Picture of seashells on a seashore strandline with mussels and limpets in a natural arrangement as found.
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“The Hive is a unique world class installation and experience created by artist Wolfgang Buttress, Simmonds Studio, Stage One and BDP. Pollination is important for our food security – one third of global crop yield is dependent, to some extent, on bees and other pollinators. In highlighting the importance of pollination in our food chain, The Hive poses one of the most pressing questions of our time – how can we protect our pollinators in order to feed our growing population? Illuminated by almost 1,000 LED lights, The Hive represents a vast honey bee hive. It’s linked to one of Kew’s hives and the lights flicker in time to vibrations caused when the bees communicate with one another. Wolfgang was inspired by work of Dr. Martin Benscik at Nottingham Trent University, who has developed technology to monitor the health of bee hives. His research is a prime example of how British science and creativity is helping solve global challenges.”
“What’s the buzz?
Experience four types of vibration caused by honey bees as they communicate inside a hive. Hear these bee “messages” through bone conduction where vibrations pass through bones in your head, instead of through your eardrums. The vibrations have been recorded using accelerometers by Dr. Martin Benscik, reader in physics in Nottingham Trent University.”
Accompanying the 17 metre high structure is a beautiful symphony of orchestral sounds performed in the key of C – the same key that bees buzz in. Together, the sound and light swell and diminish as the energy levels in Kew’s beehive surge.”
Quotes from on-site information noticeboards at The Hive in Kew Gardens
The entire coastline north and south of Louisbourg on Cape Breton Island in Nova Scotia, Canada, is composed of Neoproterozoic volcanic rocks dating back 575 million years. A few hundred metres north of the Louisbourg Lighthouse along the Trail to Morning Star Cove and Gun Landing Cove, lies an area of seashore that offers the chance to take a close-up look at the compositions and natural patterns in rock made of pyroclastic breccia.
Pyroclastic literally means ‘fire-broken’ and is used to describe volcanic rocks made up of fragmented pieces that are normally the result of an explosive volcanic event. Clasts are pieces of broken down rock. According to the Oxford Dictionary of Earth Sciences edited by Michael Allaby (ISBN 978-0-19-921194-4) “breccia is a coarse clastic sedimentary rock, the constituent clasts of which are angular. Breccia literally means rubble and implies a rock deposited very close to the source area. The term may also be applied to angular volcanic rocks from a volcanic vent.
Rock of a similar type of origin, although not identical, has been used by the sculptor Emily Young in the creation of the carved heads that were recently on display on Neo Bankside in London. Stillness Born of History II is described as being made of “onyx with volcanic pyroclastic brecchia”.
Beautifully textured and patterned onyx with volcanic pyroclastic breccia has been used by the famous sculptor Emily Young to create this fabulous head called Stillness Born of History II displayed (courtesy of Bowman Sculpture) at Neo Bankside in London, England, just south of the Tate Modern Gallery. Pyroclastic breccia is composed of fine-grained volcanic ash, pumice, and rock fragments larger than 2.5 inches (63.5 mm). When the fragments are smaller than this, the rock is called tuff.
The countryside around Charlton Down this April is a landscape of rolling hills covered by a brightly coloured patchwork of flowering oilseed rape fields contrasting with spring wheat, each patch separated from the next by boundaries of ancient field hedgerows and trees with branches just springing into life.
Nearing the end of my walk now from Hill End to Spaniard Rocks and back again. The damp sand for hours exposed to air revealed in the oblique light intricate traceries of trails where small invertebrates had travelled around unseen on the surface to hunt for food. The tide had turned and was fast washing the shore clean again. First the light particles of wood and coal dust floated away and gradually all the other organic debris and flotsam were removed in order of weight. Just a few items left to go. Incredibly, a soggy soft pink toy starfish found itself marooned with a real starfish. I photographed it exactly as I found it. The red mooring buoy seen high and dry earlier in the day was now licked by the waves, along with paired prickly cockle shells, living whelks, a dead dogfish, and a wellington boot.
The sun was bright and the sea was dark blue and scintillating. Rows of sand ripples reflected the blue sky like a natural abstract painting. Such a view of the sea and sand in Rhossili Bay is one of the most uplifting I know.
I reluctantly left the water’s edge to negotiate the makeshift bridge across Diles Lake once more. This time I photographed the unattractive brown periphyton attached to the underwater rocks as well as the beautiful sunlit surface ripple patterns of the flow. While it was time for me to leave, others were just arriving with surf boards, impatient to immerse in the iridescent sea – now that must be some high on such an afternoon. I can’t wait to go back.
Walking back from Spaniard Rocks now, I took a route closer to the dunes where the character of the shore is quite different from the wet sand and strandlines between high and low tide levels. Here there are pebbles. Rhossili’s pebbles intrigue me. I love scrambling over the banks of stones at the very top of the beach. The colours are lovely pastel shades with pinks and blues and overall reminding me of sugared almonds. A total delight. Many rock types are represented. Some have interesting patterns.
I like the way that the numbers of beach stones seem to increase or decrease depending on how they are pushed around the shore between one visit and the next, and how the sand changes its level and distribution throughout the year and the transition from season to season. This time the wooden ribs and keel of the shipwrecked ketch Anne were only just visible above the sand and pebbles. I like the way that pebbles are arranged partly buried in the damp sand that quickly dries to a different hue and texture. The pebbles underlie the tall sand dunes of the Llangennith Burrows. The dunes have been scooped out by stormy seas and footsteps in many places to demonstrate that even wind-blown sand is stratified; and marram grass roots exposed to air show how deep they penetrate the soft fine sediments to bind them together and stabilise the dunes.