Month: October 2016

Cool Surface Grinding Stainless Steel photos

Cool Surface Grinding Stainless Steel photos

Klarm Machining

Verify out these surface grinding stainless steel images:

Mars: The place of the target dubbed Cody (sol 1108)

Image by PaulH51
six overlapping correct mast camera images of the ground directly in front of the rover, assembled into a straightforward mosaic using MS ICE.

The ground attributes numerous contact science targets, but I have only managed to identify a single of them so far… ‘Cody’, which was cleaned the following sol with the dust removal tool (DRT). Cody was also topic to information acquisition making use of the alpha particle x-ray spectrometer (APXS) ‘before and after’ being brushed with the stainless steel DRT.

I have circled the place of ‘Cody’ based on the engineering photos that captured the progress and accuracy of the speak to science. We can anticipate some full size photos of the cleaned surface of Cody to be downlinked soon.

2003-2006_brunswick centre_maquette for water function_artist Susanna Heron copyright

Image by Susanna Heron
Photograph of the Artist’s model for central space at the Brunswick Centre . Element of the Art Plan 2004
www.susannaheron.com/

Brunswick Centre ‘Aqua/duct ‘ is the result of function by the artist Susanna Heron in collaboration with Levitt Bernstein Associates Architects.
The introduction of water to the Brunswick Centre by artist Susanna Heron was an integral portion of the refurbishment in 2006 and a requirement of the 106 Agreement which was a situation of Planning with Camden Council.
The Operate was created in response to the central public space and acts as a structural backbone or a connecting ‘hinge’ between the shops and flights of flats on either side. A series of stainless steel troughs mark this central spine channelling fast flowing water towards a huge pool. The longitudinal units interact with the cellular structure of the Brunswick Centre, the pacing of the troughs creates a transparency of movement for folks to move across the space and the pool marks the intersection.
The stainless steel water-troughs appear utilitarian, industrial, out-of-doors and man-made they rest under their personal weight, their surfaces unrefined. The steel is folded to decrease the need for welds creating curves effortless to lean over and a continuous structural ‘skin’ which provides it strength.
A rectangular pool is situated at the T-junction in between the Renoir Cinema and the central space. The container for the pool is low adequate to encourage men and women to sit collectively along the edges. This container is similarly angled and rests on the ground to trap the water in its frame. Circular lights set flush with the pool-base are illuminated at night appearing to float beneath the surface while by day the water draws in the sky.

www.susannaheron.com/
www.linkedin.com/pub/susanna-heron/23/274/a80
www.levittbernstein.co.uk/public.getfile.cfm?variety=pdf&ampamp…
www.levittbernstein.co.uk/
en.wikipedia.org/wiki/Brunswick_Centre
Civic Trust Award 2008
Regeneration and Renewal Awards 2007: Very best Heritage -led Project
British Council of Shopping Centres: Gold Award 2007
Allied London Properties
Bloomsbury
en.wikipedia.org/wiki/Brunswick_Centre

Steven F. Udvar-Hazy Center: Dornier Do 335A-1 Pfeil (Arrow)

Steven F. Udvar-Hazy Center: Dornier Do 335A-1 Pfeil (Arrow)

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Steven F. Udvar-Hazy Center: Dornier Do 335A-1 Pfeil (Arrow)

Image by Chris Devers
Quoting Smithsonian National Air and Space Museum | Dornier Do 335 A- Pfeil (Arrow):

The Do-335 was 1 of a modest group of aircraft marking the pinnacle of international piston-engined development. It was the fastest production piston-engined fighter ever built, attaining 846 kilometers per hour (474 mph) in level flight at a time when the official planet speed record was 755 kph (469 mph). Powered by two 1800-hp engines in a exclusive low-drag configuration and weighing 9600 kg (21,000 lb) loaded, it was an exceptional heavy fighter. This quite innovative design and style also featured an ejection seat, for pilot security, and a jettisoning fin.

The unconventional layout of the Do-335 — a single engine &quotpulling&quot in the nose and another &quotpushing&quot in the tail – was patented by Claudius Dornier in 1937. The configuration offered the power of two engines, but with decreased drag and better maneuverability. The German Aviation Ministry (RLM) was interested in the design, but initially wanted Dornier only to generate bombers. By 1942, Dornier was nevertheless continuing design and style function and the war circumstance was worsening. The Luftwaffe now needed a multi-purpose fighter, and the prototype Do-335V-1 (&quotV&quot indicating &quotversuchs&quot or &quotexperimental&quot) flew in fighter kind in September, 1943 – six years after its conception. Orders had been quickly placed for 14 prototypes, 10 A- preproduction aircraft, 11 production A-1 single-seaters, and 3 A-ten and A-12 two-seat trainers.

The aircraft was really big for a single-seat fighter, with a cruciform tail and a tricycle landing gear. The two massive liquid-cooled Daimler-Benz DB-603 engines have been utilised in 4 different versions, every displacing 44.5 liters (2670 cu in) and weighing 910 kg (2006 lb). The engine developed 1750 hp from 12 cylinders in an inverted V layout making use of fuel injection and an 8.three:1 compression ratio. The rear 3-bladed propeller and dorsal fin were jettisoned by explosive bolts in an emergency, to let the pilot to bail out safely using a pneumatic ejection seat. The seat, inclined 13 degrees to the rear, was ejected with a force of 20 instances gravity. The ventral fin could be jettisoned for a belly landing.

Unlike a regular twin-engined aircraft, with wing-mounted engines, loss of an engine on the Do-335 did not result in a handling issue. Even with one particular engine out, speed was a respectable 621 kph (348 mph). Due to the fact of its look, pilots dubbed it the &quotAnt eater&quot (&quotAmeisenbar&quot), though they described its performance as exceptional, particularly in acceleration and turning radius. The Do-335 was really docile in flight and had no unsafe spin qualities. Many Do-335 prototypes had been built, as the Reich strained desperately to supply day and night fighters and quick reconnaissance aircraft to the failing war work. 1 of the several RLM production plans, issued in December 1943, called for the production of 310 Do-335s by late 1945. Initial production was at the Dornier Manuel plant, but this factory was bombed heavily in March-April, 1944, and the Do-335 tooling was destroyed.

Ten Do-335A- preproduction aircraft have been then produced at Dornier’s Oberpfaffenhofen plant in July-October 1944, by which time the Allied bombing campaign was delaying arrivals of engines, propellers, radios, and structural subcomponents. This had a serious effect, since the Do-335 was not a simple aircraft: installation of the electronics alone took 60 hours of assembly, and the electrical parts list was 112 pages long. Production of Daimler-Benz engines, for example, was switched to factories set up in underground salt mines and gypsum mines, but high humidity caused corrosion issues and production dropped 40 %. Even though numerous preproduction aircraft have been issued to combat conversion units some 10 months prior to the war ended, no Do-335s in fact entered combat. Deliveries started to the 1st Experimental Squadron of the Commander-in-Chief of the Luftwaffe ( I/Versuchsverband Ob.d.L.) in late July 1944 for operational trials.

The very first of the Do-335A-1 production version left the Dornier line at Friedrichshafen early in 1945, a single of only four developed in 1945. It was armed with 1 30 mm MK-103 cannon (70 rounds had been carried) firing via the propeller hub and two 15 mm MG-151/15 cannon (200 rounds per gun) firing from the leading of the forward engine. Even with the fighter predicament as desperate as it was, these aircraft were nonetheless equipped to carry 500 kg (1100 lb) of bombs internally. Further operational testing, which includes use of air-to-ground guided missiles, began in Spring 1945 with Trials Unit (Erprobungskommando) 335.

The Do-335A-6 was to be a two-seat evening fighter version with the sophisticated FFO FuG-217J Neptun radar getting triple &quottrident&quot-like antennas (hence the name &quotNeptun&quot) on the fuselage and wings, but only a prototype was completed. A total of 37 prototypes, 10 A-0s, 11 A-1s and 2 A-12 trainers had been built, even though nearly 85 additional aircraft have been in assembly when U.S. troops overran the Friedrichshafen factory in late April, 1945. The Vienna-Swechat plant of the Ernst Heinkel AG was also scheduled to build the Do-335 starting in February, 1945, but production never ever started.

The NASM aircraft is the second Do-335A-, designated A-02, with building number (werke nummer) 240102 and factory registration VG+PH. It was constructed at Dornier’s Rechlin-Oberpfaffenhofen, Germany, plant on April 16, 1945. It was captured by Allied forces at the plant on April 22, 1945. Soon after checkout, it was flown from a grass runway at Oberweisenfeld, close to Munich, to Cherbourg, France. For the duration of this flight, the Do-335 easily outclimbed and outdistanced two escorting P-51s, beating them to Cherbourg by 45 minutes. Below the U.S. Army Air Force’s &quotProject Sea Horse,&quot two Do-335s had been shipped to the United States aboard the Royal Navy ship HMS &quotReaper&quot together with other captured German aircraft, for detailed evaluation. This aircraft was assigned to the U.S. Navy, which tested it at the Test and Evaluation Center, Patuxent River Naval Air Station, Maryland. The other aircraft, with registration FE-1012 (later T2-1012), went to the USAAF at Freeman Field, Indiana, where it was tested in early 1946. Its subsequent fate is unknown, and this is the only Do-335 recognized to exist.

Following Navy flight tests in 1945-48, the aircraft was donated to the Smithsonian’s National Air Museum in 1961 but was stored at NAS Norfolk till 1974. It was then returned to Oberpfaffenhofen, Germany, exactly where the Dornier firm restored it to original condition in 1975. The return trip to Germany necessary an exemption beneath U.S. laws concerning the export of munitions. The Dornier craftsmen carrying out the restoration – a lot of of whom had worked on the original aircraft — were astonished to find that the explosive charges fitted to blow off the tail fin and rear propeller in an emergency had been nevertheless in the aircraft and active, 30 years right after their original installation! The Do-335 was put on static display at the Might 1-9, 1976, Hannover Airshow, and then loaned to the Deutsches Museum in Munich, where it was on prominent display till returned to Silver Hill, MD, for storage in 1986.

Nation of Origin:
Germany

Physical Description:
Twin engine, pusher / puller, fighter / bomber grey/green, green late Planet War II improvement.

Image from web page 365 of “The Gardeners’ chronicle : a weekly illustrated journal of horticulture and allied subjects” (1874)

Image by World wide web Archive Book Images
Identifier: gardenerschronic13lond
Title: The Gardeners’ chronicle : a weekly illustrated journal of horticulture and allied subjects
Year: 1874 (1870s)
Authors:
Subjects: Ornamental horticulture Horticulture Plants, Ornamental Gardening
Publisher: London : [Gardeners Chronicle]
Contributing Library: UMass Amherst Libraries
Digitizing Sponsor: Boston Library Consortium Member Libraries

View Book Web page: Book Viewer
About This Book: Catalog Entry
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Click right here to view book online to see this illustration in context in a browseable on the web version of this book.

Text Appearing Prior to Image:
rs can choose Jrom upwards (7/500 Machines of Hand, Pony, and Horse Power, and liave their Orders executed the identical day they are received. The above Machines are Warranted to give complete Satisfaction, otherwise thsy could be returned AT After, tree of price to the Purchaser, isj 3 These who have Lawn Mowers which need repairing should send them to eitlier our Leeds or London Establishment, exactly where they will have prompt attention, as an Efficient Employees of Workmen is kept at each areas. GREENS PATENT ROLLERS FOR LAWNS, DRIVES, BOWLING GREENS, CRICKET FIELDS,AND GRAVEL PATHS, SULTABLE FOR HAND OR HORSE Energy. These Rollers are produced in Two Components, and are totally free in revolving on the axis, which affords higher facility forturning. The outer edges are rounded off, or turned inwards, so that the unsightly marks left by other Rollersare avoided.Diam. Lengtll. £t s. d, Diam. Length. _ C s. d. 16 inches by 17 inches … … two 15 o I 24 inches by 26 inches 500 20 „ 22 „ four o o I 30 „ 32 „ 900

Text Appearing Right after Image:
Cost Diam. Length. 30 inches by 32 inches30 » 36 „ OF ROLLERS, IN TWO Components, Fitted with Shafos for Pony or Horse. 30 42 £. s. d. Diam. Length. 13 ten 30 inches by 48 inches 14 30 ), 60 „ 15 ten 30 „ 72 „ 17 o19 1022 O Weight Boxes added, and Special Quotations created for Rollers 3, three^, and feet diameter, fitted with Shafts for A single or Two Horses.Delivered, Carriage Free of charge, to the principal Railway Stations and Shipping Ports in England and Scotland. THEY CAN BE HAD OF ALL RESPECTABLE IRONMONGERS AND SEEDSMEN IN THE UNITED KINGDOM, OR DIRECT FRO.M THE Companies, GREENS PATENT STEAIVI ROAD ROLLER AND TRACTION ENGINE COMBINED. Appropriate for Rolling Carriage Drives, Parks, Roads, Walks, &ampc., and for Rolling Lawns, Cricket Flats, Parks, &ampc.. And ivhich caii also be tised as a Stationary Engine for Wood Sazoing, Stone Breaking, Pumping, Farm Purposes, and other various perform. PARTICULARS AND ESTIMATES ON APPLICATION TO THOMAS GREEN k SON, Smithfieid Ironworks, Leeds

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Steven F. Udvar-Hazy Center: Space Shuttle Enterprise (port hatchway open)

Image by Chris Devers
See a lot more pictures of this, and the Wikipedia report.

