An occasional habit of ours is enjoyment of company while viewing the effects of sunset from our east facing patio. The Sunday of January 20, 2019 I prepared for total lunar eclipse by researching moon rise. Online charts (search for “moonrise”) give the time and compass heading for particular locations.
This departing cruise ship was in line of sight and I was disappointed to have missed effect of the reflected sunlight on the myriad windows we so often enjoy with friends. The preceding and following photographs present an illusion of a cruise ship appearing larger than the full moon, the effect of the much larger body viewed from an enormous distance.
In these photographs a newly risen full moon appears to emerge from ocean cloud cover. A full moon is a requirement of a lunar eclipse, it is not possible to have an eclipse without a full moon, although the reverse is not true.
The apparent large size of the moon low in the sky is an optical illusion caused by the alignment of vision with earth-bound objects on the horizon.
A simple experiment is to find a pebble that is the same size as the newly risen full moon when held at arm’s length. Wait until the orb is well up and apparently smaller. You will find the same pebble covers the moon. On the horizon or high above, the full moon covers the same angular diameter.
For a change of scene we visited Cape Canaveral, the beach at Cherie Down Park were an informal gathering of Kite Surfers was underway. Here is a series of action shots, one second elapsed from first to last.
Conditions were excellent: good northerly wind, the sun overcast and, it being afternoon, in the west. Surfers stayed relatively close to shore, near their starting point. I had packed the “heavy gun” camera with a tripod.
Panning the scene (swiveling on the tripod), the camera in rapid exposure mode, I pressed the shutter release and held it down.
One day before the 2019 Total Lunar Eclipse a full moon rose 4:25 pm above the Atlantic Ocean off Cocoa Beach, the “Space Coast” of Florida. We saw a power kite to the south, with the southerly winds there was time before he was on us. I took the following photographs with what was at hand, an iPhone 8.
At 50 minutes post moonrise, I included the orb in this frame as the rider tacked, rising a water crest.
A flick of the fingers to zoom in, the moon and rider are together as he rides toward shore.
This time of, Saturdays, the cruise ships depart Cape Canaveral Port. The kite is above the distant ship. It is amazing the kite allows sailing into the wind, his heading is southwest. The shore limits his progress, forcing a tack towards a southeast heading.
Or not, it seems he plans to tack to the northeast, continuing progress north up the coast. I have to wonder how he will return to the starting point?
Our long beachcombing adventures are enlivened by wildlife. Grey Herons stalking the surf line, the interface between the Atlantic Ocean and the shore, stop us in place, fascinated.
There are two varieties of “surfing” Grey Herons: those looking for a handout from fishermen and independent operators. These photographs are of the latter, active feeders searching the wash for edibles: fish and crustaceans. These progress verrrrryyyyyy slooooowwwwllllyyyy, at a level high enough to avoid breaking waves, low enough for their long legs to be submerged.
The heron appears to be mesmerized by the waves until, suddenly, the head tilts slightly, the serpentine neck extends quick as a striking rattlesnake, the sharp beak pierces the water to emerge sometimes empty.
When successful, the beak holds an improbably large fish. The heron stands there, adjusting the catch with imperceptible head motions, until the victim is aligned lengthwise with the beak and gullet. A quick jerk forward and the catch is propelled into the upper throat, which expands. A few more jerks and it is consumed whole, unchewed. An amazing process to witness and only possible if you take the time for the slow process.
Another element is the heron’s tolerance of human observers. These herons ignore us if we keep an adequate distance. Elsewhere, a heron will take wings at the slightest provocation, as simple as a glance of a human and these will fly, uttering a raucous, rasping goodbye.
These photographs are from morning excursions, the subject is backlit. Afternoons, we do not encounter many stalking herons when the light is better. The individuals looking for handouts are out in the afternoon, generally, after the fishermen has thinned out. Don’t know why that is.
Copyright 2019 All Rights Reserved Michael Stephen Wills
Trundled along within our bubble, the Mercedes tour bus proceeded up Avenue Montt when Ricardo pointed out this statue for ridicule. A depiction of the Chilean national bird, the Condor, porteños derisively call it “The Chicken,” and in truth the wing span is undersized. From the vantage of the above photograph, the statue form does capture an impression of soaring among the hills of Valparaiso. Keep in mind, beyond those hills is Aconcagua, the highest mountain of the western hemisphere, home to Condors.
A reason for writing multiple Varparaiso “connection” posts is to better understand the jumbled impressions from that day. In a previous post I coined the term Varparasians for natives of the city. I found in researching this post the residents, as for Buenos Aires, call themselves porteños (people of the port). This cast iron statue speaks to the contributions of French immigrants to the city and nation.
Here the view is south towards (what I believe is) Cerro Florida (Florida Hill). France Avenue continues, beyond the monument, following a steep and winding path up the hills, at the crest intersecting with German Avenue. Adjacent, on the right, is Park Italia where we’ll visit in part VI. Above a cast iron basin, at each corner of the commemorative column base is a female mask, above them a gold band inscribed (from the) “The French of Valparaiso” with 1810 – 1910 to denote the centennial. A condor with outspread wings surmounts the column.
The artist, Nicanor Plaza, born in Santiago, Chile was living in Florence, Italy at the time of this commission. He was a natural choice for the commission. Trained in Chile and Paris, Plaza taught for the Academy of Fine Arts of Santiago. It is of cast iron, produced by the French company Val Osne, an art foundry dating back to 1835. The owner, Jean Pierre Andre Victor, invented a cast iron ornamental technique originally used to produce street furniture.
