Longitude & latitude worksheets

Hi, sorry I'm still new to the site and getting to grips with it. How come at some locations, such as here https://www.cellmapper.net/map?MCC=234&MNC=15&type=LTE&latitude=53.838842279580945&longitude=-1.5917872287450545&zoom=21.7822752517775 where there's only one tower present (you can check Google Street View to confirm this), there's two towers marked on the map, each with a different ID?

Hello guys, i have a dataset with 1.6 million rows. each row contains the following columns:
variable, type, description start_time,datetime, Day and time trip started end_time, datetime, Day and time trip ended start_station_id, int, Unique ID of station where trip originated end_station_id, int, Unique ID of station where trip terminated start_station_lat, float, Latitude of start station start_station_lon, float, Longitude of start station end_station_lat, float, Latitude of end station end_station_lon, float, Longitude of end station bike_id, int, Unique ID attached to each bike
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We have the task to calculate the idle time at a particular station (i.e. the time period from when bike with bike id = x was dropped off at station y until any other bike at station y is booked)
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what is the best way to achieve this ?
considering the high amount of data, any nested for loop won't work within reasonable computational time( yes i tried :p and waited 3000 min )
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I would love to hear any tips or advice on how to address this :)
Thanks in advance

I was reading through this section of Mason & Dixon and I realized that it would make an absolutely bonkers beginning to a movie. I decided to write it up for fun. I moved things around and retouched certain things as you might with a movie script. I realize this post is thorough proof of my insanity.
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page 132 near bottom beginning "after all, what's being confin'd upon the Summit of a living Volcano" continuing to 134 "an instance of extra-terrestrial Plantation"
Scene 1 St. Helena circa 1730s: The camera races across a dark ocean at some point past sunset as this section of the text is narrated, ahead a dark shape looms (the island). There is no sound from the wind since the camera is utterly given over to it. Maskelyne and Mason are standing on a ridge outside the astronomy hut, though we cannot see them yet, we can hear their conversation as the camera approaches on the wind from afar. The moment the mysterious void envelopes them "till at length rolling overhead" the camera reaches overhead of Mason and Maskelyne. With Maskelyne looking past the camera in rapture, a terrific rainstorm begins. The scene continues on as they race around the hut shuttering open windows until they both sit down to drink. They discuss St. Helena as essentially an alien planet itself, and St. Helena is portrayed as like so many colonized planets in scifi, a property to be exploited and possessed in a desperate escape from the center..
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page 134 beginning "One cloudless afternoon.." continuing to 135 "How soon is this that we are talking about?"
Scene 2 Mason and Maskelyne at the dying Orange Grove On St. Helena: Maskelyne ruminates about the end of the world. Visually the shot conveys this imagery "Houses with red Tile roofs preside over small Valleys, the Pasture lying soft as Sheep, -- all, with the volcanic Meadow where the two stand, circl'd by the hellish Cusps of Peaks unnatural, -- frozen in mid-thrust, jagged at every scale". This serves to further clarify that the location is St. Helena. Maskelyne portrays St. Helena as alive and cursed.
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--- Some segway of Mason wondering how Dixon is doing brings us to Cape Town ---
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page 154 beginning "I am done with that. I am a Farmer now." continuing to 154 "then enlarg'd the Hole myself"
Scene 3 Cape Town Dixon in the brothel with a former cop: An unhinged former police officer of the dutch slave colony talks about "escaping" what he perceives as colonialism to Dixon as they get drunk. This scene is connected to Scene 4 by slightly compressing things so that Dixon sees Vroom stumble out just as the cop finishes his narrative with "then enlarg'd the hole myself". Dixon drags Vroom out into the early morning.
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page 155 beginning "Dixon returns to the Vroom residence" continuing to 155 "as likely as the next to hold a chance of ruin"
Scene 4 Cape Town returning to the Vroom residence: Dixon stumbles back into the Vroom house early morning, both disheveled, Vroom clearly very drunk and barely able to stand. Some of the daughters are awake in the house and give them side eye without addressing anything directly, the weight of the atrocity and sin at capetown permeates everything. The camera raises up to the window of one of the girls who is still asleep (maybe Greet?) and enters her dream.
