on the heart of the galaxy, in Sagittarius — a galactic longitude of zero. That’s also the starting point for galactic latitude — the position north or south of the plane. The point 90 degrees north marks the north pole. It’s in Coma Berenices. Right now, it’s high in the southeast at nightfall, above the bright yellow-orange star Arcturus. Since we’re looking away from the Milky Way’s disk, that region offers an unobstructed view beyond the Milky Way. In fact, it’s home to one of the most impressive galaxy clusters around — spreading out near the north galactic pole. Script by Damond Benningfield

El programa de hoy, como os dije en el anterior, también es de cielo profundo, también es con el Dobson de 40, también es desde el mismo lugar que el anterior (como llegué siendo ya de noche tenía un poco de reparo de volver a molestar a alguien que me hubiese pillado la delantera si volvía a mi lugar habitual). Esta vez visito zonas aledañas al episodio anterior, si bien en esta ocasión doy menos bandazos de constelación en constelación y la selección de objetos está más “recogidita”. En su mayoría están en la constelación de los Perros de Caza o Lebreles, aderezando la lista con dos o tres objetos de constelaciones vecinas. Esta vez no hay objetos en el límite de la detección pero… incluso en alguno de los tres Messier que cito hay que emplearse a fondo para detectar ciertas cosas. Cielo bueno, ausencia de viento y humedad molestas, presencia de focos de contaminación lumínica nuevos que hasta la fecha no había percibido… pero en promedio una noche buena, aprovechable en la que ya tenemos sobre nuestras cabezas el cielo de primavera, con incontables Universos-Isla para todos los gustos. * Los objetos citados en el episodio son… -NGC4605. Galaxia en Ursa Major. -NGC4631. Galaxia en Canes Venatici. -IC3568 Nebulosa Planetaria en Camelopardalis. -Galaxia Cocoon en Canes Venatici: Arp 269. NGC4490 y NGC4485. -NGC4244. Galaxia de la Aguja Plateada, en Canes Venatici. -M106. Galaxia en Canes Venatici. -M94. Galaxia en Canes Venatici. -M63. Galaxia en Canes Venatici. -NGC4565. Galaxia de La Aguja, en Coma Berenices. * Enlaces y formas de contacto: - Web: nestorgm.com/astronomia/ - Twitter: @Luces_X https://twitter.com/Luces_X - Correo: lucex@nestorgm.com - iTunes: https://itun.es/i6Sg8ym - Spotify: https://open.spotify.com/show/3iEkTJs8B6sOxsWnUTwgyf?si=t5fTPg_qRnWmfhrdPrzZNA - iVoox: http://www.ivoox.com/podcast-luces-extranas_sq_f1234211_1.html - Instagram: https://www.instagram.com/luces_extranas

Nancy Lim: In 1973, Celmins rented a house in a small New Mexico town and was looking every night at the night sky. So it was a combination of that experience with finding satellite pictures of the Coma Berenices and Cassiopeia constellations that resulted in this series. Vija Celmins: These are kind of places that really don't exist except in your mind because we have only seen them in photographs. You can see that there is a central event that I sometimes veer toward, but most of them are fields. For a while I thought I would try to put an event in like a little comet, but I was not so satisfied with that. I was building up a lot of graphite on the paper and moving into loving the graphite more than the image. I think you see, looking at the graphite that I get denser and denser and denser with it. What I did here is, these drawings are all additions, and the white is all the paper. I don't really think of them as stars. I mean, they're stars, but not stars. I think of them like undetonated kind of little bombs in this area that I have to go around and articulate so that they sit correctly on the page. This is too much talking isn't it?

Nancy Lim: In 1973, Celmins rented a house in a small New Mexico town and was looking every night at the night sky. So it was a combination of that experience with finding satellite pictures of the Coma Berenices and Cassiopeia constellations that resulted in this series. Vija Celmins: These are kind of places that really don't exist except in your mind because we have only seen them in photographs. You can see that there is a central event that I sometimes veer toward, but most of them are fields. For a while I thought I would try to put an event in like a little comet, but I was not so satisfied with that. I was building up a lot of graphite on the paper and moving into loving the graphite more than the image. I think you see, looking at the graphite that I get denser and denser and denser with it. What I did here is, these drawings are all additions, and the white is all the paper. I don't really think of them as stars. I mean, they’re stars, but not stars. I think of them like undetonated kind of little bombs in this area that I have to go around and articulate so that they sit correctly on the page. This is too much talking isn’t it?