From 1854 to 1895 immigration from France burgeoned, from a country total of 1,654 to 8,266. This cohort is credited with developing the vineyards of the Central Valley, still famous today. The Chilean president Augusto Pinochet descended on his father’s side from an 18th-century French Breton immigrant from Lamballe and his mother was a descendant from 17th century immigrants, partially Basque. Pinochet’s legacy can only be attributed to himself and the ruling Junta. What is of concern is (1) Pinochet was protected against prosecution throughout his life. (2) The same people who protected him still hold power. A case in point is the Esmeralda, still in service.
I took this photograph at dawn from our stateroom balcony, it is the Esmeralda, a four-masted top sail schooner, from Spain, christened May 12, 1953. From 1973 to 1980 it was a floating torture chamber where up to 100 persons were subjected to hideous treatment by the Pinochet regime. Protests erupt wherever it docks in a foreign port yet it remains in service. A relatively small part of the puzzle, yet it serves as an unacknowledged monument to the failure of Chile’s ruling elite to come to terms with the recent past.
To end on a positive note, there is the memory of the more than 10,000 Chilean citizens of French ancestry who joined the Free French Forces in the fight against the Nazi occupation of France in World War II.
“Valparaiso Connections III” brought us to Pedro Montt Avenue and the building of this imposing façade, Congreso Nacional de Chile (National Congress of Chile). The very fact it is in Valparaiso is a recollection of the former National Congress, disbanded by the ruling Junta on September 13, 1973. During the final years the Pinochet dictatorship chose Valparaiso for the site of a new congress building . The former National Congress building still stands in Santiago, now housing the offices of both houses of congress.
I am fascinated the façade is shared by two founding fathers of Chile, Bernardo O’Higgins and José Miguel Carrera. O’Higgins father never married his mother (in other words, Bernardo was a bastard). Cared for by his mother’s privileged family, he used his mother’s family name until the death of his father. Carrera, was also born of privilege, the acknowledge son of his father who attended the best schools, well positioned to lead the movement for Chilean independence. Benefactors looked after O’Higgins, they sent the seventeen year old to Europe to finish his education.
Click either photograph to visit my Fine Art Gallery. Enjoy!!
In the chaos of war, in spite of ill-health and lack of military training, O’Higgins out performed Carrera as an officer through reckless bravery; surviving, he became an admired military leader through this example and ultimate victories. Carrera resented being overtaken (by a bastard), did not respect O’Higgins leadership and the two feuded. O’Higgins became the first head of the independent Chile while Carrera gathered a force. Exiled in Paraguay, Carrera marched across the intervening wastes battling indigenous forces. Eventually captured by those loyal to O’Higgins, Carrera suffered a mock trial and execution.
All five of Carrera’s legitimate offspring married and prospered, today his descendants number in the hundreds, being the majority of Chile’s ruling class. Today, the followers of Carrera (Carreristas) fight for his recognition against the O’Higginistas, who they despise. The balance is on display on the National Congress façade on Pedro Montt Avenue. The building is next to Plaza O’Higgins.
Measured by acreage, O’Higgins is far ahead of Carrera. The following photograph, from my posting “A Far Country VII: View of Tempanos Fjord” is from within Bernardo O’Higgins National Park, the largest protected land in Chile.
A large lake in Patagonia is named after General Carrera.
Copyright 2018 All Rights Reserved Michael Stephen Wills
“Valparaiso Connections II” left us with these friendly Valparasians, if such a word can be used to describe residents of the city, chatting on Argentina Avenue.
It was Saturday, the happy occasion of the weekend street fair, kiosks sprouting like mushrooms, thinly attended this early morning.
We did not pause to wander, instead turned up a street known as Pedro Montt, named for a Chilean president of the early 2oth century. Was we turned, monumental street sculpture, rising from the kiosks, caught my eye.
A creation of the great national artist Mario Irarrzabal, it invokes solidarity through the image of four thick copper cables twisted together to form one, the union that can happen to achieve bigger things. Opened in 1995, crafted of iron, wood and copper, after Pinochet passed power to a new democratic constitution and still held office as a Senator, protected from extradition, in the National Congress located just to the west of the monument.
The imagery works on multiple levels. Known as “Copper Cable Monument” or “Copper Column,” the monument also stands for Chilenización del cobre (Chileanization of copper), a movement began during the presidency of General Carlos Ibáñez del Campo. Concluded in the presidency of Salvador Allende, the takeover of foreign owned mines lead to the isolation of Chile and was a component of the support of the USA, via the CIA, for the Pinochet 1973 Chilean coup d’état. Pinochet retained state control of the mines in the face of strong popular support for the huge contribution to state coffers. To this day CODELCO (in English National Copper Corporation of Chile) operates as a corporate entity.
As with our guide, Ricardo (“Valparaiso Departure I”) and the companions at the start of today’s post, Irarrzabal was profoundly affected by the Pinochet dictatorship. Under its influence as well as the sculpture of Easter Island, the artist began work on monumental sculptures. Pam and I visited one on the other side of the South America “cone,” Punta del Este, Uruguay.
Built from Brava beach at the height of the dictatorship, 1982, of concrete, steel rebar, mesh covered with a corrosion resistant coating, the artist title it “Man Emerging to Life.” He was a young man at the time, the work built his reputation and he repeated the theme internationally as well as, in 1992, 1,181 miles away the “Hand of the Desert.” At that time while Chile was emerging from the Pinochet dictatorship the palm as well as fingers are visible. The “cone” of South American, Chile and Argentina, are encompassed by the left hand of the east, a right hand of the west.
Copyright 2018 All Rights Reserved Michael Stephen Wills