Particulars, quoting from Smithsonian National Air and Space Museum | Space Shuttle Enterprise:

Manufacturer:
Rockwell International Corporation

Nation of Origin:
United States of America

Dimensions:
Overall: 57 ft. tall x 122 ft. extended x 78 ft. wing span, 150,000 lb.
(1737.36 x 3718.57 x 2377.44cm, 68039.6kg)

Materials:
Aluminum airframe and body with some fiberglass characteristics payload bay doors are graphite epoxy composite thermal tiles are simulated (polyurethane foam) except for test samples of actual tiles and thermal blankets.

The very first Space Shuttle orbiter, &quotEnterprise,&quot is a complete-scale test car employed for flights in the atmosphere and tests on the ground it is not equipped for spaceflight. Even though the airframe and flight handle components are like those of the Shuttles flown in space, this vehicle has no propulsion system and only simulated thermal tiles due to the fact these attributes had been not required for atmospheric and ground tests. &quotEnterprise&quot was rolled out at Rockwell International’s assembly facility in Palmdale, California, in 1976. In 1977, it entered service for a nine-month-extended method-and-landing test flight program. Thereafter it was used for vibration tests and fit checks at NASA centers, and it also appeared in the 1983 Paris Air Show and the 1984 World’s Fair in New Orleans. In 1985, NASA transferred &quotEnterprise&quot to the Smithsonian Institution’s National Air and Space Museum.

Transferred from National Aeronautics and Space Administration

• • •

Quoting from Wikipedia | Space Shuttle Enterprise:

The Space Shuttle Enterprise (NASA Orbiter Vehicle Designation: OV-101) was the 1st Space Shuttle orbiter. It was built for NASA as portion of the Space Shuttle plan to perform test flights in the atmosphere. It was constructed without having engines or a functional heat shield, and was therefore not capable of spaceflight.

Initially, Enterprise had been intended to be refitted for orbital flight, which would have made it the second space shuttle to fly following Columbia. Nonetheless, in the course of the building of Columbia, details of the final style changed, especially with regard to the weight of the fuselage and wings. Refitting Enterprise for spaceflight would have involved dismantling the orbiter and returning the sections to subcontractors across the country. As this was an expensive proposition, it was determined to be significantly less costly to develop Challenger about a body frame (STA-099) that had been produced as a test post. Similarly, Enterprise was regarded as for refit to replace Challenger after the latter was destroyed, but Endeavour was built from structural spares alternatively.

Service

Construction started on the 1st orbiter on June four, 1974. Designated OV-101, it was initially planned to be named Constitution and unveiled on Constitution Day, September 17, 1976. A create-in campaign by Trekkies to President Gerald Ford asked that the orbiter be named soon after the Starship Enterprise, featured on the tv show Star Trek. Although Ford did not mention the campaign, the president—who throughout World War II had served on the aircraft carrier USS&nbspMonterey&nbsp(CVL-26) that served with USS&nbspEnterprise&nbsp(CV-six)—said that he was &quotpartial to the name&quot and overrode NASA officials.

The style of OV-101 was not the identical as that planned for OV-102, the initial flight model the tail was constructed differently, and it did not have the interfaces to mount OMS pods. A big number of subsystems—ranging from major engines to radar equipment—were not installed on this vehicle, but the capacity to add them in the future was retained. Instead of a thermal protection technique, its surface was primarily fiberglass.

In mid-1976, the orbiter was used for ground vibration tests, permitting engineers to evaluate data from an actual flight automobile with theoretical models.

On September 17, 1976, Enterprise was rolled out of Rockwell’s plant at Palmdale, California. In recognition of its fictional namesake, Star Trek creator Gene Roddenberry and most of the principal cast of the original series of Star Trek were on hand at the dedication ceremony.

Approach and landing tests (ALT)

Major write-up: Strategy and Landing Tests

On January 31, 1977, it was taken by road to Dryden Flight Analysis Center at Edwards Air Force Base, to commence operational testing.

Whilst at NASA Dryden, Enterprise was employed by NASA for a selection of ground and flight tests intended to validate elements of the shuttle plan. The initial nine-month testing period was referred to by the acronym ALT, for &quotApproach and Landing Test&quot. These tests included a maiden &quotflight&quot on February 18, 1977 atop a Boeing 747 Shuttle Carrier Aircraft (SCA) to measure structural loads and ground handling and braking traits of the mated method. Ground tests of all orbiter subsystems had been carried out to confirm functionality prior to atmospheric flight.

The mated Enterprise/SCA mixture was then subjected to five test flights with Enterprise unmanned and unactivated. The objective of these test flights was to measure the flight traits of the mated mixture. These tests were followed with three test flights with Enterprise manned to test the shuttle flight handle systems.

Enterprise underwent five free flights exactly where the craft separated from the SCA and was landed beneath astronaut manage. These tests verified the flight traits of the orbiter design and style and have been carried out below numerous aerodynamic and weight configurations. On the fifth and final glider flight, pilot-induced oscillation issues had been revealed, which had to be addressed before the very first orbital launch occurred.

On August 12, 1977, the space shuttle Enterprise flew on its personal for the first time.

Preparation for STS-1

Following the ALT program, Enterprise was ferried amongst many NASA facilities to configure the craft for vibration testing. In June 1979, it was mated with an external tank and solid rocket boosters (identified as a boilerplate configuration) and tested in a launch configuration at Kennedy Space Center Launch Pad 39A.

Retirement

With the completion of essential testing, Enterprise was partially disassembled to permit particular elements to be reused in other shuttles, then underwent an international tour visiting France, Germany, Italy, the United Kingdom, Canada, and the U.S. states of California, Alabama, and Louisiana (during the 1984 Louisiana World Exposition). It was also utilised to match-verify the in no way-utilised shuttle launch pad at Vandenberg AFB, California. Finally, on November 18, 1985, Enterprise was ferried to Washington, D.C., where it became property of the Smithsonian Institution.

Post-Challenger

Right after the Challenger disaster, NASA considered using Enterprise as a replacement. However refitting the shuttle with all of the required gear necessary for it to be utilized in space was deemed, but as an alternative it was decided to use spares constructed at the exact same time as Discovery and Atlantis to build Endeavour.

Post-Columbia

In 2003, soon after the breakup of Columbia during re-entry, the Columbia Accident Investigation Board carried out tests at Southwest Analysis Institute, which employed an air gun to shoot foam blocks of related size, mass and speed to that which struck Columbia at a test structure which mechanically replicated the orbiter wing top edge. They removed a fiberglass panel from Enterprise’s wing to carry out analysis of the material and attached it to the test structure, then shot a foam block at it. Although the panel was not broken as a result of the test, the effect was sufficient to permanently deform a seal. As the reinforced carbon-carbon (RCC) panel on Columbia was two.five occasions weaker, this recommended that the RCC leading edge would have been shattered. Further tests on the fiberglass had been canceled in order not to risk damaging the test apparatus, and a panel from Discovery was tested to determine the effects of the foam on a similarly-aged RCC major edge. On July 7, 2003, a foam impact test produced a hole 41&nbspcm by 42.five&nbspcm (16.1&nbspinches by 16.7&nbspinches) in the protective RCC panel. The tests clearly demonstrated that a foam influence of the type Columbia sustained could seriously breach the protective RCC panels on the wing top edge.

The board determined that the probable cause of the accident was that the foam impact brought on a breach of a reinforced carbon-carbon panel along the major edge of Columbia’s left wing, allowing hot gases generated for the duration of re-entry to enter the wing and lead to structural collapse. This brought on Columbia to spin out of control, breaking up with the loss of the whole crew.

Museum exhibit

Enterprise was stored at the Smithsonian’s hangar at Washington Dulles International Airport ahead of it was restored and moved to the newly constructed Smithsonian’s National Air and Space Museum‘s Steven F. Udvar-Hazy Center at Dulles International Airport, exactly where it has been the centerpiece of the space collection. On April 12, 2011, NASA announced that Space Shuttle Discovery, the most traveled orbiter in the fleet, will be added to the collection once the Shuttle fleet is retired. When that occurs, Enterprise will be moved to the Intrepid Sea-Air-Space Museum in New York City, to a newly constructed hangar adjacent to the museum. In preparation for the anticipated relocation, engineers evaluated the vehicle in early 2010 and determined that it was safe to fly on the Shuttle Carrier Aircraft as soon as once again.

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Storytellin’

Image by Viewminder
I gotta admit that I truly take pleasure in meetin’ folks and sharin’ excellent stories with them.

Great story tellers often appreciate every single others firm.

I consider I was born to be a sailor.

Because I enjoy the water and sailor’s inform the best stories.

Long hours of tediousness and boredom at sea punctuated by brief periods of indescribable terror and panic develop the ideal atmosphere for telling stories.

Not only that… but in all of that monotony sailors themselves since time started have sat about in circles and passed the ‘story torch.’

I do it on the street all the time.

It usually goes like this…

I meet a person and they inform an interesting story that I appreciate hearing.

Does not matter if the story is great most of the time…

a good story teller is an artist that can render any tale exciting and pull you appropriate into it.

The thing is… and this is constantly true…

a person who tells a great story appreciates hearing one back.

It is almost an unwritten rule and numerous a time I’ve listened to a guy finish tellin’ a story and then he looks at me like ‘alright… what do you got?’

I’ve dug hearing wonderful stories since I was a kid and my grandfather told me all sorts of stories about Planet War Two in the Pacific.

I couldn’t get adequate of those stories and everytime I saw him it was the very first thing I asked him…

‘tell me one more story grampa.’

I utilized to sit there and visualize the stories he told.

I’d really ‘see’ what he was speaking about in my thoughts and in my memories I can nevertheless ‘see’ his stories today.

I remember the way the sun glinted off the wings of the Japanese Zero Fighter that turned into his position and began firing it is machine guns at him and his buddies…

the muzzle flashes of the guns in the wings of that plane and the seconds later sound of spent brass bullet cartridges hitting the ground with a ‘tinging’ noise.

I could ‘smell’ the sweat of fear as he jumped into a foxhole and stated a few words to God as that plane flew overhead.

Shit like that tends to make a very good story and as Irish as my grandfather was the stories usually improved with a small bit of whiskey so as I grew older and encouraged him to drink more the very same stories just kept obtaining better and better.

They got even greater when he encouraged me to take a handful of sips of the whiskey.

‘How did you Feel when that plane pointed right at you and started shooting’ I asked him when.

Man I actually miss that man and his stories.

I want I’d have recorded them all.

He gave me that and those had been the ideal memories of my childhood.

Stories have gotten me into difficulty and stories have gotten me out of it.

I’d just gotten kicked out of Japan for stabbin’ a guy with a broken beer bottle.

Never be concerned…

I’m not a violent thug…

the dude broke into my residence wearing a mask and I woke up none as well sober following a excellent night at The Pig and The Whistle bar in Osaka.

It was kinda weird because I woke up punching some stranger in the face right over my futon.

He was wearing what looked like a white pillow case with eye holes reduce into it and I’d broken his nose by the time I ‘really’ woke up so my very first recollection of the complete issue was hunting at my proper fist about to hit the guy’s face once more and all kindsa blood on his mask.

I was confused as shit.

‘What was I performing… and who’s face was I pummeling’ I wondered as I took another punch.

‘Why am I doing this’ I asked myself.

I knew I must’ve had a genuinely good purpose even though.

I was actually hoping it wasn’t my roommate playing some sort of a joke.

Which was confirmed when he came around screaming behind me.

He was kinda confused too.

In that split second exactly where I stopped attempting to kill the guy and ask my roommate what the fuck was going on the guy took expert benefit of that distraction and proceeded to try to kill me.

I had no notion what the hell was going on but fairly basically place the guy was attempting to kill me so I figured that if I could stay away from that that maybe I could figure it all out later.

I didn’t know what to do.

I did not actually wanna kill the guy…

I was just tryin’ to get some sleep right after all of these Asahi’s and now appear what I gotta deal with.

Well…

for some purpose I just wanted to throw the guy outta my residence.

Seemed intelligent at the time.

Effectively believed out.

A great strategy even.

The thought of holding him ’til the police came by no means even entered my thoughts.

Possibly since we did not have a phone and I wouldn’t know how to contact the cops in Japan anyway.

I do not even bear in mind how I got the empty Asahi bottle in my hand or how it got broken like that.

I mighta taken it away from him.

My roommate was no support at all…

he was screamin’ like a small girl who just saw a nasty spider and the shock of the entire point just rendered him incapacitated as all get out.

I can realize his gettin’ freaked out.

As crazy as it is wakin’ up findin’ your self tryin’ to kill a guy it really is prolly crazier to wake up watchin’ your roommate tryin’ to kill some masked guy in your property.

Busy as I was tryin’ to kill the guy I didn’t have the luxury of freakin’ out.

Somehow with the jagged beer bottle in my proper hand and the dude with a broken nose in a headlock in my left arm I got to the front door… perhaps he’d left it open when he broke in simply because I never know how I could even have opened it with my hands full of hell like that.

And I know my roommate did not open it.

By this time he’d gone fetal on the floor.

Occasionally I wonder about my reactions that evening.

I didn’t believe about callin’ the police till it was all more than.

