#Explore Pompeii

[whereskatieandgrady]

Pompeii, Italy

[howamidrivinginlimbo]

The ancient city of Pompeii, Italy

On the first photo is the bakery of Sotericus.

On the last photo you can see clay pots built into countertops in the taberna.

[arttecair]

Vesuvius and Pompeii. Aerial View. #travel #napoli #italy #nature #histo...

Vesuvius and Pompeii. Aerial View

[cloudselkie]

Our final stop was Naples and I realized my childhood dream of visiting Pompeii. I cannot even begin to describe how amazing it was. Sometimes you can almost hear the sounds of the old city, especially in areas that are less frequented by large tour groups. But the most amazing parts were the frescos. As an artist myself, I feel like I learned something new by looking closely at the brush strokes and I can't wait to get home and try to paint like them! I wonder if those ancient artists know that modern artists still learn from their work. I also attempted to climb Mt. Vesuvius, but I will post more about that over on my side blog, @vesuvius-official.

I am so sad to be flying home today. Europe as a whole has been awesome. I hope I can come back again someday, and hopefully for a longer visit!

[coriander-candlesticks]

I realized recently (read: today as I'm writing this) that while I associate certain specific fiber arts with Athena (knitting, weaving, dying, and spinning), I associate crochet specifically with Apollo, though Athena's there too, of course. I think it's because it's more free-flowing: I can freehand something with crochet more easily than I can with knitting, both because I've known it longer and because there are fewer Things To Learn, unlike knitting which has a million different techniques that may seem interchangeable but actually aren't and that all affect the end product in a pretty big way (looking at you decreases & bind-offs). Because I can free-hand crochet more easily, and I grew with it the same way I did with drawing, they have similar vibes. Knitting and weaving, on the other hand, have steeper learning curves imo and are way more structured- and I associate more solid (dare I say rigid) structure with Athena. Embroidery and cross-stitch are kinda in their own floating category, maybe because I do them less and therefore have weaker associations with them over-all. I associate hand-sewing largely with Hestia, though again, Athena is always also there, because I associate it with mending, altering clothing, and making home items (ex the quilted pillowcase I've been mentally turning around in my head for the last few weeks).

Interestingly, I find printmaking specifically to be associated with both Athena and Apollo. It leans into the latter's domain, of course, the same way crochet does Athena's, but the structure you need in order to layer & print properly without hurting yourself, ruining equipment, or fucking up you edition seems reminiscent of Athena. Dyeing, especially making & using natural dyes, feels very much like an Athena thing despite it 1) feeling similar to painting or using inks and 2) being a trial & error process that's honestly pretty free-flowing if you approach it a certain way (especially if you do solar dyeing, which doesn't necessarily need some of the more meticulous processes you need to boil-dye something).

[google233]

Exploring The Ruins Of Pompeii

Pompeii is SO big, but we were determined to see all of it. Follow along as we show you all the ruins, the amazing mosaic floors, and life as it was for Pompeiians 2000 years ago. If you'd like a guide to help you navigate Pompeii, we highly recommend this tour with an archeologist: https://www.getyourguide.com/pompei-l... This travel guide will walk you through all the sites in Pompeii, from the amphitheater to the House of the Geometric Mosaics to the incredible Casa del Menandro. From the Temple of Apollo and the Temple of Isis to the Forum and the plaster casts of the victims of the Mount Vesuvius eruption. We'll also give you helpful tips along the way to save you time and make sure you have a great experience when you visit the Pompeii ruins. We also wanted to show you how to get from Naples to Pompeii. Taking the train to the Pompeii Archaeological Site can be a little complicated because there are multiple train stations in Pompeii, so we show you exactly what tickets to buy and where to go to catch the train.

[heretic-deb]

Pompeii

[listen-to-the-inner-walrus]

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[joncronshawauthor]

🚢 A Week of Travels and Literary Journeys | Author Diary - September 22, 2024 📚🌍

🚢 Cruise Adventures: This week, I took a break from writing to embark on a cruise that took me to some of Europe’s most storied destinations, including Pompeii, Rome, and Girona. Each city offered its own unique blend of history, culture, and breathtaking sights. From the ancient ruins of Pompeii to the medieval charm of Girona, this journey was a treasure trove of inspiration and a wonderful…

[ultralowoxygen]

Pompeii, Italy by Xenia Susha Via Flickr: yashica fx3 + fujifilm superia x-tra 400

[blueiscoool]

‘Ancient Roman’ Solar Roof Tiles Power Pompeii Villa

Ancient Roman ruins at Pompeii have been fitted with invisible solar panels, in a move that will contribute to the archaeological site’s sustainability efforts and cut costs. The innovative panels, which blend into the background by imitating traditional materials, were installed on the House of Cerere, on a thermopolium — a Roman snack bar — and on the House of the Vettii, which recently reopened following 20 years of restoration work.