A teaser for the weekend stargazing under the über dark skies of the Brecon Beacons International Dark Sky Reserve at this spring’s AstroCamp. We’ll take you through the events and activities which turn beginners into experts and fill up the eyepiece of those who are already experts – and, of course, whet your appetite for this friendliest of starparties! Whether you’re joining us in the Welsh village of Cwmdu on the weekend of 22-25th April or not, we’ve included a seasonal sky guide of our favourite night sky objects to dazzle and amaze you visually or astrophotographically: Ralph The Leo Triplet of galaxies The Needle Galaxy in Come Berenices The Great Globular Cluster in Hercules Paul Spiral Galaxy, Messier 94 in Canes Venatici Double star Cor Caroli in Canes Venatici Globular Cluster M3 in Canes Venatici The Coma Star Cluster in Coma Berenices Messier 53 Globular Cluster in Coma Berenices Damien The King of Planets, Jupiter 2 rare AstroCamp comets in Hercules, Tuttle-Giacobini-Kresak and C/2015 V2 Johnson As if comets weren’t enough we also have the naked-eye Lyrid meteor shower John The Whirlpool Galaxy in Canes Venatici Markarian’s Chain of galaxies between Leo and Virgo The Veil Nebula supernova remnants in Cygnus The Blackeye Galaxy in Coma Berenices

Episodio 15. * Introducción * Extracto de una observación en directo que realicé a principios de mayo con mi telescopio dobson de 406 mm. y con el que abordé la observación de los siguientes objetos, entre otros: Júpiter, con un tránsito de Ganimedes y su sombra sobre el disco joviano… y la Gran Mancha Roja; Observación “ligera” de algunas de las galaxias de Ursa Major: M108 más la nebulosa planetaria M97; M109; M81 y M82, con NGC2976 y 3077; M51, galaxia del Remolino en Canes Venatici; Galaxia Sombrero M104 en Virgo; Me paso a Leo a revisitar varias galaxias que ya cubrí en el episodio 13 (http://nestorgm.com/astronomia/ep_13-galaxias-en-leo/): Galaxia NGC2903 en Leo; M95, 96 y M105; M65, M66 y NGC3628; A partir de aquí ya realicé una observación más detenida de los objetos pero… enlazando uno con otro me fui bastante lejos de donde pensaba en un principio. M53, y NGC5053, cúmulos globulares en Coma Berenices; M64, Galaxia espiral en Coma [Entrada del blog y podcast específico de este objeto (M64 GALAXIA DEL OJO NEGRO) http://nestorgm.com/astronomia/m64-galaxia-del-ojo-negro/ ]; NGC 4565, Galaxia de la Aguja en Coma; NGC4656 y NGC4657, galaxia espiral en Canes Venatici que al ocular tiene forma irregular; Galaxia de la Ballena, NGC4631 en Canes Venatici con una galaxia compañera, NGC4627; Galaxia Aguja de Plata, NGC4244; Galaxias Cocoon, en Canes Venatici, NGC4490 y 4485, también Arp 269; Galaxia M94, M106 y M63, Galaxia del Girasol, en Canes Venatici; Terminé la sesión de observación con Marte, que estuvo espectacular, tirando por lo bajo. ;-) * Promo del podcast “Quotidianos” @QuotidianosPod de https://twitter.com/QuotidianosPod http://quotidianos.es * Despedida y formas de contacto para consultas, preguntas y dudas: - Web: nestorgm.com/lucesextranas/ - Twitter: @Luces_X - Correo: lucex@nestorgm.com - iTunes: https://itun.es/i6Sg8ym - iVoox: http://www.ivoox.com/podcast-luces-extranas_sq_f1234211_1.html - Spotify: https://open.spotify.com/show/3iEkTJs8B6sOxsWnUTwgyf?si=t5fTPg_qRnWmfhrdPrzZNA

In Episode SH017 of Star Hopping… We’ll be exploring the Coma Berenices region, and using our star hopping methods to find the Sunflower Galaxy: Messier 63, the Black Eye Galaxy: Messier 64, and the Needle Galaxy: NGC4565. Intro So we’re continuing with our galaxy review of all the amazing targets currently rising into of the Read More ... The post SH017 – Find the Sunflower Galaxy, the Black Eye Galaxy, and NGC4565 appeared first on Star Hopping.