Instinct told me that life would be a lot much better if the guy who was tryin’ to kill me wasn’t in my property any longer.

It all occurred so quick.

When I threw him out the door somehow I pulled the guys mask off.

I felt like I hadda see his face.

When I did that he turned back on me in this rage that I’d in no way observed in a person just before.

He was goin’ for me difficult and I just sort of without much considering stabbed him in the stomach with the jagged beer bottle.

I had never ever stabbed any individual prior to and appropriate right after I did it I was tellin’ myself ‘dude… you just stabbed a guy.’

Sort of a weird point to consider.

I guess I believed perhaps he’d just die then.

I don’t know… I in no way killed a guy with a broken beer bottle to the gut ahead of.

The entire thing was a new experience.

I imply… I stuck him pretty good.

Shards of glass stuck in his stomach and some other shards fell onto the tile floor.

He got this genuinely shocked appear on his face for a second…

like ‘why the fuck did you just stab me asshole?’

There wasn’t time to say ‘because I woke up with you tryin’ to kill me dickhead.’

In addition to… I didn’t know how to say that in japanese.

As an alternative he recovered from his initial shock and came at me again.

I couldn’t believe this guy.

And my freakin’ out area mate is freakin’ out even much more ’cause now I just stabbed the guy.

It wasn’t like I was left with a complete lotta options man.

The complete scenario was a lot to deal with and I was beginning to get pissed off.

I was woken up adequate by that time that I ultimately decided to kill the guy with my bare hands.

I’d had adequate of this shit you know?

Didja ever just try to get some sleep and all of the sudden you gotta kill a guy?

A guy who appears hell bent on killin’ you?

I wasn’t angry or mad or filled with hatred… I just wanted some peace in my life and this guy’s fully going apeshit on me and we look to have differing agendas on how the evening need to end.

And I still never know what the complete thing’s all about.

We fought there in the hallway in front of the front door…

It was comedic really in a way when I believe back on it…

there was so much blood on the floor and I am barefoot in my underwear tryin’ to kill the guy but I can’t hold from slipping in the blood.

Could not keep on my feet for all the cash in the world.

Neither could he.

We ended up wrestling on the floor.

Blood on porcelain tile is truly slippery.

I feel losin’ as considerably blood as he did just took the fight out of him.

The last couple of throws from either of us had been weak and exasperating.

I don’t know what told me to let him go but I did.

Anything just told me it was all over.

He stumbled down the hallway and I went back inside.

The hallway was a bloody mess.

It was blood all more than the floor… bloody smeared handprints on the wall…

I sat down on my futon and tried to figure out if any of the blood that covered me was mine.

Did a tiny examination of all my extremities and such.

Nothin’.

A couple of cuts on my feet possibly from walking on the broken glass.

Now is exactly where I started to get angry.

I did not ask for any of that.

I tried asking my space mate what the fuck that was all about but all he could do was talk gibberish.

He couldn’t even get the words out.

I don’t know who known as the cops and they seemed to show up pretty swiftly.

Lots of them.

Now I hadda deal with that shit as well.

I couldn’t even get dressed and go wash the blood off.

They would not let me.

Because they were as well busy taking photographs of me and the blood I was wearing.

The 1st issue the cops asked when they got there and saw the bloody mess in the hallway was ‘where is the physique.’

Come on man.

Some dude just broke into my residence for factors unknown in a mask and tried to kill me and freaked the shit out of my roommate.

And now I gotta be interrogated?

I actually just wanted to take a shower and go back to sleep.

I knew sufficient japanese to score with the ladies but I had no idea how to talk to these guys.

It was crazy mojo all the way about…

and I told them what occurred but they kept treating me like the criminal right here.

Which it turned out they presumed me to be.

Due to the fact I stabbed the guy Outdoors of my house.

And I told them that.

Awwwwww fuck.

It is funny how items go that way.

It all made ideal sense at the time.

I did not believe… ‘don’t stab the guy since he’s outside of your property and it is a whole distinct ballgame if you kill him there versus killin’ him in your bedroom according to the law.’

But it was.

That is where I learned it’s usually far better to get in touch with your lawyer prior to you contact the police.

Lawyers are far better at making up stories in the middle of the night than you or I will ever be.

Not that I thought I necessary a story…

it seemed fairly clear what had occurred.

But the ‘lack of a body’ seemed to get everybody upset.

After lots and lots of interrogation I was just advised by the police the next morning that everything would be much better if I just left Japan proper away.

Like now.

Just before I was charged with something like murder.

If they located that guy’s physique.

So I quickly packed up my backpack and decided to take their guidance.

I cleaned up… shared a coffee with the roomie who could talk now and told him I’d hold in touch.

The very best way out I’d figured was the Port of Osaka.

There’s all types of ships comin’ in and out and I knew I could hitch a ride with a single.

Sailors don’t ask also a lot of concerns.

Australia was soundin’ good and I’d told my space mate that prior to I left.

‘I’ll send you a postcard’ I told him.

I couldn’t discover a ship headed to Australia that day… but there was 1 heading to Shanghai and that was like half way according to my map.

I figured I’d hafta try and jump yet another ship right there in Shanghai.

I’d consider about all that when I got there.

When I approached the ship I asked one of the crew memebers if I may well be capable to difficulty them for a ride to Shanghai.

‘Whaddaya got’ of of the sailors mentioned… starting the negotiations over how significantly the fare was gonna cost me.

‘I’m a great story teller’ I mentioned.

Nature morte (Fernand Léger, 1938)

Image by pedrosimoes7
CAM Collection, Calouste Gulbenkian Foundation, Lisbon, Portugal

Oil on Canvas
Inv. PE 127

From Wikipedia

Joseph Fernand Henri Léger (French: [leʒe] February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early functions he developed a individual form of cubism which he gradually modified into a a lot more figurative, populist style. His boldly simplified remedy of modern day subject matter has caused him to be regarded as a forerunner of pop art.

Biography

Léger was born in Argentan, Orne, Decrease Normandy, exactly where his father raised cattle. Fernand Léger initially educated as an architect from 1897 to 1899, just before moving in 1900 to Paris, exactly where he supported himself as an architectural draftsman. Right after military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts following his application to the École des Beaux-Arts was rejected. He nonetheless attended the Beaux-Arts as a non-enrolled student, spending what he described as &quotthree empty and useless years&quot studying with Gérôme and other individuals, while also studying at the Académie Julian.[1] He started to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother’s Garden) of 1905, 1 of the handful of paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger’s operate right after he saw the Cézanne retrospective at the Salon d’Automne in 1907.[two]

1909–1914

A painting of smokers
Les Fumeurs (The Smokers), 1911-12, oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York
A painting of a woman in blue
La Femme en Bleu (Woman in Blue), 1912, oil on canvas, 193 x 129.9 cm (76 x 51 1/eight inches), Kunstmuseum Basel. Exhibited at the 1912 Salon d’Automne, Paris
Painting of a nude
Nude Model in the Studio (Le modèle nu dans l’atelier), 1912-13, oil on burlap, 128.6 x 95.9 cm, Solomon R. Guggenheim Museum, New York
In 1909 he moved to Montparnasse and met such leaders of the avant-garde as Archipenko, Lipchitz, Chagall, Joseph Csaky and Robert Delaunay. His significant painting of this period is Nudes in the Forest (1909–10), in which Léger displays a personal form of Cubism that his critics termed &quotTubism&quot for its emphasis on cylindrical forms.[three]

In 1910 he exhibited at the Salon d’Automne in the identical area (salle VIII) with Jean Metzinger and Henri Le Fauconnier. In 1911 the hanging committee of the Salon des Indépendants placed together the painters that would quickly be identified as ‘Cubists’. Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger were accountable for revealing Cubism to the basic public for the initial time as an organized group.

The following year he once more exhibited at the Salon d’Automne and Indépendants with the Cubists, and joined with many artists, which includes Henri Le Fauconnier, Jean Metzinger, Albert Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also known as the Section d’Or (The Golden Section).

Léger’s paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as noticed in the series of paintings with the title Contrasting Types. Léger created no use of the collage method pioneered by Braque and Picasso.[4]

1914–1920

Dans L’Usine, 1918, oil on canvas, 56 x 38 cm (22 x 15 in)

The City, 1919, oil on canvas, The Philadelphia Museum of Art, A. E. Gallatin Collection
Léger’s experiences in World War I had a substantial effect on his operate. Mobilized in August 1914 for service in the French Army, he spent two years at the front in Argonne.[5] He developed a lot of sketches of artillery pieces, airplanes, and fellow soldiers although in the trenches, and painted Soldier with a Pipe (1916) while on furlough. In September 1916 he virtually died following a mustard gas attack by the German troops at Verdun. Throughout a period of convalescence in Villepinte he painted The Card Players (1917), a canvas whose robot-like, monstrous figures reflect the ambivalence of his knowledge of war. As he explained:

…I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of light on the white metal. That’s all it took for me to forget the abstract art of 1912–1913. The crudeness, range, humor, and downright perfection of specific guys about me, their precise sense of utilitarian reality and its application in the midst of the life-and-death drama we were in … created me want to paint in slang with all its colour and mobility.

This perform marked the starting of his &quotmechanical period&quot, for the duration of which the figures and objects he painted were characterized by sleekly rendered tubular and machine-like types. Starting in 1918, he also developed the first paintings in the Disk series, in which disks suggestive of targeted traffic lights figure prominently.[7] In December 1919 he married Jeanne-Augustine Lohy, and in 1920 he met Le Corbusier, who would stay a lifelong friend.

1920

Still Life with a Beer Mug, 1921, oil on canvas, the Tate
The &quotmechanical&quot operates Léger painted in the 1920s, in their formal clarity as effectively as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are common of the postwar &quotreturn to order&quot in the arts, and link him to the tradition of French figurative painting represented by Poussin and Corot.[8] In his paysages animés (animated landscapes) of 1921, figures and animals exist harmoniously in landscapes created up of streamlined types. The frontal compositions, firm contours, and smoothly blended colors of these paintings frequently recall the operates of Henri Rousseau, an artist Léger greatly admired and whom he had met in 1909.

They also share traits with the perform of Le Corbusier and Amédée Ozenfant who with each other had founded Purism, a style intended as a rational, mathematically based corrective to the impulsiveness of cubism. Combining the classical with the contemporary, Léger’s Nude on a Red Background (1927) depicts a monumental, expressionless lady, machinelike in form and colour. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation. The Siphon of 1924, a still life based on an advertisement in the popular press for the aperitif Campari, represents the high-water mark of the Purist aesthetic in Léger’s perform.[9] Its balanced composition and fluted shapes suggestive of classical columns are brought together with a quasi-cinematic close-up of a hand holding a bottle.

As an enthusiast of the modern, Léger was significantly attracted to cinema, and for a time he deemed providing up painting for filmmaking.[ten] In 1923–24 he made the set for the laboratory scene in Marcel L’Herbier’s L’Inhumaine (The Inhuman A single). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger developed and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of pictures of a woman’s lips and teeth, close-up shots of ordinary objects, and repeated photos of human activities and machines in rhythmic movement.[11]

In collaboration with Amédée Ozenfant he established a totally free college exactly where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his &quotmural paintings&quot, influenced by Le Corbusier’s theories, in 1925. Intended to be incorporated into polychrome architecture, they are amongst his most abstract paintings, featuring flat regions of color that seem to advance or recede.[12]

1930s

Starting in 1927, the character of Léger’s perform steadily changed as organic and irregular types assumed greater significance.[13] The figural style that emerged in the 1930s is totally displayed in the Two Sisters of 1935, and in a number of versions of Adam and Eve.[14] With characteristic humor, he portrayed Adam in a striped bathing suit, or sporting a tattoo.

In 1931, Léger produced his 1st pay a visit to to the United States, exactly where he traveled to New York City and Chicago.[15] In 1935, the Museum of Modern Art in New York City presented an exhibition of his operate. In 1938, Léger was commissioned to decorate Nelson Rockefeller’s apartment.[16]

The War years

In the course of Globe War II Léger lived in the United States. He taught at Yale University, and located inspiration for a new series of paintings in the novel sight of industrial refuse in the landscape. The shock of juxtaposed all-natural forms and mechanical components, the &quottons of abandoned machines with flowers cropping up from within, and birds perching on leading of them&quot exemplified what he known as the &quotlaw of contrast&quot.[17] His enthusiasm for such contrasts resulted in such operates as The Tree in the Ladder of 1943–44, and Romantic Landscape of 1946. A significant perform of 1944, 3 Musicians (Museum of Modern day Art, New York), reprises a composition of 1930. A folk-like composition reminiscent of Rousseau, it exploits the law of contrasts in its realistic juxtaposition of the three males and their instruments.

Upon his return to France in 1945, he joined the Communist Party.[18] In the course of this period his perform became less abstract, and he developed numerous monumental figure compositions depicting scenes of well-liked life featuring acrobats, builders, divers, and country outings. Art historian Charlotta Kotik has written that Léger’s &quotdetermination to depict the common man, as properly as to develop for him, was a result of socialist theories widespread amongst the avant-garde each prior to and after Globe War II. Even so, Léger’s social conscience was not that of a fierce Marxist, but of a passionate humanist&quot.[19] His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume styles.