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page 155 beginning "In their Dreams they ever return to Prisons of Stone" continuing on to 155 "the traditional name, here, for an elder Brother"
Scene 5 The Dream and The Clock: "In their Dreams they ever return to Prisons of Stone, to Gates with Seals 'tis Death to break, the odor of soap and Slops, the Stillness of certain Corridors, the unchallengeable Love of a Tyrant, Yellow Light from unseen Watch-Fires flickering upon the Wall, and unexpectedly, rounding a particular Croner, to the tall Clock from Home, ringing the Quarter-Hour." There is a sequence of shots that roughly conveys the above imagery and ends with the girl rounding a corner to see the Vroom Clock (like a grandfather clock). The girl approaches the clock in rapture as the camera zooms slowly in, the clock "stands deep in the House, in a passageway between the Front and the Back,--- the two Worlds". The ticking becomes louder. The shot ends with her reflection in the glass panel of the clock, the next scene begins with a similar profile shot of her face.
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page 155 "When Mason and Dixon arriv'd with the Elliot Clock" continuing on to 156 "Go carefully"
Scene 6 Greet Warns Dixon About Clocks: Scene involves Greet and Mason alone in a side room in the Vroom house, this scene could be connected to Scene 5 by suggesting it is a further extension of the dream. Greet warns Mason for his own safety to keep the state secret of his accurate clock from the Dutch and its use to find a method of determining latitude a secret. She may be trying to seduce him but she might also just be using the cover of trying to seduce to genuinely warn him of a danger to his life.
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page 156 "Down in the Castle" continuing on to end of chapter
Scene 7 Zoom Out On The Ticking Time Bomb Of Cape Town: Narration here is accompanied by scenes that might involve showing interrogations, perhaps a montage showing multiple brutalities all with the camera focused on a clock in the corner, steadily dividing reality into a European colonialism... Scene 6 and Scene 7 could involve visual motifs on clock faces. A file by Dutch police on Mason is maybe shown.
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--- Some segway of Dixon wondering how Mason is doing brings us back to St. Helena ---
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page 160 beginning "I was out upon the Cliffs today" continuing to 162 "with all finer Motions lost in that Simplicity"
Scene 8 Back To St. Helena, The Ghost Of Dieter: The ghost story of Dieter is described here, the scene cuts between Maskelyne trying to talk Dieter back from jumping off the sheer cliff and Maskelyne describing it later to Mason. The wind is blowing extremely hard but there is no sound of wind in the shot with Maskelyne and Dieter. The shot begins with Maskelyne seeing Dieter alone facing the sea about to jump, as the scene ends with Maskelyne telling Mason "'We may sail with the Wind... at the same speed, working all its nuances, -- or we may stand still, and feel its full true Course and Speed upon us, with all finer Motions lost in that Simplicity." a shot of Dieter stepping off the cliff before Maskelyne even begins talking to him is shown.
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page 164 beginning "Once, long before dawn..." continuing to 165 "She nods, her smile not, so far, terrible"
Scene 9 Mason Wakes Up: Scene 8 is framed as a dream/memory Mason just woke up from. Pitchblack, howling wind, absolutely incessant loud banshee wailing that begins to drift almost back from a dissonant tone into "entire orchestral Performances, of musick dstinctly not British,---Viennese, perhaps, Hungarian, even Moorish" (perhaps some Steve Reich style music?). Mason comes awake to this mix of howling and orchestra, the hut practically rattling to pieces from it, his colleague passed out drunk on the other side of the hut underneath a pile of books and telescopes or something. At this point it might be explained by introduced dialogue that Maskelyne will be the future head Royal Astronomer. Propelled by some unknown force Mason wanders out of the hut into the wind. This is on the windward side of an extremely remote rocky, volcanic island with dramatic lava flow cliffs.
Scene 10 Mason walks out into the night: Mason "enters the Wind, picks his way 'cross Boot-slashing Rock up over the ridgeline and down unto the floor of a ruin'd ebony forest, where among fog-wisps and ancient black logging debris polish'd by the Wind, [his dead wife Rebecca] accosts him shiv'ring in his Cloak. The Ocean beats past the tiny accidental island" Mason sees his dead wife, this is made evident in the trailer through context. This scene might also include a flashback as Mason makes eye contact with his dead wife's ghost to the first time Mason sees her, allegedly, during the Octuple Cheese incident... Perhaps the sequence is 1. Mason looks up to see a gap in the clouds where for one moment the full moon passes through, this is a zoomed in telephoto with the moon occupying almost the entire shot 2. we flashback to the Octuple Cheese rolling by in an echo visual of the moon (not really understood by the audience now as anything but an abstract visual shot). 3. THEN mason sees her ghost as he looks down from the sky.
page 172 beginning "He tries teasing her with his earth-bound Despair" to end of chapter
Scene 10 Rebecca's ghost continued: Mason tries to figure out if it is really her by asking her annoying question about the stars that she would hate. She laughs at him for needing a reason for life and though a ghost laughing doesn't translate that well... this is the emotional beat Mason goes from being terrified this is some devilish creature imitating his wife to "knowing" it is really her somehow. Mason and Rebecca reminisce about how she believed the stars were aliens visitors in the sky when Rebecca was alive... Rebecca tells Mason to live life and move on. Rebecca's ghost disappears into the wind.