“They look exactly like the terracotta tiles used by the Romans, but they produce the electricity that we need to light the frescoes,” said Gabriel Zuchtriegel, the director of the archaeological park of Pompeii, in a press release.

Each year, 3.5 million tourists explore the vast ruins of the ancient Roman city, which was buried by the eruption of Mount Vesuvius in 79 AD. But due to Pompeii’s size, energy bills are expensive and conventional methods of providing power across the site can threaten its appearance.

“Pompeii is an ancient city which in some spots is fully preserved,” Zuchtriegel said. “Since we needed an extensive lighting system, we could either keep consuming energy, leaving poles and cables around and disfiguring the landscape, or choose to respect it and save millions of euros.” The new technology will help the archaeological site to cut energy bills and make it more enjoyable, he added.

The invisible solar panels — or “traditional PV tiles” as they are technically known — were created by the Italian company Dyaqua. They can be designed to appear like stone, wood, concrete or brick, and hidden on walls, floors and roofs, according to Elisabetta Quagliato, whose family owns Dyaqua, in the press statement.

“We are an archaeological site but we also want to be a real-life lab for sustainability and the valorization of intangible heritage,” Zuchtriegel said. “Our initiative is not merely symbolic. Through the million tourists who visit us every year, we want to send a message to the world: cultural heritage can be managed differently and in a more sustainable way.”

Other locations in Italy using the invisible solar technology are the commune of Vicoforte in Italy and, soon, Rome’s contemporary art museum Maxxi. Public buildings in Evora, Portugal, and Split, Croatia will also install the panels, according to the press statement.

Pompeii’s recent use of these panels is just the beginning, Zuchtriegel said. “From now on, we will be taking this solution into account for all future renovation and restoration projects.”

By Garry Shaw.

[howamidrivinginlimbo]

The ancient city of Pompeii, Italy

On the first photo is the house of Paquius Proculus. On the last photo is the fullonica of Stephanus, a laundry worker who used the house as his workshop.

[arttecair]

#vesuvius #pompeii #aerial #travel #napoli #italy #nature #landscape #vu...

Vesuvius and Pompeii Italy 🇮🇹 napoli

[saintundying]

IIRC you also think DM happened in the past. Do you have a theory as to why Daniel's memory's were erased?

Are you ready for something insane???

I think it has to do with Marius de Romanus.

The epicenter of Armand is Marius. He is in every crack and corner of how Armand exists. His shadow falls over the dynamic of Louis and Armand in the show and Armand and Daniel in the QotD chapter. In the book, once Armand realizes Daniel truly loves him in Pompeii, what does he do? He resorts himself back into the role he knows, except he casts Daniel as Amadeo and himself as Marius. Daniel becomes fully dependent on Armand because isn't that what love is? Armand understands his love properly right when Daniel is dying so he turns him. Armand can't stomach turning Daniel (sounds like s2 finale babes) and Daniel loses his mind and ends up isolated in Marius' care.

1940s AMC Armand believes Marius dead. Does 2022 Armand? Timelines can change easily. He spent time with Lestat for the trial, it could have been revealed. Lestat would hold it over his head for making him do this. Or maybe, reveal it through a relationship with Daniel.

Armand makes sure the SF edit of memories allows him to flaunt he saved Daniel's life. This is important to him. Except, he didn't save Daniel's life at all in that apartment. Why is it important to Armand that Daniel (and Louis) believe this? Why is it important Armand can hold onto that? I think he really believes he saves Daniel's life, just not in SF.

In the books, Bianca, Daniel, Benji, Sybelle all become objects Marius takes from Armand. So if Marius did come to check up on Armand unseen (funnily enough he does so in Paris and it's in Paris that Daniel's memories start to form a coherent timeline again) and finds him in a relationship with a human boy? Oh no, Armand is Marius'.

Oh Amadeo, I've come to you again. You have a human companion? He is addicted to you, you hurt him, give him the Gift! Turn him or free him! You cannot love properly because that is your nature. Let me take care of this one for you, Amadeo.