1950

Stained-glass window at the Central University of Venezuela, 1954
Following the death of his wife in 1950, Léger married Nadia Khodossevitch in 1952. In his final years he lectured in Bern, developed mosaics and stained-glass windows for the Central University of Venezuela in Caracas, Venezuela, and painted Country Outing, The Camper, and the series The Big Parade. In 1954 he started a project for a mosaic for the São Paulo Opera, which he would not live to finish. Fernand Léger died at his residence in 1955 and is buried in Gif-sur-Yvette, Essonne.

Legacy

Léger wrote in 1945 that &quotthe object in contemporary painting must become the major character and overthrow the topic. If, in turn, the human type becomes an object, it can considerably liberate possibilities for the contemporary artist.&quot He elaborated on this concept in his 1949 essay, &quotHow I Conceive the Human Figure&quot, where he wrote that &quotabstract art came as a total revelation, and then we have been capable to contemplate the human figure as a plastic worth, not as a sentimental value. That is why the human figure has remained willfully inexpressive throughout the evolution of my function&quot.[20] As the 1st painter to take as his idiom the imagery of the machine age, and to make the objects of customer society the subjects of his paintings, Léger has been known as a progenitor of Pop art.[21]

He was active as a teacher for several years. Among his pupils had been Nadir Afonso, Robert Colescott, Paul Georges, Charlotte Gilbertson, Hananiah Harari, Asger Jorn, Michael Loew, Beverly Pepper, Victor Reinganum, Marcel Mouly, George L. K. Morris, René Margotton, Erik Olson, Saloua Raouda Choucair and Charlotte Wankel.

In 1952, a pair of Léger murals was installed in the General Assembly Hall of the United Nations headquarters in New York, New York.[22]

In 1960, the Musée Fernand Léger was opened in Biot, Alpes-Maritimes, France.

In May possibly 2008, his painting, Étude pour la femme en bleu (1912-13) sold for ,241,000 (hammer price tag with buyer’s premium) United States dollars.[23]

In August 2008, a single of Léger’s paintings owned by Wellesley College’s Davis Museum and Cultural Center, Mother and Youngster, was reported missing. It is believed to have disappeared some time between April 9, 2007 and November 19, 2007. A ,000 reward is becoming provided for information that leads to the protected return of the painting.[24]

Léger’s function was featured in the exhibition &quotLéger: Modern Art and the Metropolis&quot from October 14, 2013, by way of January 5, 2014, at the Philadelphia Museum of Art.[25]

Square Weave as my new pillow

Image by Monika Hankova
I ultimately had a likelihood to appear into the final German convention book and I discovered out that it is surprisingly effortless to fold from fabric. This weekend I had some time so I tried it and I believe it all turned out quite effectively. It’s all sewed by hand since I didn’t want to wait an additional week to sew it at property where mom has a sewing machine. At least I renewed my sewing skills

The Moon. August 25th 1890

The Moon. August 25th 1890

Klarm Machining

A handful of good precision manufacturing firm photos I found:

The Moon. August 25th 1890

Image by Tyne & Put on Archives & Museums
Reference: DS.GP.1919/287

This photograph depicts the moon on the 25th of August 1890, captured employing Grubb gear at the Lick Observatory in Mount Hamilton, CA, United States.

This photograph is taken from the Grubb Parsons Ltd collection at Tyne &amp Put on Archives. The records of Grubb Parsons Ltd, Newcastle upon Tyne, England, consist of 65 linear metres (213 linear feet) of files, plans, photographs and glass plate negatives relating to this internationally renowned firm’s manufacture of precision telescopic instruments.

The original Organization was founded in the early nineteenth century by Thomas Grubb, in 1925 the firm was acquired by Sir Charles Parsons and continued to manufacture Telescopic and Astronomical instruments till 1985.

This Glass Lantern Slide is taken from a huge collection that documents the operate of Grubb Parsons Ltd at their workshop in Walkergate, Newcastle upon Tyne. It was right here that Grubb Parsons Ltd manufactured Telescopic and Astronomical gear for firms and observatories globe wide. Their equipment was created and built for use and study across the Globe, to name only a handful of of these locations Grubb Parsons Ltd supplied to the UK, Switzerland, Denmark, Egypt, South Africa, Greece, Australia, Japan, India, Hawaii, Poland, Chile, Canada, France and Spain.

(Copyright) We’re pleased for you to share these digital pictures within the spirit of The Commons. Please cite ‘Tyne &amp Wear Archives &amp Museums’ when reusing. Particular restrictions on higher top quality reproductions and industrial use of the original physical version apply though if you’re unsure please e-mail archives@twmuseums.org.uk

The Whirlpool Nebula in the Hunting Hounds

Image by Tyne & Wear Archives & Museums
Reference: DS.GP.1919/2234

This photograph shows the ‘Whirlpool’ Nebula in the Hunting Hounds, it is an example of the pictures captured by Grubb Parsons gear in the early 20th Century.

This photograph is taken from the Grubb Parsons Ltd collection at Tyne &amp Put on Archives. The records of Grubb Parsons Ltd, Newcastle upon Tyne, England, consist of 65 linear metres (213 linear feet) of files, plans, photographs and glass plate negatives relating to this internationally renowned firm’s manufacture of precision telescopic instruments.

The original Business was founded in the early nineteenth century by Thomas Grubb, in 1925 the company was acquired by Sir Charles Parsons and continued to manufacture Telescopic and Astronomical instruments until 1985.

This Glass Lantern Slide is taken from a large collection that documents the operate of Grubb Parsons Ltd at their workshop in Walkergate, Newcastle upon Tyne. It was here that Grubb Parsons Ltd manufactured Telescopic and Astronomical gear for businesses and observatories globe wide. Their equipment was made and built for use and investigation across the Globe, to name only a few of these areas Grubb Parsons Ltd supplied to the UK, Switzerland, Denmark, Egypt, South Africa, Greece, Australia, Japan, India, Hawaii, Poland, Chile, Canada, France and Spain.

(Copyright) We’re happy for you to share these digital images within the spirit of The Commons. Please cite ‘Tyne &amp Wear Archives &amp Museums’ when reusing. Particular restrictions on high top quality reproductions and commercial use of the original physical version apply though if you are unsure please email archives@twmuseums.org.uk

Pratt and Whitney Wasp Significant R-4360 corncob

Pratt and Whitney Wasp Significant R-4360 corncob

Klarm Machining

Check out these engine turning photos:

Pratt and Whitney Wasp Main R-4360 corncob

Image by wbaiv
The largest displacement and most powerful piston airplane engine ever constructed in series production. Motive energy for the original Boeing model 367 C-97, KC-97, model 377 Stratoliner, Convair B-36, until the 4 jets at the wingtips were added (ie six turning and four burning, as it was mentioned).

Wikipedia lists the following applications:

Boeing C-97 Stratofreighter, KC-97 Stratotanker, model 377 Stratocruiser
Aero Spacelines Mini Guppy, Pregnant Guppy
Boeing B-50 Superfortress
Convair B-36
Douglas C-74 Globemaster, C-124 Globemaster II
Fairchild C-119 Flying Boxcar
Goodyear F2G Corsair
Martin AM Mauler, JRM Mars, P4M Mercator
SNCASE SE-2010 Armagnac

along with prototypes such as
Boeing XB-44 Superfortress, XF8B
Convair XC-99
Curtiss XBTC
Douglas TB2D Skypirate
Fairchild C-120 Packplane
Hughes H-four Hercules (&quotSpruce Goose&quot)
Hughes XF-11
Lockheed R6V Constitution
Northrop YB-35 – flying wing
Republic XP-72
Republic XF-12 Rainbow
Vultee XA-41

That’s two single engine designs in production, four extra prototypes
2 twin engine designs, and 2 prototypes
7 4 engine styles produced, four prototypes,
1 six engine developed, 1 prototype
1 eight engine prototype
and i don’t know what a Vultee XA-41 is.
There had been about a thousand C-97 family members constructed, and hundreds in between the B-50s, B-36s, C-74 and 124, C-119, Mars, Mercator and Armagnac. So thousands of engines.

DSC_0578

Austin Healey engine

Image by Bryce Womeldurf
I’m lastly receiving around to posting final month’s Automobiles &amp Coffee event from 3 weeks back. Things got derailed a bit when, the day after attending this and an Evo meet at S&ampR Functionality (post on that to come), I woke up with a negative case of what my wife thinks was heat exhaustion. No far more two occasion weekends without carrying some water.

Anyways, on this outing to Cars &amp Coffee, I arrived 20 minutes later than final time (created a incorrect turn and had to go more than the bridge twice), and had to park outside the event, more more than towards the exotics. As a result, this time I’ve got several far more photos of the higher finish rides for you to see following the jump.

HoonArt &gt June 2011 Vehicles &amp Coffee at duPont REGISTRY

Good Grinding Surface photos

Good Grinding Surface photos

Klarm Machining

A handful of nice grinding surface pictures I discovered:

Satellite Image Shows the Snow-covered U.S. Deep Freeze

Image by NASA Goddard Photo and Video
NOAA’s GOES-East satellite offered a appear at the frigid eastern two-thirds of the U.S. on Jan. 7, 2015, that shows a blanket of northern snow, lake-effect snow from the Excellent Lakes and clouds behind the Arctic cold front.

A visible picture captured at 1600 UTC (11 a.m. EST) showed the effects of the most current Arctic outbreak. The cold front that brought the Arctic air has moved as far south as Florida, and stretches back over the Gulf of Mexico and just west of Texas today. The image shows clouds behind the frontal boundary stretching from the Carolinas west more than the Heartland. Farther north, a wide band of fallen snow covers the ground from New England west to Montana, with rivers appearing like veins. The GOES-East satellite image also shows wind-whipped lake-impact snows off the Wonderful Lakes, blowing to the southeast. Meanwhile, Florida, the nation’s warm spot appeared virtually cloud-totally free.

To produce the image, NASA/NOAA’s GOES Project employed cloud data from NOAA’s GOES-East satellite and overlaid it on a correct-colour image of land and ocean produced by data from the Moderate Resolution Imaging Spectroradiometer, or MODIS, instrument that flies aboard NASA’s Aqua and Terra satellites. Collectively, those information developed the whole picture of the Arctic outbreak.

The forecast from NOAA’s National Weather Service Weather Prediction Center (WPC) calls for a lot more snow along the Appalachian Mountains from Tennessee north to upstate New York. Snow is also expected to fall from New England west to Montana, and in eastern New Mexico and the Colorado Rockies. The WPC summary for Jan. 7 noted: Bitter cold will be felt from the western High Plains to the Mid-Atlantic and Northeast U.S. for the subsequent few days. Widespread subzero overnight lows are forecast for the Dakotas, Upper Midwest, Fantastic Lakes, and interior New England. Wind Chill Advisories and Warnings are in effect for numerous of these areas.

GOES-East offers visible and infrared photos more than the eastern U.S. and the Atlantic Ocean from its fixed orbit in space. NOAA’s GOES satellites give the sort of continuous monitoring required for intensive information analysis. Geostationary describes an orbit in which a satellite is constantly in the exact same position with respect to the rotating Earth. This enables GOES to hover continuously more than one particular position on Earth’s surface, appearing stationary. As a outcome, GOES provide a continual vigil for the atmospheric triggers for serious climate situations such as tornadoes, flash floods, hail storms and hurricanes.

For updated information about the storm method, go to NOAA’s NWS internet site:

www.climate.gov

For much more data about GOES satellites, go to: www.goes.noaa.gov/ or goes.gsfc.nasa.gov/

Rob Gutro
NASA’s Goddard Space Flight Center, Greenbelt, Md.

NASA image use policy.
NASA Goddard Space Flight Center enables NASA’s mission by way of 4 scientific endeavors: Earth Science, Heliophysics, Solar Technique Exploration, and Astrophysics. Goddard plays a major part in NASA’s accomplishments by contributing compelling scientific information to advance the Agency’s mission.
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City Lights of the United States 2012

Image by NASA Goddard Photo and Video
NASA image acquired April 18 – October 23, 2012

This image of the United States of America at evening is a composite assembled from information acquired by the Suomi NPP satellite in April and October 2012. The image was produced possible by the new satellite’s “day-evening band” of the Visible Infrared Imaging Radiometer Suite (VIIRS), which detects light in a range of wavelengths from green to near-infrared and makes use of filtering tactics to observe dim signals such as city lights, gas flares, auroras, wildfires, and reflected moonlight.

“Nighttime light is the most interesting information that I’ve had a opportunity to operate with,” says Chris Elvidge, who leads the Earth Observation Group at NOAA’s National Geophysical Information Center. “I’m often amazed at what city light photos show us about human activity.” His research group has been approached by scientists looking for to model the distribution of carbon dioxide emissions from fossil fuels and to monitor the activity of industrial fishing fleets. Biologists have examined how urban development has fragmented animal habitat. Elvidge even learned once of a study of dictatorships in numerous parts of the world and how nighttime lights had a tendency to expand in the dictator’s hometown or province.

Named for satellite meteorology pioneer Verner Suomi, NPP flies more than any offered point on Earth’s surface twice each day at roughly 1:30 a.m. and p.m. The polar-orbiting satellite flies 824 kilometers (512 miles) above the surface, sending its data after per orbit to a ground station in Svalbard, Norway, and continuously to local direct broadcast users distributed about the globe. Suomi NPP is managed by NASA with operational help from NOAA and its Joint Polar Satellite System, which manages the satellite’s ground technique.

