A lightvessel, or lightship, is a ship that acts as a lighthouse. They are used in waters that are too deep or otherwise unsuitable for lighthouse construction.[1] Although some records exist of fire beacons being placed on ships in Roman times, the first modern lightvessel was off the Nore sandbank at the mouth of the River Thames in England, placed there by its inventor Robert Hamblin in 1734. The type has become largely obsolete; lighthouses replaced some stations as the construction techniques for lighthouses advanced, while large, automated buoys replaced others.
A crucial element of lightvessel design is the mounting of a light on a sufficiently tall mast. Initially, this consisted of oil lamps that could be run up the mast and lowered for servicing. Later vessels carried fixed lamps, which were serviced in place. Fresnel lenses were used as they became available, and many vessels housed these in small versions of the lanterns used on lighthouses. Some lightships had two masts, the second holding a reserve beacon in case the main light failed.
Initially, the hulls were constructed of wood, with lines like those of any other small merchant ship. This proved to be unsatisfactory for a ship that was permanently anchored, and the shape of the hull evolved to reduce rolling and pounding. As iron and steel were used in other ships, so were they used in lightvessels, and the advent of steam and diesel power led to self-propelled and electrically lighted designs. Earlier vessels had to be towed to and from station.
Much of the rest of the ship was taken up by storage (for oil and the like) and crew accommodations. The primary duty of the crew was, of course, to maintain the light, but they also kept record of passing ships, observed the weather, and on occasion performed rescues.
In the early 20th century, some lightships were fitted with warning bells, either mounted on the structure or lowered into the water, the purpose of which was to warn of danger in poor visibility and to permit crude estimation of the lightship relative to the approaching vessel. Tests conducted by Trinity House found that sound from a bell submerged some 18 feet (5.5 m) could be heard at a distance of 15 miles (24 km), with a practical range in operational conditions of 1–3 miles.
Mooring
Lightship Portsmouth (LV-101) shows its mushroom anchor. It can be seen at downtown Portsmouth, Virginia, and is a part of the Naval Shipyard Museum.
Holding the vessel in position was an important aspect of lightvessel engineering. Early lightships used fluke anchors, which are still in use on many contemporary vessels. These were not very satisfactory, since a lightship has to remain stationary in very rough seas which other vessels can avoid, and these anchors are prone to dragging.
Since the early 19th century, lightships have used mushroom anchors, named for their shape, which typically weigh 3-4 tons. They were invented by Robert Stevenson. The first lightvessel equipped with one was an 82-ton converted fishing boat, renamed Pharos, which entered service on 15 September 1807 near to Bell Rock, and had a 1.5 ton anchor.[4] The effectiveness of these anchors improved dramatically in the 1820s, when cast iron anchor chains were introduced (the rule of thumb being 6 feet of chain for every foot depth of water).
3Piece Melodic Punk Band from TOKUSHIMA
(L → R)
Kohei
1994.04.16
Vocal / Guitar
Name: Yukich
Date of birth: 22 July,1974
Occuppation: Bass / Vocal
Name: Yosito
Date of birth: 22 July, 1993
Occupation: Drum / Chorus
Formed in Tokushima in 2010.
After several member changes, we reach the present.
July 7, 2015 THE NINTH APOLLO belonging
June 1, 2016 1st ALBUM "Reminder" nationwide release
June 14, 2017 2nd ALBUM "Eclipse" released
February 14, 2018 1st Single "I'm in Love" released
Julie Vallimont is, above all, a collaborator. Whether she is playing piano and accordion for dances, teaching burgeoning musicians, assembling players to bring to life an album of her original music, or creating multimedia visual art, Julie’s work aims to connect with people and draw out the best in them.
Julie’s new album Dark Sky, Bright Stars is a series of these collaborations. She says, “I could have done this album solo, but I was more interested in having musical conversations with people.” The album contains fifteen original instrumental pieces recorded with a rotating cast of some of the Northeast’s finest folk musicians: Yann Falquet (who produced the album), Anna Patton, Becky Tracy, Katie McNally, Andrew and Noah VanNorstrand, Mark Roberts, Mia Bertelli, Daniel Hawkins, Rachel Bell, Kirsten Lamb, and Màiri Chaimbeul. Some are frequent collaborators, and some met for the first time while making this album. Julie arranged her tunes with the aim of showcasing the unique timbre and style of each instrument and player as they interacted with her nimble, expressive piano and accordion. The result is a delightfully varied and human collection of sounds, recorded mostly live at Maine’s Great North Sound Society.
The tunes aren’t all dance music, but they are imbued with and inspired by that feeling, that sense of lift and movement and space. They are stylistic descendants of the Celtic, Quebecois, and French traditions that make up the New England fiddle repertoire, but they’re also something a bit different: they’re more conceptual, like vignettes, or even songs that just happen to lack lyrics. To write the tunes that became Dark Sky, Bright Stars, Julie drew from her joyful experiences in the music community, and also from the emotional source of years of battling illness. The album is something of a concept album, whose central message is about embracing life’s difficult and beautiful moments – the stars are brightest when the sky is darkest.
Julie herself created the album cover for Dark Sky, Bright Stars, which consists of multilayered painted papercuts. In addition to her work with papercuts and pottery, several years ago, Julie fell in love with “crankies”: scrolls of paper that are illustrated and hand-cranked on spools to create moving pictures used in music and storytelling. Julie calls crankies “a magical synthesis of visual art, songs, tunes, stories, and puppetry,” and has taught crankie-making workshops at several camps and festivals.
Before making her new album, Julie has spent years making a name for herself as a performer, educator, artist, and sound engineer. A longtime classical pianist and organist, she now focuses primarily on traditional folk accompaniment and the joy of playing dance music. She currently tours nationwide with her duo Buddy System, and has performed with a number of other bands and artists, including Nor’easter and Firecloud. Her newest project, a collaboration with Anna Patton, explores tunes, songs, poetry, and artwork in intimate, beautiful performances.
Fluent in a variety of folk dance music styles, Julie brings heart and creative, driving accompaniment to every project. She is also a founding member and board member of the BIDA (Boston Intergenerational Dance Advocates) dance in Cambridge, MA, where she harnesses the power of music and dance to build a community where all people feel welcome. Drawing on teaching skills developed over fifteen years as a natural science educator, Julie also enjoys teaching and leading workshops, and has taught at festivals and camps nationwide and internationally. An artist of skill and passion both broad and deep, Julie Vallimont is a uniquely creative person whose work delights and inspires.
— Isa Burke
FOOL THE PUBLIC is a 3 piece melodic Punk Band, formed in Tokushima in 2010 including members: Kouhyi (Vocal / Guitar), Yukiti (Bass / Vocal), Yoshito (Drum / Chorus)
In July, 2015 they belong to THE NINTH APOLLO.
In June, 2016 the 1st ALBUM "Reminder" was released nationwide.
In June, 2017 the 2nd ALBUM "Eclipse" was released.
In February, 2018 the 1st single "I'm in Love" was released.
There is no schedule or ticket right now.
日本、〒192-0084 東京都八王子市三崎町２−７ Map
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