There is a glaring neon sign stating the love has already happened because Armand turns Daniel in the show. He has no other reason to do so. Armand doesn't punish this way. Okay so past relationship, but Armand doesn't want Daniel in Dubai, except he is and he allows it. Why? The entire thing reeks of "I don't want this interview happening. I don't want you here, but I am weak and selfish and I wanted to see you again. I want you to remember me."

I think he believes he saved Daniel from a life of damnation and Armand by allowing Marius (or himself, but I don't think he is that strong in the Mind Gift) to remove the memories of their time. I free you from me and you can go onto live a life. I won't let you be cursed.

So yea, Marius. Show wise look at who is about to get the scoop on Armand and Marius through Lestat. You set up Armand as this false villain, Daniel starts realizing there is more memories missing, anger at Armand for taking more. Look at what you did to Nicki, look at what you did to Claudia and Louis, look at what you did to me. Drop the twist that Armand truly thought he was saving Daniel, start Armand's backstory/redemption arc, and you build them reuniting.

Devil's minion break up and reunite in the books, but that is never shown beyond a few lines. No way, this show wouldn't want a deep exploration of a human/vampire relationship. They're dramatists. Rolin Jones and co. have such a sandbox to play in with these two during the time Anne Rice doesn't write for them and that's why I think their timeline appears all over the place.

OH! Daniel sits by Marius' portrait in the dining room every time by the way. Also, crazy first name drop of a major character in a line from the episode titled "...after the phantoms of your former self" where only Armand is present in the scene.

Yea, I bet you never heard of him

[whencyclopedia]

Dolia: The Containers That Made Rome an Empire of Wine

The ancient Roman love for wine is well-known, but how was all that wine stored? In “Dolia,” Caroline Cheung puts dolia, the largest ceramic storage vessel made in the ancient world and capable of holding a thousand liters of wine, at the center of the ancient Roman wine trade for the first time. Best suited for scholars and students, this book explores the lifespan of dolia and the people who made, used, and paid for these massive vessels through a range of archaeological and literary evidence.

Caroline Cheung, an assistant professor of Classics at Princeton University, seeks to fill a rather large gap in the scholarship of the ancient Roman wine trade by centering the storage vessels themselves, the dolia (sing. dolium). Historically, these supermassive ceramic vessels, capable of holding well over a thousand liters each, have been understudied and overlooked. Combining various archaeological and literary evidence, Cheung argues that dolia formed the backbone for the Roman wine trade and that their development was the key factor in satisfying the Roman thirst for wine from the 2nd century BCE to the 2nd century CE. She pays particular attention to the many people involved in every step of the dolia industry and how dolia can function as a lens into the intersections of wealth, social mobility, and labor. The book focuses on three case-study sites in west-central Italy: Cosa, Pompeii, and Rome with its port Ostia.

Cheung organizes her book thematically to draw out each step in the life of a dolium. After the introduction, Chapter Two traces the development of the dolia industry from the 2nd century BCE to the height of the Roman Empire. Chapters Three to Six detail the various uses of dolia on farms and villas, as part of a complex trade system in the Mediterranean, and cities. Chapters Seven and Eight then turn to how dolia were maintained, repaired, and eventually reused and abandoned. Cheung concludes in Chapter Nine with reflections on studying dolia and their legacy today.

Cheung does a masterful job of marshaling a truly staggering amount of archaeological and literary evidence to make this book possible. From the largest dolium-tanker shipwrecks to the smallest epigraphic stamps and tax records, Cheung excels at drawing out the particular importance of each piece of evidence. Some of the most interesting moments in the book are when she slows down to focus on a specific site or detail amidst the wealth of information she provides, such as in Chapter Four, when she draws out the story of the Sestius and Piranus families as examples of how wealthy families could take advantage of different stages in a dolia-based wine trade to accrue wealth and influence. A slate of images and figures also complements her prose well, including full-color plates of many images in the book.

At times, however, Cheung seems to struggle with her two competing priorities of exploring the life of a dolium from production to abandonment and examining the ramifications of dolia on the Roman wine trade and Roman imperialism more broadly. Her prose sometimes switches quite abruptly between the two, leaving the reader to try to pull together disparate threads of the narrative. In focusing mainly on west-central Italy, with only a brief foray into southern France and Spain, Cheung’s narrative can feel quite restricted, leaving out as it does the rest of the Mediterranean world, let alone the rest of the Roman Empire. Some discussion of what we do know about dolia outside of the book's case study areas would have been worthwhile to help provide a fuller picture of the role of dolia across the Mediterranean. As the first step in synthesizing much of this material, this book is a very needed addition in illuminating the crucial role dolia played in the Roman wine trade.