NASA Earth Observatory image by Robert Simmon, utilizing Suomi NPP VIIRS data supplied courtesy of Chris Elvidge (NOAA National Geophysical Information Center). Suomi NPP is the result of a partnership in between NASA, NOAA, and the Department of Defense. Caption by Mike Carlowicz.

Instrument: Suomi NPP – VIIRS

Credit: NASA Earth Observatory

Click here to view all of the Earth at Night 2012 pictures

Click here to study much more about this image

NASA image use policy.

NASA Goddard Space Flight Center enables NASA’s mission by means of 4 scientific endeavors: Earth Science, Heliophysics, Solar Technique Exploration, and Astrophysics. Goddard plays a top part in NASA’s accomplishments by contributing compelling scientific understanding to advance the Agency’s mission.

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Preparing For Antarctic Flights in the California Desert

Image by NASA Goddard Space Flight Center
At first glance a dry lake bed in the southern California desert appears like the last place to prepare to study ice. But on Oct. two, 2014, NASA’s Operation IceBridge carried out a ground-primarily based GPS survey of the El Mirage lake bed in California’s Mojave Desert. Members of the IceBridge group are at the moment at NASA’s Armstrong Flight Investigation Center, preparing instruments aboard the DC-8 study aircraft for flights more than Antarctica.

Element of this preparation includes test flights more than the desert, exactly where researchers verify their instruments are operating effectively. El Mirage serves as a prime place for testing the mission’s laser altimeter, the Airborne Topographic Mapper, due to the fact the lake bed has a flat surface and reflects light similarly to snow and ice.

This photo, taken shortly right after the survey, shows the GPS-equipped survey car and a stationary GPS station (left of the car) on the lake bed with the constellation Ursa Major in the background. By driving the vehicle in parallel back and forth lines more than a predefined region and comparing these GPS elevation readings with measurements from the stationary GPS, researchers are in a position to create an elevation map that will be used to precisely calibrate the laser altimeter for ice measurements.

Credit: NASA/John Sonntag

Operation IceBridge is scheduled to start investigation flights more than Antarctica on Oct. 15, 2014. The mission will be primarily based out of Punta Arenas, Chile, till Nov. 23.

For far more data about IceBridge, visit: www.nasa.gov/icebridge

NASA image use policy.
NASA Goddard Space Flight Center enables NASA’s mission via four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading function in NASA’s accomplishments by contributing compelling scientific understanding to advance the Agency’s mission.
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www.nasa.gov/icebridge

Nice Surface Grinding Aluminum pictures

Nice Surface Grinding Aluminum pictures

Klarm Machining

A few nice surface grinding aluminum images I found:

Steven F. Udvar-Hazy Center: main hall panorama (F-4 Corsair, et al)

Image by Chris Devers
See more photos of this, and the Wikipedia article.

Details, quoting from Smithsonian National Air and Space Museum | Vought F4U-1D Corsair:

By V-J Day, September 2, 1945, Corsair pilots had amassed an 11:1 kill ratio against enemy aircraft. The aircraft’s distinctive inverted gull-wing design allowed ground clearance for the huge, three-bladed Hamilton Standard Hydromatic propeller, which spanned more than 4 meters (13 feet). The Pratt and Whitney R-2800 radial engine and Hydromatic propeller was the largest and one of the most powerful engine-propeller combinations ever flown on a fighter aircraft.

Charles Lindbergh flew bombing missions in a Corsair with Marine Air Group 31 against Japanese strongholds in the Pacific in 1944. This airplane is painted in the colors and markings of the Corsair Sun Setter, a Marine close-support fighter assigned to the USS Essex in July 1944.

Transferred from the United States Navy.

Manufacturer:
Vought Aircraft Company

Date:
1940

Country of Origin:
United States of America

Dimensions:
Overall: 460 x 1020cm, 4037kg, 1250cm (15ft 1 1/8in. x 33ft 5 9/16in., 8900lb., 41ft 1/8in.)

Materials:
All metal with fabric-covered wings behind the main spar.

Physical Description:
R-2800 radial air-cooled engine with 1,850 horsepower, turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch; wing bent gull-shaped on both sides of the fuselage.

Long Description:
On February 1, 1938, the United States Navy Bureau of Aeronautics requested proposals from American aircraft manufacturers for a new carrier-based fighter airplane. During April, the Vought Aircraft Corporation responded with two designs and one of them, powered by a Pratt & Whitney R-2800 engine, won the competition in June. Less than a year later, Vought test pilot Lyman A. Bullard, Jr., first flew the Vought XF4U-1 prototype on May 29, 1940. At that time, the largest engine driving the biggest propeller ever flown on a fighter aircraft propelled Bullard on this test flight. The R-2800 radial air-cooled engine developed 1,850 horsepower and it turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch.

The airplane Bullard flew also had another striking feature, a wing bent gull-shaped on both sides of the fuselage. This arrangement gave additional ground clearance for the propeller and reduced drag at the wing-to-fuselage joint. Ironically for a 644-kph (400 mph) airplane, Vought covered the wing with fabric behind the main spar, a practice the company also followed on the OS2U Kingfisher (see NASM collection).

When naval air strategists had crafted the requirements for the new fighter, the need for speed had overridden all other performance goals. With this in mind, the Bureau of Aeronautics selected the most powerful air-cooled engine available, the R-2800. Vought assembled a team, lead by chief designer Rex Biesel, to design the best airframe around this powerful engine. The group included project engineer Frank Albright, aerodynamics engineer Paul Baker, and propulsion engineer James Shoemaker. Biesel and his team succeeded in building a very fast fighter but when they redesigned the prototype for production, they were forced to make an unfortunate compromise.

The Navy requested heavier armament for production Corsairs and Biesel redesigned each outboard folding wing panel to carry three .50 caliber machine guns. These guns displaced fuel tanks installed in each wing leading edge. To replace this lost capacity, an 897-liter (237 gal) fuselage tank was installed between the cockpit and the engine. To maintain the speedy and narrow fuselage profile, Biesel could not stack the cockpit on top of the tank, so he moved it nearly three feet aft. Now the wing completely blocked the pilot’s line of sight during the most critical stages of landing. The early Corsair also had a vicious stall, powerful torque and propeller effects at slow speed, a short tail wheel strut, main gear struts that often bounced the airplane at touchdown, and cowl flap actuators that leaked oil onto the windshield. These difficulties, combined with the lack of cockpit visibility, made the airplane nearly impossible to land on the tiny deck of an aircraft carrier. Navy pilots soon nicknamed the F4U the ‘ensign eliminator’ for its tendency to kill these inexperienced aviators. The Navy refused to clear the F4U for carrier operations until late in 1944, more than seven years after the project started.

This flaw did not deter the Navy from accepting Corsairs because Navy and Marine pilots sorely needed an improved fighter to replace the Grumman F4F Wildcat (see NASM collection). By New Year’s Eve, 1942, the service owned 178 F4U-1 airplanes. Early in 1943, the Navy decided to divert all Corsairs to land-based United States Marine Corps squadrons and fill Navy carrier-based units with the Grumman F6F Hellcat (see NASM collection). At its best speed of 612 kph (380 mph) at 6,992 m (23,000 ft), the Hellcat was about 24 kph (15 mph) slower than the Corsair but it was a joy to fly aboard the carrier. The F6F filled in splendidly until improvements to the F4U qualified it for carrier operations. Meanwhile, the Marines on Guadalcanal took their Corsairs into combat and engaged the enemy for the first time on February 14, 1943, six months before Hellcat pilots on that battle-scared island first encountered enemy aircraft.

The F4U had an immediate impact on the Pacific air war. Pilots could use the Corsair’s speed and firepower to engage the more maneuverable Japanese airplanes only when the advantage favored the Americans. Unprotected by armor or self-sealing fuel tanks, no Japanese fighter or bomber could withstand for more than a few seconds the concentrated volley from the six .50 caliber machine guns carried by a Corsair. Major Gregory "Pappy" Boyington assumed command of Marine Corsair squadron VMF-214, nicknamed the ‘Black Sheep’ squadron, on September 7, 1943. During less than 5 months of action, Boyington received credit for downing 28 enemy aircraft. Enemy aircraft shot him down on January 3, 1944, but he survived the war in a Japanese prison camp.

In May and June 1944, Charles A. Lindbergh flew Corsair missions with Marine pilots at Green Island and Emirau. On September 3, 1944, Lindbergh demonstrated the F4U’s bomb hauling capacity by flying a Corsair from Marine Air Group 31 carrying three bombs each weighing 450 kg (1,000 lb). He dropped this load on enemy positions at Wotje Atoll. On the September 8, Lindbergh dropped the first 900-kg (2,000 lb) bomb during an attack on the atoll. For the finale five days later, the Atlantic flyer delivered a 900-kg (2,000 lb) bomb and two 450-kg (1,000 lb) bombs. Lindbergh went ahead and flew these missions after the commander of MAG-31 informed him that if he was forced down and captured, the Japanese would almost certainly execute him.

As of V-J Day, September 2, 1945, the Navy credited Corsair pilots with destroying 2,140 enemy aircraft in aerial combat. The Navy and Marines lost 189 F4Us in combat and 1,435 Corsairs in non-combat accidents. Beginning on February 13, 1942, Marine and Navy pilots flew 64,051 operational sorties, 54,470 from runways and 9,581 from carrier decks. During the war, the British Royal Navy accepted 2,012 Corsairs and the Royal New Zealand Air Force accepted 364. The demand was so great that the Goodyear Aircraft Corporation and the Brewster Aeronautical Corporation also produced the F4U.

Corsairs returned to Navy carrier decks and Marine airfields during the Korean War. On September 10, 1952, Captain Jesse Folmar of Marine Fighter Squadron VMF-312 destroyed a MiG-15 in aerial combat over the west coast of Korea. However, F4U pilots did not have many air-to-air encounters over Korea. Their primary mission was to support Allied ground units along the battlefront.

After the World War II, civilian pilots adapted the speedy bent-wing bird from Vought to fly in competitive air races. They preferred modified versions of the F2G-1 and -2 originally built by Goodyear. Corsairs won the prestigious Thompson Trophy twice. In 1952, Vought manufactured 94 F4U-7s for the French Navy, and these aircraft saw action over Indochina but this order marked the end of Corsair production. In production longer than any other U.S. fighter to see service in World War II, Vought, Goodyear, and Brewster built a total of 12,582 F4Us.

The United States Navy donated an F4U-1D to the National Air and Space Museum in September 1960. Vought delivered this Corsair, Bureau of Aeronautics serial number 50375, to the Navy on April 26, 1944. By October, pilots of VF-10 were flying it but in November, the airplane was transferred to VF-89 at Naval Air Station Atlantic City. It remained there as the squadron moved to NAS Oceana and NAS Norfolk. During February 1945, the Navy withdrew the airplane from active service and transferred it to a pool of surplus aircraft stored at Quantico, Virginia. In 1980, NASM craftsmen restored the F4U-1D in the colors and markings of a Corsair named "Sun Setter," a fighter assigned to Marine Fighter Squadron VMF-114 when that unit served aboard the "USS Essex" in July 1944.

• • •

Quoting from Wikipedia | Vought F4U Corsair:

The Chance Vought F4U Corsair was a carrier-capable fighter aircraft that saw service primarily in World War II and the Korean War. Demand for the aircraft soon overwhelmed Vought’s manufacturing capability, resulting in production by Goodyear and Brewster: Goodyear-built Corsairs were designated FG and Brewster-built aircraft F3A. From the first prototype delivery to the U.S. Navy in 1940, to final delivery in 1953 to the French, 12,571 F4U Corsairs were manufactured by Vought, in 16 separate models, in the longest production run of any piston-engined fighter in U.S. history (1942–1953).

The Corsair served in the U.S. Navy, U.S. Marines, Fleet Air Arm and the Royal New Zealand Air Force, as well as the French Navy Aeronavale and other, smaller, air forces until the 1960s. It quickly became the most capable carrier-based fighter-bomber of World War II. Some Japanese pilots regarded it as the most formidable American fighter of World War II, and the U.S. Navy counted an 11:1 kill ratio with the F4U Corsair.

F4U-1D (Corsair Mk IV): Built in parallel with the F4U-1C, but was introduced in April 1944. It had the new -8W water-injection engine. This change gave the aircraft up to 250 hp (190 kW) more power, which, in turn, increased performance. Speed, for example, was boosted from 417 miles per hour (671 km/h) to 425 miles per hour (684 km/h). Because of the U.S. Navy’s need for fighter-bombers, it had a payload of rockets double the -1A’s, as well as twin-rack plumbing for an additional belly drop tank. Such modifications necessitated the need for rocket tabs (attached to fully metal-plated underwing surfaces) and bomb pylons to be bolted on the fighter, however, causing extra drag. Additionally, the role of fighter-bombing was a new task for the Corsair and the wing fuel cells proved too vulnerable and were removed.[] The extra fuel carried by the two drop tanks would still allow the aircraft to fly relatively long missions despite the heavy, un-aerodynamic load. The regular armament of six machine guns were implemented as well. The canopies of most -1Ds had their struts removed along with their metal caps, which were used — at one point — as a measure to prevent the canopies’ glass from cracking as they moved along the fuselage spines of the fighters.[] Also, the clear-view style "Malcolm Hood" canopy used initially on Supermarine Spitfire and P-51C Mustang aircraft was adopted as standard equipment for the -1D model, and all later F4U production aircraft. Additional production was carried out by Goodyear (FG-1D) and Brewster (F3A-1D). In Fleet Air Arm service, the latter was known as the Corsair III, and both had their wingtips clipped by 8" per wing to allow storage in the lower hangars of British carriers.