Scene 11 Next Day: Mason can't sleep the rest of the night, Maskelyne is passed out til basically noon the next day. Time is shown to pass. When Maskelyne wakes he asks if Mason came in at a very early hour in the morning. Mason, not really trusting the slightly insane Maskelyne and shaken from seeing the ghost of his dead wife denies it. Maskelyne says it must have been his soldier friend Dieter in an unhinged way. Perhaps Maskelyne is sitting with the two dueling pistols looking at Mason with a murderous intent, perhaps Maskelyne actually aims a pistol at Mason here. It is clear there is NOBODY else around and that Maskelyne could straight up murder Mason with no real repercussions.
*dissonant orchestral music and wind swell back*
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page 173 beginning "He runs without delay down to the shingle and begins assembling a Signal-Fire"
Scene 12 Drone Shot Of Mason Careening Down Slope To Shore: orchestral music plays here simultaneously dissonant with a voice singing one of Mason & Dixon's songs, perhaps the song on page 130 "Well Sailor ahoy". Perhaps Mason careening down the slope is mirrored by cuts to the Octuple Cheese careening down a slope, with the moment Mason reaches the shore and lights the signal fire cutting back on the strike of a match to the Octuple Cheese looming about to flatten Mason who is then shoved by an arm (Rebecca's) intruding from outside the frame at the last moment. When the dhow sees the fire and comes into shore the music and wind reaches a crescendo of silence for the moment that the disembodied voice whispers "Break-neck". Maskelyne is seen from the ridge as a sort of alien. The scene ends with the dhow leaving the shore.
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page 175 beginning of chapter
Scene 13 Zoomed Telephoto Shot Of Castle Rock: This is a short shot, it is mainly there to serve as the gateway between two worlds. The dhow crosses the zoomed telephoto shot, centered right at the moment it passes from the windward side to the leeward side with the volcanic cliffs filling the frame on one side and the sky and sea the other, the music ends here abruptly as the ship crosses back to the land of the living. Mason is shown in a closeup shot on the ship to be oblivious to the approach of this transition and is only made aware of it when a bit of cloth or rope whipping in the wind he was fixating on in a sort of distracted trance suddenly loses its animation and becomes motionless. Mason looks up, the boats crew presently sets lines out to fish and Mason briefly seems to come back to reality.
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page 175 beginning of chapter
Scene 14 Mason is left at Break-neck: Mason wades from the dow onto the beach, oddly at ease and continues in a "Road-Trance". A series of short shots convey a walk of some distance. Finally Mason finds himself walking along the wall to a building, nobody is around, the sunlight is harsh and austere. He sees the ear museum. Perhaps a shot along the wall of the building that closely suggests a side profile of a head.
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beginning page 176 "Mason is chargin'd to find set in a low Wall" and page 177 beginning "Naive Mason. First he must endure the [show]", the text of page 175 and 177 explaining the origin of the ear is conveyed in Nick Mournival's "show" (Nick Mournival cast as Danny Devito)
Scene 15 The Entrance To The Ear: A silent physical comedy scene is portrayed here where Mason sees the sign, has some expression on his face of "seriously, shit isn't weird enough today right?" (think Doc in the Inherent Vice movie). The camera shows a shot of the wall centered on the gnomelike entrance to the museum. You see Mason's legs walk into the frame, stop, shift, then Mason stoops down into the shot to look at the door. Mason then gets up and tries to hop up and peek over the wall. An overgrown garden is shown. While this is happening Nick Mournival begins his "show" as a voice over to the scene. This conveys the origin of the ear on (page 175 and page 177) to the audience as an audio over the (technically preceding in the text) physical comedy scene with Mason. Mason is strangely compelled to climb through the gnomedoor down the rabbit hole into the cave. The last shot of Mason from outside perhaps portrays the building as a head protruding from the island, the tunnel then the ear canal (or...?).