Cheung is one of the few scholars working on dolia currently, and perhaps the only one synthesizing the material on such a broad level, and her mastery of the material shows in this book. In centering dolia in the narrative of the Roman wine trade, Cheung takes a completely different tact to previous studies of this topic with great results. She argues persuasively why dolia deserve to be seen front and center in future scholarship. This book demonstrates the value of studying the logistics of the Roman wine trade just as much as the Romans’ love of wine itself.

Continue reading...

[justanotherbirdbrain-blog]

as a volcano guy, I'd love for you to go over what media typically gets wrong about volcanoes (like people outrunning a fucking pyroclastic flow and/or surviving in it for any period of time). I know you sort of talked about eruptions in your natural disasters post, but I still feel like there's a lot to explore about the typical "stratovolcano that somehow has constant rivers of lava" image that most people think of. Some stuff about how karst caves work/different types of them would also be cool!

Apologies for replying so late, but this is so true and frustrating! Media does not really properly convey natural disasters, maybe to make people feel less scared? But what it actually does is give everyone false confidence, or allows people to make uneducated decisions!

So lets talk about it! First lets look at some things in media that upset me:

To be completely clear here, I love Lord of the Rings and so does my advisor, so at LEAST two geologists have managed to get over this scene. However, when I put on my geologist glasses there is a lot to unpack, first, the above volcano is a stratovolcano, which erupts how it is depicted above kind of, which means its letting off mostly ash and giant boulders, and! the lava is not that flowy. Only mafic lavas flow like that (like in Hawaii). Stravovolcanoes get their shape from all the ash that is shed down the sides of the it, that is what the volcano is made of!

Also, even if we want to play devils advocate and say, "ok they got lucky with pyroclastic flows" WHICH GOES ON AVERAGE 60MPH OR 100KM/H. And lets imagine that these rocks just managed to keep them cool enough to sit on that rock, lava releases toxic gases?

Like CO2 which is toxic by itself sure, but also sulfur dioxide, carbon monoxide, and other very very toxic things.

Another thing about pyroclastic flows is they are freaking hot! 200°C and 700°C (390-1300°F) the heat will kill anyone before the ash does.

And now that I have brought up ash lets talk about what it is because people just casually standing in it with no masks?

Those are tiny glass shards you are inhaling, you know how asbestos is super bad for you? This is just as bad for the same reasons.

Dropping media for a minute, volcanoes kill in several different ways, whether it is an incident like Pompeii which was overtaken by pyroclastic flows, whether is be from volcanic gases like the Lake Nios, or from related earthquakes or tsunamis caused by the volcanic activity.

Speaking of Tsunamis!

No, there is not some huge wave, more than likely you will not see a tsunami coming. The most you get is maybe feeling the associated earthquake or volcanic eruption, or you see the ocean receding rapidly.

YOU DO NOT NEED TO BE BY THE EARTHQUAKE OR VOLCANO FOR YOU TO BE AFFECTED BY A TSUNAMI, If something causes a tsunami to happen in Japan, it can also affect Hawaii, and the West Coast of the US, and visa versa. This occurred most recently (to my knowledge) in 2011.

Do you want to know how fast tsunamis travel in open water?

over 500 mph (800 km/h)

Media should have some responsibility in teaching people how to behave in these situations to some degree and natural disaster safety should be taught regardless if you live in Kansas or Washington state, because who knows where you will end up living as an adult or if where you happen to vacation experiences a disaster.

I know there is a lot more to address from a lot of movies, but if I am being completely honest I avoid movies involving natural disasters like a plague because it just leaves me feeling very upset.

Oh wait one last thing to everyone seeing this!

YELLOWSTONE IS NOT GOING TO ERUPT. STOP SAYING THAT. The rhyolite magma chamber beneath Yellowstone is only 5-15% molten (the rest is solidified but still hot). Pick another volcano to start an apocalypse, because she ain't it.

Oh, also you don't need a supervolcano to send the world spiraling, a year without a summer, which was an absolute disaster, was created by the eruption of mount Tambora (in Indonesia) and just in EUROPE over 65,000 died because of the climate changes and resulting famine.

Thank you for your time!