Steven F. Udvar-Hazy Center: Air France Concorde

Image by Chris Devers
Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:

The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.

In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours – half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.

In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft’s retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.

Gift of Air France.

Manufacturer:
Societe Nationale Industrielle Aerospatiale
British Aircraft Corporation

Dimensions:
Wingspan: 25.56 m (83 ft 10 in)
Length: 61.66 m (202 ft 3 in)
Height: 11.3 m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Top speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom

Physical Description:
Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.
Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d’exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l’Air et de l’Espace de Washington, un appariel portant le couleurs d’Air France."

Steven F. Udvar-Hazy Center: SR-71 Blackbird top view panorama

Image by Chris Devers
See more photos of this, and the Wikipedia article.

Details, quoting from Smithsonian National Air and Space Museum | Lockheed SR-71 Blackbird:

No reconnaissance aircraft in history has operated globally in more hostile airspace or with such complete impunity than the SR-71, the world’s fastest jet-propelled aircraft. The Blackbird’s performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War.

This Blackbird accrued about 2,800 hours of flight time during 24 years of active service with the U.S. Air Force. On its last flight, March 6, 1990, Lt. Col. Ed Yielding and Lt. Col. Joseph Vida set a speed record by flying from Los Angeles to Washington, D.C., in 1 hour, 4 minutes, and 20 seconds, averaging 3,418 kilometers (2,124 miles) per hour. At the flight’s conclusion, they landed at Washington-Dulles International Airport and turned the airplane over to the Smithsonian.

Transferred from the United States Air Force.

Manufacturer:
Lockheed Aircraft Corporation

Designer:
Clarence L. "Kelly" Johnson

Date:
1964

Country of Origin:
United States of America

Dimensions:
Overall: 18ft 5 15/16in. x 55ft 7in. x 107ft 5in., 169998.5lb. (5.638m x 16.942m x 32.741m, 77110.8kg)
Other: 18ft 5 15/16in. x 107ft 5in. x 55ft 7in. (5.638m x 32.741m x 16.942m)

Materials:
Titanium

Physical Description:
Twin-engine, two-seat, supersonic strategic reconnaissance aircraft; airframe constructed largley of titanium and its alloys; vertical tail fins are constructed of a composite (laminated plastic-type material) to reduce radar cross-section; Pratt and Whitney J58 (JT11D-20B) turbojet engines feature large inlet shock cones.

Long Description:
No reconnaissance aircraft in history has operated in more hostile airspace or with such complete impunity than the SR-71 Blackbird. It is the fastest aircraft propelled by air-breathing engines. The Blackbird’s performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War. The airplane was conceived when tensions with communist Eastern Europe reached levels approaching a full-blown crisis in the mid-1950s. U.S. military commanders desperately needed accurate assessments of Soviet worldwide military deployments, particularly near the Iron Curtain. Lockheed Aircraft Corporation’s subsonic U-2 (see NASM collection) reconnaissance aircraft was an able platform but the U. S. Air Force recognized that this relatively slow aircraft was already vulnerable to Soviet interceptors. They also understood that the rapid development of surface-to-air missile systems could put U-2 pilots at grave risk. The danger proved reality when a U-2 was shot down by a surface to air missile over the Soviet Union in 1960.

Lockheed’s first proposal for a new high speed, high altitude, reconnaissance aircraft, to be capable of avoiding interceptors and missiles, centered on a design propelled by liquid hydrogen. This proved to be impracticable because of considerable fuel consumption. Lockheed then reconfigured the design for conventional fuels. This was feasible and the Central Intelligence Agency (CIA), already flying the Lockheed U-2, issued a production contract for an aircraft designated the A-12. Lockheed’s clandestine ‘Skunk Works’ division (headed by the gifted design engineer Clarence L. "Kelly" Johnson) designed the A-12 to cruise at Mach 3.2 and fly well above 18,288 m (60,000 feet). To meet these challenging requirements, Lockheed engineers overcame many daunting technical challenges. Flying more than three times the speed of sound generates 316° C (600° F) temperatures on external aircraft surfaces, which are enough to melt conventional aluminum airframes. The design team chose to make the jet’s external skin of titanium alloy to which shielded the internal aluminum airframe. Two conventional, but very powerful, afterburning turbine engines propelled this remarkable aircraft. These power plants had to operate across a huge speed envelope in flight, from a takeoff speed of 334 kph (207 mph) to more than 3,540 kph (2,200 mph). To prevent supersonic shock waves from moving inside the engine intake causing flameouts, Johnson’s team had to design a complex air intake and bypass system for the engines.

Skunk Works engineers also optimized the A-12 cross-section design to exhibit a low radar profile. Lockheed hoped to achieve this by carefully shaping the airframe to reflect as little transmitted radar energy (radio waves) as possible, and by application of special paint designed to absorb, rather than reflect, those waves. This treatment became one of the first applications of stealth technology, but it never completely met the design goals.

Test pilot Lou Schalk flew the single-seat A-12 on April 24, 1962, after he became airborne accidentally during high-speed taxi trials. The airplane showed great promise but it needed considerable technical refinement before the CIA could fly the first operational sortie on May 31, 1967 – a surveillance flight over North Vietnam. A-12s, flown by CIA pilots, operated as part of the Air Force’s 1129th Special Activities Squadron under the "Oxcart" program. While Lockheed continued to refine the A-12, the U. S. Air Force ordered an interceptor version of the aircraft designated the YF-12A. The Skunk Works, however, proposed a "specific mission" version configured to conduct post-nuclear strike reconnaissance. This system evolved into the USAF’s familiar SR-71.

Lockheed built fifteen A-12s, including a special two-seat trainer version. Two A-12s were modified to carry a special reconnaissance drone, designated D-21. The modified A-12s were redesignated M-21s. These were designed to take off with the D-21 drone, powered by a Marquart ramjet engine mounted on a pylon between the rudders. The M-21 then hauled the drone aloft and launched it at speeds high enough to ignite the drone’s ramjet motor. Lockheed also built three YF-12As but this type never went into production. Two of the YF-12As crashed during testing. Only one survives and is on display at the USAF Museum in Dayton, Ohio. The aft section of one of the "written off" YF-12As which was later used along with an SR-71A static test airframe to manufacture the sole SR-71C trainer. One SR-71 was lent to NASA and designated YF-12C. Including the SR-71C and two SR-71B pilot trainers, Lockheed constructed thirty-two Blackbirds. The first SR-71 flew on December 22, 1964. Because of extreme operational costs, military strategists decided that the more capable USAF SR-71s should replace the CIA’s A-12s. These were retired in 1968 after only one year of operational missions, mostly over southeast Asia. The Air Force’s 1st Strategic Reconnaissance Squadron (part of the 9th Strategic Reconnaissance Wing) took over the missions, flying the SR-71 beginning in the spring of 1968.

After the Air Force began to operate the SR-71, it acquired the official name Blackbird– for the special black paint that covered the airplane. This paint was formulated to absorb radar signals, to radiate some of the tremendous airframe heat generated by air friction, and to camouflage the aircraft against the dark sky at high altitudes.

Experience gained from the A-12 program convinced the Air Force that flying the SR-71 safely required two crew members, a pilot and a Reconnaissance Systems Officer (RSO). The RSO operated with the wide array of monitoring and defensive systems installed on the airplane. This equipment included a sophisticated Electronic Counter Measures (ECM) system that could jam most acquisition and targeting radar. In addition to an array of advanced, high-resolution cameras, the aircraft could also carry equipment designed to record the strength, frequency, and wavelength of signals emitted by communications and sensor devices such as radar. The SR-71 was designed to fly deep into hostile territory, avoiding interception with its tremendous speed and high altitude. It could operate safely at a maximum speed of Mach 3.3 at an altitude more than sixteen miles, or 25,908 m (85,000 ft), above the earth. The crew had to wear pressure suits similar to those worn by astronauts. These suits were required to protect the crew in the event of sudden cabin pressure loss while at operating altitudes.

To climb and cruise at supersonic speeds, the Blackbird’s Pratt & Whitney J-58 engines were designed to operate continuously in afterburner. While this would appear to dictate high fuel flows, the Blackbird actually achieved its best "gas mileage," in terms of air nautical miles per pound of fuel burned, during the Mach 3+ cruise. A typical Blackbird reconnaissance flight might require several aerial refueling operations from an airborne tanker. Each time the SR-71 refueled, the crew had to descend to the tanker’s altitude, usually about 6,000 m to 9,000 m (20,000 to 30,000 ft), and slow the airplane to subsonic speeds. As velocity decreased, so did frictional heat. This cooling effect caused the aircraft’s skin panels to shrink considerably, and those covering the fuel tanks contracted so much that fuel leaked, forming a distinctive vapor trail as the tanker topped off the Blackbird. As soon as the tanks were filled, the jet’s crew disconnected from the tanker, relit the afterburners, and again climbed to high altitude.

Air Force pilots flew the SR-71 from Kadena AB, Japan, throughout its operational career but other bases hosted Blackbird operations, too. The 9th SRW occasionally deployed from Beale AFB, California, to other locations to carryout operational missions. Cuban missions were flown directly from Beale. The SR-71 did not begin to operate in Europe until 1974, and then only temporarily. In 1982, when the U.S. Air Force based two aircraft at Royal Air Force Base Mildenhall to fly monitoring mission in Eastern Europe.

When the SR-71 became operational, orbiting reconnaissance satellites had already replaced manned aircraft to gather intelligence from sites deep within Soviet territory. Satellites could not cover every geopolitical hotspot so the Blackbird remained a vital tool for global intelligence gathering. On many occasions, pilots and RSOs flying the SR-71 provided information that proved vital in formulating successful U. S. foreign policy. Blackbird crews provided important intelligence about the 1973 Yom Kippur War, the Israeli invasion of Lebanon and its aftermath, and pre- and post-strike imagery of the 1986 raid conducted by American air forces on Libya. In 1987, Kadena-based SR-71 crews flew a number of missions over the Persian Gulf, revealing Iranian Silkworm missile batteries that threatened commercial shipping and American escort vessels.

As the performance of space-based surveillance systems grew, along with the effectiveness of ground-based air defense networks, the Air Force started to lose enthusiasm for the expensive program and the 9th SRW ceased SR-71 operations in January 1990. Despite protests by military leaders, Congress revived the program in 1995. Continued wrangling over operating budgets, however, soon led to final termination. The National Aeronautics and Space Administration retained two SR-71As and the one SR-71B for high-speed research projects and flew these airplanes until 1999.

On March 6, 1990, the service career of one Lockheed SR-71A Blackbird ended with a record-setting flight. This special airplane bore Air Force serial number 64-17972. Lt. Col. Ed Yeilding and his RSO, Lieutenant Colonel Joseph Vida, flew this aircraft from Los Angeles to Washington D.C. in 1 hour, 4 minutes, and 20 seconds, averaging a speed of 3,418 kph (2,124 mph). At the conclusion of the flight, ‘972 landed at Dulles International Airport and taxied into the custody of the Smithsonian’s National Air and Space Museum. At that time, Lt. Col. Vida had logged 1,392.7 hours of flight time in Blackbirds, more than that of any other crewman.

This particular SR-71 was also flown by Tom Alison, a former National Air and Space Museum’s Chief of Collections Management. Flying with Detachment 1 at Kadena Air Force Base, Okinawa, Alison logged more than a dozen ‘972 operational sorties. The aircraft spent twenty-four years in active Air Force service and accrued a total of 2,801.1 hours of flight time.

Wingspan: 55’7"
Length: 107’5"
Height: 18’6"
Weight: 170,000 Lbs

Reference and Further Reading:

Crickmore, Paul F. Lockheed SR-71: The Secret Missions Exposed. Oxford: Osprey Publishing, 1996.

Francillon, Rene J. Lockheed Aircraft Since 1913. Annapolis, Md.: Naval Institute Press, 1987.

Johnson, Clarence L. Kelly: More Than My Share of It All. Washington D.C.: Smithsonian Institution Press, 1985.

Miller, Jay. Lockheed Martin’s Skunk Works. Leicester, U.K.: Midland Counties Publishing Ltd., 1995.

Lockheed SR-71 Blackbird curatorial file, Aeronautics Division, National Air and Space Museum.

DAD, 11-11-01

Cool Machining Supplier pictures

Cool Machining Supplier pictures

Klarm Machining

Some cool machining supplier images:

Australasian Gaming Expo Trade Exhibition, Paltronics

Image by Eva Rinaldi Celebrity and Live Music Photographer
Australasian Gaming Expo report from Sydney; Australia – Day 2

Today was the 2nd day for the most high profile and successful gaming expo in Australia – the Australasian Gaming Expo, which is being hosted by the Sydney Convention Centre at Darling Harbour.

It’s a key time for the gaming industry in Australia with all the regulation elements, responsible gambling initiatives and such, and most of the big boys of the industry were on hand to show off their wares, with some exhibitors demonstrating significant creative flair to help showoff their latest and greatest wares.