Nick Mournival ends his explanation of Jenkin's Ear with the description of Jenkin's governship of St. Helena. Mason through the darkness of the tunnel sees the portrait of Jenkin's revealed by a lit candle (on the bottom of page 177) . A slight re-arrangement of dialogue is done here so this sequence ends with Nick Mournival saying "Think of it as the closest thing you're apt to see to Helen's Face, and for one Pistole 'tis a Bargain" (page 176). Mason replies "Bit steep, isn't it? Where, ehm, are you, by the way... the Echo in here, --"
*Nick Mournival is revealed in a quasi-jumpscare*
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page 177 beginning "in the straight and increasingly malodorous space where they crouch" continuing to 180 "may you fare better in the life you resume, than ever did I in the one I abandon'd"
Scene 16 The Ear: the scene continues pretty much as it is written from here with the slight change that Nick Mournival directly prompts/threatens Mason to use the Chronoscope. Nick Mournival is established from being dressed extremely finely as some kind of rich CEO (that basically owns this island thousands of miles from any exterior help) that for some terrifying reason is now banished? to live under the earth caretaking for a supernatural ear... This scene is trippy and terrifying with the ear portrayed like a campy horror movie radioactive specimen. Nick Mournival is shown, like Maskelyne to be unhinged and ready to kill Mason.
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page 180 beginning "Having squirm'd past the last obstacle" continuing to "then Rain, salt from the Leagues of Vacant Ocean"
Scene 17 Mason Stumbles Into The Overgrown Courtyard: Mason stumbles out, Nick Mournival's song shut to silence as the door closes behind him. The camera hangs overhead looking down at the courtyard, Mason stumbles into the center of it, voices from all over the island can be heard as the camera rotates parallel with Mason as he begins "like a Dog, to explore the Walls, proceeding about the stone Perimeter. Bright green Vines with red trumpet-shap'd Flowers brighter indeed than the Day really allows". If the camera did not rotate with Mason, Mason would be proceeding like the hand of a clock from the camera's perspective above. The camera begins to rise over Mason, still looking straight down, the walls of the courtyard impossibly elongating like the tube of a telescope in a Dolly Zoom effect as another rainstorm breaks out echoing the one in the beginning of this movie.
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page 181 beginning "Are you suggesting there's some other reason for his long Sojurn there" continuing to end of chapter
Scene 18 On The Ship Home To England: It is established that time has passed and that Mason & Dixon are together on a ship back to England. During their conversation Mason stares down into his beer, the camera adopts his point of view looking down into a square beer glass (in a compositional echo of the courtyard shot in Scene 17). The shot shifts to Maskelyne to doing the same thing in his astronomy hut while the dialogue continues on between Mason & Dixon. Maskelyne is again drunk and looks up at the stars seeing double (from being drunk). Here is interjected Mason or Dixon quoting James Bradley's paper to the Royal Society that announced the Abberation Of Light Bradley discovered years earlier on St. Helena (that Maskelyne is in the shadow of) in a fashion like a famous quote not recited to inform but to repeat a well-worn mantra. The scene the continues on to the end of the chapter as written with the promise that Mason & Dixon will go on to survey the U.S. (the rest of the movie :P).
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Description Of James Bradley's discovery of the aberration of light
> While sailing the Thames, he noticed how a vane atop the mast changed direction as the boat turned, despite the fact that the wind remained blowing in the same direction. Bradley suggested that analogously, the apparent shift in the position observed in the stars was a result of of a combination of the transmission of light at a finite speed from the star and the annual movement of the Earth around the Sun. This is what is known as the aberration of light. The letter from Bradley to Halley referencing this phenomenon was read to the Royal Society in January 1729.
https://adsabs.harvard.edu/full/2010JAHH...13..149B

This is the best tl;dr I could make, original reduced by 94%. (I'm a bot)

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Can someone help me onto how am I going to print latitude and longitude of GPS in serial monitor on arduino IDE? Thank you!

Hello all! I recently got into night vision and have a question about adjusting my setup: a AN/PVS14 w/ bayonet J-arm on a RHINO II mount. My issue is that the monocular never sits in front of my eye, always to the side or below it. If I rotate the arm to the correct longitude, I cant raise the mount latitude up far enough to reach my eye (sitting underneath it), and if I raise the mount to the correct latitude, the arm can't rotate to the correct longitude (sitting beside my eye). Any help with this issue would be much appreciated!