Crónica de una breve observación que me llevó principalmente por la constelación de Coma Berenices y que estuvo protagonizada por galaxias. https://nestorgm.com/astronomia/breve-visita-a-coma-berenices/ Para contactar, dejar comentarios, preguntas, consultas y/o saludos, tenemos la cuenta de Twitter: @Luces_X

Breves notas sobre la naturaleza de la galaxia M64, Galasia del Ojo Negro en Coma Berenices, así como qué podemos esperar al apuntar nuestros telescopios hacia ella. https://nestorgm.com/astronomia/m64-galaxia-del-ojo-negro/ Para contactar, dejar comentarios, preguntas, consultas y/o saludos, tenemos la cuenta de Twitter: @Luces_X

What to look out, and up, for in April. This month we look in the direction of Leo the Lion for the beginners guide – taking a look at the bright binary stars and a very special grouping of entire galaxies to observe in our spring skies. Next we round up the planets that are visible in March 2015: Jupiter, Venus, Saturn and the return of Mercury. April brings us some nice lunar conjunctions and a well timed Lyrid meteor shower. And for our deep sky challenge we take you on a galaxy tour of Virgo and Coma Berenices.

'Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss' is the title of each of two works, one painting and one floor installation. It is not uncommon for Kiefer to use the same titles again and again. This is because of his sustained commitment to certain themes that he pursues over many years. These two works represent two such themes in Kiefer's development and although they look very different as objects they are two sides of one key idea in his mature work. The horizon in Kiefer's work is always more than a landscape feature, it is highly charged symbolically. 'Glaube, Hoffnung, Liebe' 1984-86 in the Gallery's collection includes a propeller which has the potential to fly over the horizon transcending the boundary between heaven and earth. In many of Kiefer's paintings and sculptures there are ladders, wings, rockets, Ziggurats, snakes and rainbows that all in some way suggest the idea of transcendence. The broken stairs in this work correspond to the broken propeller suggesting the dream of climbing above the horizon and yet it is a dream that is doomed to fail. This ambivalence towards transcendental aspiration is common to much art of the late twentieth century. For example Ken Unsworth's sculpture 'Rapture' 1994 in the Gallery's collection takes the form of a stairway to heaven frustrated when the stairs made of the keyboards of a grand piano arrive at the body of the piano which is stuffed with straw and will never sound the music of the spheres. The floor installation belongs to a body of works that reverse the passage between heaven and the earth. This is often represented by emanations from above sometimes in the form of poured lead attached to a painting or hanging in space like the finger of God. Many of Kiefer's recent works have more to do with the stars which according to the 16th century philosopher Robert Fludd each have their equivalent in a flower on the earth. Here we see a pile of glass plates that have fallen as a shower over piles of human hair (material human presence). Inscribed with one of 9000 star numbers, each piece of glass represents a heavenly intervention or emanation. Human hair is woven throughout the glass in a reference to the Egyptian Queen Berenice, who often appears in Kiefer’s works in the form of long locks of hair. Berenice was famous for her beauty and as an offering to the gods to bring her husband safely back from war, she cut her tresses and placed them on the temple altar. The Gods were so pleased with the offering that they took the hair into the sky where it became the constellation Coma Berenices (Berenice’s hair). The constellation of Coma Berenices is centred between Canes Venatici to the north, Virgo to the south, Bootes on the east and Leo on the west border. The following text is taken from the 2005 exhibition literature when these works were first shown in London: Kiefer's elegiac oeuvre is based on a vast system of themes and references relating to the human condition, explored through a highly emotive use of material and medium. In his muscular artistic language, physical materiality and visual complexity are equal to the content itself, which ranges over sources as diverse as Teutonic mythology and history, alchemy, apocalypse, and belief. As corollary to this breadth of content, Kiefer employs an almost bewildering variety of materials including - in addition to the thick oil paint that is the base of all his large-scale works - dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding 'real' materials to the illusionistic painted surface of his gigantic tableaux, he has invented a compelling 'third space' between painting and sculpture. Few contemporary artists match Kiefer's epic reach; the provocative and paradoxical nature of his work suggests that he embraces the notion of the modern artist who stands resolutely outside society, flaunting its histories, its taboos and its myths. By assimilating and utilizing the conventions and traditions of history painting, he goes beyond them, mingling viewpoints and presenting contradictory interpretations while emulating the genre's grandiloquence. Anselm Kiefer was born in 1945 in Donaueschingen. As a young artist in a Germany reeling from the after-shocks of the Second World War, he opted for a thoroughly and obviously indigenous art, of native subjects, values and symbols that contended with the fraught territory of German history and identity. In the late 1970s he started to make large, highly worked books that began with photographs staged in his studio, gradually gaining body through the application of lead, paint and other collage elements. These impressive objects indicated the way to the complex, process-oriented works of his mature period. In 1991 Kiefer left Germany, eventually settling in the south of France. In the same year he made an exhibition of paintings stacked randomly on top of each other as if discarded. This led to a hiatus in his art production that lasted more than three years. After this he began making new work with a wholly new subject matter, themes and references, dealing with central spiritual and philosophical concerns of our time. Over the past four decades, Kiefer has exhibited his work extensively throughout the world and is included in the world's most prestigious public and private collections.

'Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss' is the title of each of two works, one painting and one floor installation. It is not uncommon for Kiefer to use the same titles again and again. This is because of his sustained commitment to certain themes that he pursues over many years. These two works represent two such themes in Kiefer's development and although they look very different as objects they are two sides of one key idea in his mature work. The horizon in Kiefer's work is always more than a landscape feature, it is highly charged symbolically. 'Glaube, Hoffnung, Liebe' 1984-86 in the Gallery's collection includes a propeller which has the potential to fly over the horizon transcending the boundary between heaven and earth. In many of Kiefer's paintings and sculptures there are ladders, wings, rockets, Ziggurats, snakes and rainbows that all in some way suggest the idea of transcendence. The broken stairs in 'Von den Verlorenen gerührt...' correspond to the broken propeller suggesting the dream of climbing above the horizon and yet it is a dream that is doomed to fail. This ambivalence towards transcendental aspiration is common to much art of the late twentieth century. For example Ken Unsworth's sculpture 'Rapture' 1994 in the Gallery's collection takes the form of a stairway to heaven frustrated when the stairs made of the keyboards of a grand piano arrive at the body of the piano which is stuffed with straw and will never sound the music of the spheres. The floor installation belongs to a body of works that reverse the passage between heaven and the earth. This is often represented by emanations from above sometimes in the form of poured lead attached to a painting or hanging in space like the finger of God. Many of Kiefer's recent works have more to do with the stars which according to the 16th century philosopher Robert Fludd each have their equivalent in a flower on the earth. Here we see a pile of glass plates that have fallen as a shower over piles of human hair (material human presence). Inscribed with one of 9000 star numbers, each piece of glass represents a heavenly intervention or emanation. Human hair is woven throughout the glass in a reference to the Egyptian Queen Berenice, who often appears in Kiefer’s works in the form of long locks of hair. Berenice was famous for her beauty and as an offering to the gods to bring her husband safely back from war, she cut her tresses and placed them on the temple altar. The Gods were so pleased with the offering that they took the hair into the sky where it became the constellation Coma Berenices (Berenice’s hair). The constellation of Coma Berenices is centred between Canes Venatici to the north, Virgo to the south, Bootes on the east and Leo on the west border. The following text is taken from the 2005 exhibition literature when these works were first shown in London: Kiefer's elegiac oeuvre is based on a vast system of themes and references relating to the human condition, explored through a highly emotive use of material and medium. In his muscular artistic language, physical materiality and visual complexity are equal to the content itself, which ranges over sources as diverse as Teutonic mythology and history, alchemy, apocalypse, and belief. As corollary to this breadth of content, Kiefer employs an almost bewildering variety of materials including - in addition to the thick oil paint that is the base of all his large-scale works - dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding 'real' materials to the illusionistic painted surface of his gigantic tableaux, he has invented a compelling 'third space' between painting and sculpture. Few contemporary artists match Kiefer's epic reach; the provocative and paradoxical nature of his work suggests that he embraces the notion of the modern artist who stands resolutely outside society, flaunting its histories, its taboos and its myths. By assimilating and utilizing the conventions and traditions of history painting, he goes beyond them, mingling viewpoints and presenting contradictory interpretations while emulating the genre's grandiloquence. Anselm Kiefer was born in 1945 in Donaueschingen. As a young artist in a Germany reeling from the after-shocks of the Second World War, he opted for a thoroughly and obviously indigenous art, of native subjects, values and symbols that contended with the fraught territory of German history and identity. In the late 1970s he started to make large, highly worked books that began with photographs staged in his studio, gradually gaining body through the application of lead, paint and other collage elements. These impressive objects indicated the way to the complex, process-oriented works of his mature period. In 1991 Kiefer left Germany, eventually settling in the south of France. In the same year he made an exhibition of paintings stacked randomly on top of each other as if discarded. This led to a hiatus in his art production that lasted more than three years. After this he began making new work with a wholly new subject matter, themes and references, dealing with central spiritual and philosophical concerns of our time. Over the past four decades, Kiefer has exhibited his work extensively throughout the world and is included in the world's most prestigious public and private collections.

'Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss' is the title of each of two works, one painting and one floor installation. It is not uncommon for Kiefer to use the same titles again and again. This is because of his sustained commitment to certain themes that he pursues over many years. These two works represent two such themes in Kiefer's development and although they look very different as objects they are two sides of one key idea in his mature work. The horizon in Kiefer's work is always more than a landscape feature, it is highly charged symbolically. 'Glaube, Hoffnung, Liebe' 1984-86 in the Gallery's collection includes a propeller which has the potential to fly over the horizon transcending the boundary between heaven and earth. In many of Kiefer's paintings and sculptures there are ladders, wings, rockets, Ziggurats, snakes and rainbows that all in some way suggest the idea of transcendence. The broken stairs in 'Von den Verlorenen gerührt...' correspond to the broken propeller suggesting the dream of climbing above the horizon and yet it is a dream that is doomed to fail. This ambivalence towards transcendental aspiration is common to much art of the late twentieth century. For example Ken Unsworth's sculpture 'Rapture' 1994 in the Gallery's collection takes the form of a stairway to heaven frustrated when the stairs made of the keyboards of a grand piano arrive at the body of the piano which is stuffed with straw and will never sound the music of the spheres. The floor installation belongs to a body of works that reverse the passage between heaven and the earth. This is often represented by emanations from above sometimes in the form of poured lead attached to a painting or hanging in space like the finger of God. Many of Kiefer's recent works have more to do with the stars which according to the 16th century philosopher Robert Fludd each have their equivalent in a flower on the earth. Here we see a pile of glass plates that have fallen as a shower over piles of human hair (material human presence). Inscribed with one of 9000 star numbers, each piece of glass represents a heavenly intervention or emanation. Human hair is woven throughout the glass in a reference to the Egyptian Queen Berenice, who often appears in Kiefer’s works in the form of long locks of hair. Berenice was famous for her beauty and as an offering to the gods to bring her husband safely back from war, she cut her tresses and placed them on the temple altar. The Gods were so pleased with the offering that they took the hair into the sky where it became the constellation Coma Berenices (Berenice’s hair). The constellation of Coma Berenices is centred between Canes Venatici to the north, Virgo to the south, Bootes on the east and Leo on the west border. The following text is taken from the 2005 exhibition literature when these works were first shown in London: Kiefer's elegiac oeuvre is based on a vast system of themes and references relating to the human condition, explored through a highly emotive use of material and medium. In his muscular artistic language, physical materiality and visual complexity are equal to the content itself, which ranges over sources as diverse as Teutonic mythology and history, alchemy, apocalypse, and belief. As corollary to this breadth of content, Kiefer employs an almost bewildering variety of materials including - in addition to the thick oil paint that is the base of all his large-scale works - dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding 'real' materials to the illusionistic painted surface of his gigantic tableaux, he has invented a compelling 'third space' between painting and sculpture. Few contemporary artists match Kiefer's epic reach; the provocative and paradoxical nature of his work suggests that he embraces the notion of the modern artist who stands resolutely outside society, flaunting its histories, its taboos and its myths. By assimilating and utilizing the conventions and traditions of history painting, he goes beyond them, mingling viewpoints and presenting contradictory interpretations while emulating the genre's grandiloquence. Anselm Kiefer was born in 1945 in Donaueschingen. As a young artist in a Germany reeling from the after-shocks of the Second World War, he opted for a thoroughly and obviously indigenous art, of native subjects, values and symbols that contended with the fraught territory of German history and identity. In the late 1970s he started to make large, highly worked books that began with photographs staged in his studio, gradually gaining body through the application of lead, paint and other collage elements. These impressive objects indicated the way to the complex, process-oriented works of his mature period. In 1991 Kiefer left Germany, eventually settling in the south of France. In the same year he made an exhibition of paintings stacked randomly on top of each other as if discarded. This led to a hiatus in his art production that lasted more than three years. After this he began making new work with a wholly new subject matter, themes and references, dealing with central spiritual and philosophical concerns of our time. Over the past four decades, Kiefer has exhibited his work extensively throughout the world and is included in the world's most prestigious public and private collections.