Our friends at Human Statue Bodyart had a couple of body models made up in bodypaint (Anastasia as a butterfly and Victoria as a panda) – complete with wings, for leading gaming brand Paltronics and its latest game ‘Jungle Madness’.

The expo centre itself is huge – 15,000 square metres (about the size of an Aussie Rules football oval) and this provided more than ample opportunity for over 750 slot games aka "pokies" to strut their stuff.

The Australasian Gaming Expo is by far the largest event of its type in Australia and one of the world’s biggest.

We learned through the grapevine that a trip for 2 to Las Vegas will be won by a lucky visitor on each of the 3 days of the Expo, and this is compliments of the Gaming Technologies Association which owns the event.

We understand that over 16,000 people have walked through the games thus far, with those in the business being the majority, and no doubt a few punters, checked through the gates (but note that the games on display do not accept coins or notes).

News…

Human Statue Bodyart helps make Paltronics…

Gaming firm Paltronics was once again looking for their fair share of attention by having a few body models made up in forest like bodypaint attire to compliment their selection of games, including the very popular ‘Jungle Madness’.

There’s little doubt that folks Paltronics knew that competitors of sorts, IGT, were going all out with an Elvis promotion (including imitator), and may have also noted their ‘Sex In The City’ promotional stand from last years show.

It’s always good to see Australian companies such as Paltronics take on international giants such as IGT and promotional models are just one of the weapons that gaming companies will continue to employ in the high stakes world of electronic gaming, and the folks from the Human Statue Bodyart creative arts agency certainly helped Paltronics make a positive splash today.

We hear that more bodypainted models are on the cards tomorrow (the 3rd and final day of the expo) so be sure to check the stands, with 11am to 2pm

News…

Shuffle Master promotes The Flintstones Slot…

"We are thrilled to be able to offer such an iconic brand as The Flintstones and we feel confident that it will take center stage at the show," said Adrian Halpenny, President of Shuffle Master Australasia. "Our game development team worked very hard to deliver a final product that demonstrated meticulous attention to detail in order to maintain the high quality and authenticity of the television series. As a result, The Flintstones is a breakthrough product that is not only highly enjoyable to play as a traditional gaming machine, but also brings the much-loved characters to life with entertaining and engaging features."

Since debuting on American television, The Flintstones has endured as one of the most recognized cartoon TV shows of all time and is still shown on TV around the world. The beloved characters of The Flintstones have been a part of our childhoods for decades, and this new game allows us to play and interact with them in new and exciting ways.

Preston Kevin Lewis, Managing Director of Warner Bros. Consumer Products ANZ, said, "It is testament to the enduring nature of The Flintstones brand that the likes of Fred, Barney, Wilma and Betty continue to reach new audiences in diverse areas. Shuffle Master is one of the world’s leading gaming suppliers and we’re sure these fantastic machines will provide consumers with yet another opportunity to fall in love with The Flintstones."

Designed to make a big impact on the gaming floor with its broad appeal, The Flintstones is a three-level standalone progressive, low-denomination product with a suite of exciting base games and attractive jackpot prizes. It also introduces Shuffle Master’s patented new "mini-reel" feature trigger that ignites the player’s anticipation during game play.

The game offers three interactive bonus features that provide players with the chance to win jackpots and credit prizes. Each bonus feature evokes classic scenes from the original TV show, such as the ten-pin challenge at Bedrock Bowl, the family night out at The Drive-In and the antics of Fred Flintstone’s lovable pet dinosaur in Dino’s Dig.

Every element has been carefully crafted to captivate players. The Flintstones will feature themed door trims with matching halo lighting, a unique character marquee with a built-in LCD top box, and re-mastered music and sound effects from the original TV show. The three launch games – Lioness, Peacock Garden and Tiger Power – will be supplemented with more games from Shuffle Master on an ongoing basis to keep the installations fresh and exciting.

Press Release…

IGT Highlights Innovative 3D Gaming Technology and a Star-studded Gaming Lineup at the Australasian Gaming Expo…

LAS VEGAS, Aug. 20, 2012 — International Game Technology (NYSE:IGT), a global leader in casino gaming entertainment and systems technology, announced today it will deliver new industry firsts for Australia’s gaming enthusiasts at the Australasian Gaming Expo (AGE) Aug. 21 – 23 at the Sydney Convention & Exhibition Centre in Sydney, Australia.

IGT will launch the 3D gaming technology MLD™ (Multi-Layer Display™), paired with the unveiling of one of the world’s most iconic pop culture brands, Elvis The King®. This new title is now available in Australia exclusively on the IGT bluechip Neo® Tower Top cabinet after successful launches in other global markets, along with many new games and products.

"IGT continues to provide our customers with strong game performance, the widest variety of games, the latest in systems innovation and world-class service, all of which will be on display at AGE," said Eric Tom, IGT executive vice president of Global Sales.

"Our research indicates that many players are entertainment seekers who are attracted to iconic brands and IGT delivers this with our pop culture hit Elvis The King®. This game has been adapted to suit the Australasian players’ playing style. The 3D capabilities of MLD with Elvis The King® also provides venues with a strong differentiator as they look to broaden gaming’s appeal and provide something special for players," said Tom. "Elvis The King® is packed with multiple features and number one hits."

IGT’s 3D MLD™ screens take gaming to another dimension in play. The 3D effect is simulated because the content exists on two separate LCD panels; one in front of the other which gives a depth of field, with game elements appearing and moving between the front and back screens. This allows for new game play options and heightened entertainment.

The line-up of over fifty games at AGE reflects IGT’s re-invigorated game design strategy with the legendary performance of games such as Siberian Storm® and Dangerous Beauty®. Additional games debuting at AGE include:

Black Widow® – a low denomination game with a ‘web capture’ feature during free games for the chance to accumulate additional credits.

Dakota Thunder® – featuring the ‘Thunder Shudder’.

A global leader in casino gaming entertainment and systems technology, IGT provides a holistic solution to the industry and its strength in gaming management systems and new interactive technologies will also be showcased at AGE.

The IGT Advantage Club® System will be demonstrated with new technologies such as Service Window, a small window that appears on the left hand side of the screen. The Service Window can be used for personalized player messaging and for service requests, adding a unique level of service for venues with the IGT system. The IGT Advantage Club® system is proving to be a winner with clubs in New South Wales.

IGT will again be playing host to industry experts who will present a range of topics including game floor design, customer service and systems. For more details on the free business seminar sessions visit www.igt.com.au/AGE12.

About IGT
International Game Technology (NYSE: IGT) is a global leader in casino gaming entertainment and continues to transform the industry by translating casino player experiences to social, mobile and interactive environments for regulated markets around the world. IGT’s recent acquisition of Double Down Interactive provides engaging casino style entertainment to more than 5 million players monthly. More information about IGT is available at www.IGT.com or connect with IGT at @IGTNews or www.facebook.com/IGT.

© EPE, Reg. U.S. Pat & TM O_.

Dangerous Beauty and Black Widow were created by High 5 Games. For more information on High 5 Games, go to www.High5games.com

Pure Depth™, MLD®, Multi-Layer Display® and Actual Depth™ are trademarks or registered trademarks of Pure Depth, Inc. All other trademarks are registered trademarks or the property of their respective owners without the intent to infringe. www.puredepth.com. All trademarks or registered trademarks are owned by IGT (Australia) Pty. Limited or its related entities. All information is subject to change without notice. Game type availability is subject to jurisdictional approval.

Websites

Australasian Gaming Expo
www.austgamingexpo.com

Gaming Technologies Association
www.gamingta.com

PALtronics Australasia
www.paltronics.com.au

Sydney Convention and Exhibition Centre
www.scec.com.au

Human Statue Bodyart
www.humanstatuebodyart.com.au

Human Statue Bodyart Flickr
www.flickr.com/photos/humanstatuebodyart

Eva Rinaldi Photography Flickr
www.flickr.com/evarinaldiphotography

Australasian Gaming Expo Trade Exhibition, Paltronics

Image by Eva Rinaldi Celebrity and Live Music Photographer
Australasian Gaming Expo report from Sydney; Australia – Day 2

Today was the 2nd day for the most high profile and successful gaming expo in Australia – the Australasian Gaming Expo, which is being hosted by the Sydney Convention Centre at Darling Harbour.

It’s a key time for the gaming industry in Australia with all the regulation elements, responsible gambling initiatives and such, and most of the big boys of the industry were on hand to show off their wares, with some exhibitors demonstrating significant creative flair to help showoff their latest and greatest wares.

Our friends at Human Statue Bodyart had a couple of body models made up in bodypaint (Anastasia as a butterfly and Victoria as a panda) – complete with wings, for leading gaming brand Paltronics and its latest game ‘Jungle Madness’.

The expo centre itself is huge – 15,000 square metres (about the size of an Aussie Rules football oval) and this provided more than ample opportunity for over 750 slot games aka "pokies" to strut their stuff.

The Australasian Gaming Expo is by far the largest event of its type in Australia and one of the world’s biggest.

We learned through the grapevine that a trip for 2 to Las Vegas will be won by a lucky visitor on each of the 3 days of the Expo, and this is compliments of the Gaming Technologies Association which owns the event.

We understand that over 16,000 people have walked through the games thus far, with those in the business being the majority, and no doubt a few punters, checked through the gates (but note that the games on display do not accept coins or notes).

News…

Human Statue Bodyart helps make Paltronics…

Gaming firm Paltronics was once again looking for their fair share of attention by having a few body models made up in forest like bodypaint attire to compliment their selection of games, including the very popular ‘Jungle Madness’.

There’s little doubt that folks Paltronics knew that competitors of sorts, IGT, were going all out with an Elvis promotion (including imitator), and may have also noted their ‘Sex In The City’ promotional stand from last years show.

It’s always good to see Australian companies such as Paltronics take on international giants such as IGT and promotional models are just one of the weapons that gaming companies will continue to employ in the high stakes world of electronic gaming, and the folks from the Human Statue Bodyart creative arts agency certainly helped Paltronics make a positive splash today.

We hear that more bodypainted models are on the cards tomorrow (the 3rd and final day of the expo) so be sure to check the stands, with 11am to 2pm

News…

Shuffle Master promotes The Flintstones Slot…

"We are thrilled to be able to offer such an iconic brand as The Flintstones and we feel confident that it will take center stage at the show," said Adrian Halpenny, President of Shuffle Master Australasia. "Our game development team worked very hard to deliver a final product that demonstrated meticulous attention to detail in order to maintain the high quality and authenticity of the television series. As a result, The Flintstones is a breakthrough product that is not only highly enjoyable to play as a traditional gaming machine, but also brings the much-loved characters to life with entertaining and engaging features."

Since debuting on American television, The Flintstones has endured as one of the most recognized cartoon TV shows of all time and is still shown on TV around the world. The beloved characters of The Flintstones have been a part of our childhoods for decades, and this new game allows us to play and interact with them in new and exciting ways.

Preston Kevin Lewis, Managing Director of Warner Bros. Consumer Products ANZ, said, "It is testament to the enduring nature of The Flintstones brand that the likes of Fred, Barney, Wilma and Betty continue to reach new audiences in diverse areas. Shuffle Master is one of the world’s leading gaming suppliers and we’re sure these fantastic machines will provide consumers with yet another opportunity to fall in love with The Flintstones."

Designed to make a big impact on the gaming floor with its broad appeal, The Flintstones is a three-level standalone progressive, low-denomination product with a suite of exciting base games and attractive jackpot prizes. It also introduces Shuffle Master’s patented new "mini-reel" feature trigger that ignites the player’s anticipation during game play.

The game offers three interactive bonus features that provide players with the chance to win jackpots and credit prizes. Each bonus feature evokes classic scenes from the original TV show, such as the ten-pin challenge at Bedrock Bowl, the family night out at The Drive-In and the antics of Fred Flintstone’s lovable pet dinosaur in Dino’s Dig.

Every element has been carefully crafted to captivate players. The Flintstones will feature themed door trims with matching halo lighting, a unique character marquee with a built-in LCD top box, and re-mastered music and sound effects from the original TV show. The three launch games – Lioness, Peacock Garden and Tiger Power – will be supplemented with more games from Shuffle Master on an ongoing basis to keep the installations fresh and exciting.

Press Release…

IGT Highlights Innovative 3D Gaming Technology and a Star-studded Gaming Lineup at the Australasian Gaming Expo…

LAS VEGAS, Aug. 20, 2012 — International Game Technology (NYSE:IGT), a global leader in casino gaming entertainment and systems technology, announced today it will deliver new industry firsts for Australia’s gaming enthusiasts at the Australasian Gaming Expo (AGE) Aug. 21 – 23 at the Sydney Convention & Exhibition Centre in Sydney, Australia.

IGT will launch the 3D gaming technology MLD™ (Multi-Layer Display™), paired with the unveiling of one of the world’s most iconic pop culture brands, Elvis The King®. This new title is now available in Australia exclusively on the IGT bluechip Neo® Tower Top cabinet after successful launches in other global markets, along with many new games and products.

"IGT continues to provide our customers with strong game performance, the widest variety of games, the latest in systems innovation and world-class service, all of which will be on display at AGE," said Eric Tom, IGT executive vice president of Global Sales.

"Our research indicates that many players are entertainment seekers who are attracted to iconic brands and IGT delivers this with our pop culture hit Elvis The King®. This game has been adapted to suit the Australasian players’ playing style. The 3D capabilities of MLD with Elvis The King® also provides venues with a strong differentiator as they look to broaden gaming’s appeal and provide something special for players," said Tom. "Elvis The King® is packed with multiple features and number one hits."

IGT’s 3D MLD™ screens take gaming to another dimension in play. The 3D effect is simulated because the content exists on two separate LCD panels; one in front of the other which gives a depth of field, with game elements appearing and moving between the front and back screens. This allows for new game play options and heightened entertainment.

The line-up of over fifty games at AGE reflects IGT’s re-invigorated game design strategy with the legendary performance of games such as Siberian Storm® and Dangerous Beauty®. Additional games debuting at AGE include:

Black Widow® – a low denomination game with a ‘web capture’ feature during free games for the chance to accumulate additional credits.

Dakota Thunder® – featuring the ‘Thunder Shudder’.

A global leader in casino gaming entertainment and systems technology, IGT provides a holistic solution to the industry and its strength in gaming management systems and new interactive technologies will also be showcased at AGE.

The IGT Advantage Club® System will be demonstrated with new technologies such as Service Window, a small window that appears on the left hand side of the screen. The Service Window can be used for personalized player messaging and for service requests, adding a unique level of service for venues with the IGT system. The IGT Advantage Club® system is proving to be a winner with clubs in New South Wales.

IGT will again be playing host to industry experts who will present a range of topics including game floor design, customer service and systems. For more details on the free business seminar sessions visit www.igt.com.au/AGE12.

About IGT
International Game Technology (NYSE: IGT) is a global leader in casino gaming entertainment and continues to transform the industry by translating casino player experiences to social, mobile and interactive environments for regulated markets around the world. IGT’s recent acquisition of Double Down Interactive provides engaging casino style entertainment to more than 5 million players monthly. More information about IGT is available at www.IGT.com or connect with IGT at @IGTNews or www.facebook.com/IGT.

© EPE, Reg. U.S. Pat & TM O_.

Dangerous Beauty and Black Widow were created by High 5 Games. For more information on High 5 Games, go to www.High5games.com

Pure Depth™, MLD®, Multi-Layer Display® and Actual Depth™ are trademarks or registered trademarks of Pure Depth, Inc. All other trademarks are registered trademarks or the property of their respective owners without the intent to infringe. www.puredepth.com. All trademarks or registered trademarks are owned by IGT (Australia) Pty. Limited or its related entities. All information is subject to change without notice. Game type availability is subject to jurisdictional approval.

Websites

Australasian Gaming Expo
www.austgamingexpo.com

Gaming Technologies Association
www.gamingta.com

PALtronics Australasia
www.paltronics.com.au

Sydney Convention and Exhibition Centre
www.scec.com.au

Human Statue Bodyart
www.humanstatuebodyart.com.au

Human Statue Bodyart Flickr
www.flickr.com/photos/humanstatuebodyart

Eva Rinaldi Photography Flickr
www.flickr.com/evarinaldiphotography

Australasian Gaming Expo Trade Exhibition, Paltronics

Image by Eva Rinaldi Celebrity and Live Music Photographer
Australasian Gaming Expo report from Sydney; Australia – Day 2

Today was the 2nd day for the most high profile and successful gaming expo in Australia – the Australasian Gaming Expo, which is being hosted by the Sydney Convention Centre at Darling Harbour.

It’s a key time for the gaming industry in Australia with all the regulation elements, responsible gambling initiatives and such, and most of the big boys of the industry were on hand to show off their wares, with some exhibitors demonstrating significant creative flair to help showoff their latest and greatest wares.

Our friends at Human Statue Bodyart had a couple of body models made up in bodypaint (Anastasia as a butterfly and Victoria as a panda) – complete with wings, for leading gaming brand Paltronics and its latest game ‘Jungle Madness’.

The expo centre itself is huge – 15,000 square metres (about the size of an Aussie Rules football oval) and this provided more than ample opportunity for over 750 slot games aka "pokies" to strut their stuff.

The Australasian Gaming Expo is by far the largest event of its type in Australia and one of the world’s biggest.

We learned through the grapevine that a trip for 2 to Las Vegas will be won by a lucky visitor on each of the 3 days of the Expo, and this is compliments of the Gaming Technologies Association which owns the event.

We understand that over 16,000 people have walked through the games thus far, with those in the business being the majority, and no doubt a few punters, checked through the gates (but note that the games on display do not accept coins or notes).

News…

Human Statue Bodyart helps make Paltronics…

Gaming firm Paltronics was once again looking for their fair share of attention by having a few body models made up in forest like bodypaint attire to compliment their selection of games, including the very popular ‘Jungle Madness’.

There’s little doubt that folks Paltronics knew that competitors of sorts, IGT, were going all out with an Elvis promotion (including imitator), and may have also noted their ‘Sex In The City’ promotional stand from last years show.

It’s always good to see Australian companies such as Paltronics take on international giants such as IGT and promotional models are just one of the weapons that gaming companies will continue to employ in the high stakes world of electronic gaming, and the folks from the Human Statue Bodyart creative arts agency certainly helped Paltronics make a positive splash today.

We hear that more bodypainted models are on the cards tomorrow (the 3rd and final day of the expo) so be sure to check the stands, with 11am to 2pm

News…

Shuffle Master promotes The Flintstones Slot…

"We are thrilled to be able to offer such an iconic brand as The Flintstones and we feel confident that it will take center stage at the show," said Adrian Halpenny, President of Shuffle Master Australasia. "Our game development team worked very hard to deliver a final product that demonstrated meticulous attention to detail in order to maintain the high quality and authenticity of the television series. As a result, The Flintstones is a breakthrough product that is not only highly enjoyable to play as a traditional gaming machine, but also brings the much-loved characters to life with entertaining and engaging features."

Since debuting on American television, The Flintstones has endured as one of the most recognized cartoon TV shows of all time and is still shown on TV around the world. The beloved characters of The Flintstones have been a part of our childhoods for decades, and this new game allows us to play and interact with them in new and exciting ways.

Preston Kevin Lewis, Managing Director of Warner Bros. Consumer Products ANZ, said, "It is testament to the enduring nature of The Flintstones brand that the likes of Fred, Barney, Wilma and Betty continue to reach new audiences in diverse areas. Shuffle Master is one of the world’s leading gaming suppliers and we’re sure these fantastic machines will provide consumers with yet another opportunity to fall in love with The Flintstones."

Designed to make a big impact on the gaming floor with its broad appeal, The Flintstones is a three-level standalone progressive, low-denomination product with a suite of exciting base games and attractive jackpot prizes. It also introduces Shuffle Master’s patented new "mini-reel" feature trigger that ignites the player’s anticipation during game play.

The game offers three interactive bonus features that provide players with the chance to win jackpots and credit prizes. Each bonus feature evokes classic scenes from the original TV show, such as the ten-pin challenge at Bedrock Bowl, the family night out at The Drive-In and the antics of Fred Flintstone’s lovable pet dinosaur in Dino’s Dig.

Every element has been carefully crafted to captivate players. The Flintstones will feature themed door trims with matching halo lighting, a unique character marquee with a built-in LCD top box, and re-mastered music and sound effects from the original TV show. The three launch games – Lioness, Peacock Garden and Tiger Power – will be supplemented with more games from Shuffle Master on an ongoing basis to keep the installations fresh and exciting.

Press Release…

IGT Highlights Innovative 3D Gaming Technology and a Star-studded Gaming Lineup at the Australasian Gaming Expo…

LAS VEGAS, Aug. 20, 2012 — International Game Technology (NYSE:IGT), a global leader in casino gaming entertainment and systems technology, announced today it will deliver new industry firsts for Australia’s gaming enthusiasts at the Australasian Gaming Expo (AGE) Aug. 21 – 23 at the Sydney Convention & Exhibition Centre in Sydney, Australia.

IGT will launch the 3D gaming technology MLD™ (Multi-Layer Display™), paired with the unveiling of one of the world’s most iconic pop culture brands, Elvis The King®. This new title is now available in Australia exclusively on the IGT bluechip Neo® Tower Top cabinet after successful launches in other global markets, along with many new games and products.

"IGT continues to provide our customers with strong game performance, the widest variety of games, the latest in systems innovation and world-class service, all of which will be on display at AGE," said Eric Tom, IGT executive vice president of Global Sales.

"Our research indicates that many players are entertainment seekers who are attracted to iconic brands and IGT delivers this with our pop culture hit Elvis The King®. This game has been adapted to suit the Australasian players’ playing style. The 3D capabilities of MLD with Elvis The King® also provides venues with a strong differentiator as they look to broaden gaming’s appeal and provide something special for players," said Tom. "Elvis The King® is packed with multiple features and number one hits."

IGT’s 3D MLD™ screens take gaming to another dimension in play. The 3D effect is simulated because the content exists on two separate LCD panels; one in front of the other which gives a depth of field, with game elements appearing and moving between the front and back screens. This allows for new game play options and heightened entertainment.

The line-up of over fifty games at AGE reflects IGT’s re-invigorated game design strategy with the legendary performance of games such as Siberian Storm® and Dangerous Beauty®. Additional games debuting at AGE include:

Black Widow® – a low denomination game with a ‘web capture’ feature during free games for the chance to accumulate additional credits.

Dakota Thunder® – featuring the ‘Thunder Shudder’.

A global leader in casino gaming entertainment and systems technology, IGT provides a holistic solution to the industry and its strength in gaming management systems and new interactive technologies will also be showcased at AGE.

The IGT Advantage Club® System will be demonstrated with new technologies such as Service Window, a small window that appears on the left hand side of the screen. The Service Window can be used for personalized player messaging and for service requests, adding a unique level of service for venues with the IGT system. The IGT Advantage Club® system is proving to be a winner with clubs in New South Wales.

IGT will again be playing host to industry experts who will present a range of topics including game floor design, customer service and systems. For more details on the free business seminar sessions visit www.igt.com.au/AGE12.

About IGT
International Game Technology (NYSE: IGT) is a global leader in casino gaming entertainment and continues to transform the industry by translating casino player experiences to social, mobile and interactive environments for regulated markets around the world. IGT’s recent acquisition of Double Down Interactive provides engaging casino style entertainment to more than 5 million players monthly. More information about IGT is available at www.IGT.com or connect with IGT at @IGTNews or www.facebook.com/IGT.

© EPE, Reg. U.S. Pat & TM O_.

Dangerous Beauty and Black Widow were created by High 5 Games. For more information on High 5 Games, go to www.High5games.com

Pure Depth™, MLD®, Multi-Layer Display® and Actual Depth™ are trademarks or registered trademarks of Pure Depth, Inc. All other trademarks are registered trademarks or the property of their respective owners without the intent to infringe. www.puredepth.com. All trademarks or registered trademarks are owned by IGT (Australia) Pty. Limited or its related entities. All information is subject to change without notice. Game type availability is subject to jurisdictional approval.

Websites

Australasian Gaming Expo
www.austgamingexpo.com

Gaming Technologies Association
www.gamingta.com

PALtronics Australasia
www.paltronics.com.au

Sydney Convention and Exhibition Centre
www.scec.com.au

Human Statue Bodyart
www.humanstatuebodyart.com.au

Human Statue Bodyart Flickr
www.flickr.com/photos/humanstatuebodyart

Eva Rinaldi Photography Flickr
www.flickr.com/evarinaldiphotography

Good Wire Cutting Solutions photographs

Good Wire Cutting Solutions photographs

Klarm Machining

Some cool wire cutting services images:

Burying soldier who reduce barbed wire defence of Adrianople (LOC)

Image by The Library of Congress
Bain News Service,, publisher.

Burying soldier who cut barbed wire defence of Adrianople

[1913]

1 adverse : glass five x 7 in. or smaller sized.

Notes:
 Title from negative.
Photo connected to Battle of Adrianople, 1912-13, 1st Balkan War. The year 1913 seems on marker behind coffin. (Supply: Flickr Commons project, 2008, and Bain unfavorable LC-B2-2483-14)
Types element of: George Grantham Bain Collection (Library of Congress).

Format: Glass negatives.

Rights Information: No recognized restrictions on publication.

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Basic information about the Bain Collection is obtainable at hdl.loc.gov/loc.pnp/pp.ggbain

Greater resolution image is offered (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.11367

Call Quantity: LC-B2- 2501-12

Electrical wiring

Image by slworking2
Inside a lately reduce-open nuclear bomb shelter.

Now abandoned, the Mount Laguna Air Force Station was a DEW (Distant Early Warning) internet site, watching for incoming missiles. It was residence to the 751st Aircraft Handle and Warning &amp Squadron, later the 751st Radar Squadron, component of the Air Defense Command. The facility was abandoned in the early 1980’s.

The buildings that once housed up to 400 Air Force personnel at Mount Laguna are now gutted shells covered with graffiti and filled with building debris.

For years, U.S. Forest Service officials have wanted to demolish the buildings at the abandoned base, but no cash was offered. Now, with federal stimulus funds, they’ll be in a position to get the job carried out.

The barracks, administration building, mess hall and other buildings that made up the Laguna Mountain Air Force Base will be torn down utilizing money from .two million in stimulus funds for Forest Service facilities in disrepair in 14 California counties.

www3.signonsandiego.com/stories/2009/aug/17/1m17laguna001…

www.eastcountymagazine.org/?q=node/1737

Verify out my videos of this location: www.youtube.com/profile?user=slworking2&ampview=videos&a…