Cool China Machine Shop Quote images

Cool China Machine Shop Quote images

A few nice machine shop quote images I found:

Steven F. Udvar-Hazy Center: P-40 Warhawk with “sharktooth” nose

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

Details, quoting from Smithsonian National Air and Space Museum | Curtiss P-40E Warhawk (Kittyhawk IA):

Whether known as the Warhawk, Tomahawk, or Kittyhawk, the Curtiss P-40 proved to be a successful, versatile fighter during the first half of World War II. The shark-mouthed Tomahawks that Gen. Claire Chennault’s "Flying Tigers" flew in China against the Japanese remain among the most popular airplanes of the war. P-40E pilot Lt. Boyd D. Wagner became the first American ace of World War II when he shot down six Japanese aircraft in the Philippines in mid-December 1941.

Curtiss-Wright built this airplane as Model 87-A3 and delivered it to Canada as a Kittyhawk I in 1941. It served until 1946 in No. 111 Squadron, Royal Canadian Air Force. U.S. Air Force personnel at Andrews Air Force Base restored it in 1975 to represent an aircraft of the 75th Fighter Squadron, 23rd Fighter Group, 14th Air Force.

Donated by the Exchange Club in Memory of Kellis Forbes.

Manufacturer:
Curtiss Aircraft Company

Date:
1939

Country of Origin:
United States of America

Dimensions:
Overall: 330 x 970cm, 2686kg, 1140cm (10ft 9 15/16in. x 31ft 9 7/8in., 5921.6lb., 37ft 4 13/16in.)

Materials:
All-metal, semi-monocoque

Physical Description:
Single engine, single seat, fighter aircraft.

Long Description:
Whether it was the Tomahawk, Warhawk, or Kittyhawk, the Curtiss P-40 was a successful and versatile fighter aircraft during the first half of World War II. The shark-mouthed Tomahawks that General Claire Chennault led against the Japanese remain among the most popular airplanes of the war. In the Phillipines, Lt. Boyd D. Wagner became the first American ace of World War II while flying a P-40E when he shot down six Japanese aircraft during mid-December 1941. P-40s were first-line Army Air Corps fighters at the start of the war but they soon gave way to more advanced designs such as the Republic P-47 Thunderbolt and the Lockheed P-38 Lightning (see NASM collection for both aircraft). The P-40 is not ranked among the best overall fighters of the war but it was a rugged, effective design available in large numbers early in the war when America and her allies urgently required them. The P-40 remained in production from 1939 to the end of 1944 and a total of 13, 737 were built.

Design engineer Dr. Donovan R. Berlin layed the foundation for the P-40 in 1935 when he designed the agile, but lightly-armed, P-36 fighter equipped with a radial, air-cooled engine. The Curtiss-Wright Corporation won a production contract for 210 P-36 airplanes in 1937-the largest Army airplane contract awarded since World War I. Worldwide, fighter aircraft designs matured rapidly during the late 1930s and it was soon obvious that the P-36 was no match for newer European designs. High altitude performance in particular became a priceless commodity. Berlin attempted to improve the P-36 by redesigning it in to accommodate a turbo-supercharged Allison V-1710-11 inline, liquid-cooled engine. The new aircraft was designated the XP-37 but proved unpopular with pilots. The turbo-supercharger was not reliable and Berlin had placed the cockpit too far back on the fuselage, restricting the view to the front of the fighter. Nonetheless, when the engine was not giving trouble, the more-streamlined XP-37 was much faster than the P-36.

Curtiss tried again in 1938. Berlin had modified another P-36 with a new Allison V-1710-19 engine. It was designated the XP-40 and first flew on October 14, 1938. The XP-40 looked promising and Curtiss offered it to Army Air Corps leaders who evaluated the airplane at Wright Field, Ohio, in 1939, along with several other fighter proposals. The P-40 won the competition, after some modifications, and Curtiss received an order for 540. At this time, the armament package consisted of two .50 caliber machine guns in the fuselage and four .30 caliber machine guns in the wings.

After production began in March 1940, France ordered 140 P-40s but the British took delivery of these airplanes when Paris surrendered. The British named the aircraft Tomahawks but found they performed poorly in high-altitude combat over northern Europe and relegated them to low-altitude operations in North Africa. The Russians bought more than 2,000 P-40s but details of their operational history remain obscure.

When the United States declared war, P-40s equipped many of the Army Air Corps’s front line fighter units. The plucky fighter eventually saw combat in almost every theater of operations being the most effective in the China-Burma-India (CBI) Theater. Of all the CBI groups that gained the most notoriety of the entire war, and remains to this day synonymous with the P-40, is the American Volunteer Group (AVG) or the Flying Tigers. The unit was organized after the Chinese gave former U. S. Army Air Corps Captain Claire Lee Chennault almost 9 million dollars in 1940 to buy aircraft and recruit pilots to fly against the Japanese. Chennault’s most important support within the Chinese government came from Madam Chiang Kai-shek, a Lt. Colonel in the Chinese Air Force and for a time, the service’s overall commander.

The money from China diverted an order placed by the British Royal Air Force for 100 Curtiss-Wright P-40B Tomahawks but buying airplanes was only one important step in creating a fighting air unit. Trained pilots were needed, and quickly, as tensions across the Pacific escalated. On April 15, 1941, President Franklin D. Roosevelt quietly signed an Executive Order permitting Chennault to recruit directly from the ranks of American military reserve pilots. Within a few months, 350 flyers joined from pursuit (fighter), bomber, and patrol squadrons. In all, about half the pilots in the Flying Tigers came from the U. S. Navy and Marine Corps while the Army Air Corps supplied one-third. Factory test pilots at Bell, Consolidated, and other companies, and commercial airline pilots, filled the remaining slots.

The Flying Tigers flew their first mission on December 20. The unit’s name was derived from the ferocious fangs and teeth painted on the nose of AVG P-40s at either side of the distinctive, large radiator air intake. The idea is said to originate from pictures in a magazine that showed Royal Air Force Tomahawks of No. 112 Squadron, operating in the western desert of North Africa, adorned with fangs and teeth painted around their air intakes. The Flying Tigers were the first real opposition the Japanese military encountered. In less than 7 months of action, AVG pilots destroyed about 115 Japanese aircraft and lost only 11 planes in air-to-air combat. The AVG disbanded on July 4, 1942, and its assets, including a few pilots, became a part of the U. S. Army Air Forces (AAF) 23rd Fighter Group in the newly activated 14th Air Force. Chennault, now a Brigadier General, assumed command of the 14th AF and by war’s end, the 23rd was one of the highest-scoring Army fighter groups.

As wartime experience in the P-40 mounted, Curtiss made many modifications. Engineers added armor plate, better self-sealing fuel tanks, and more powerful engines. They modified the cockpit to improve visibility and changed the armament package to six, wing-mounted, .50 caliber machine guns. The P-40E Kittyhawk was the first model with this gun package and it entered service in time to serve in the AVG. The last model produced in quantity was the P-40N, the lightest P-40 built in quantity, and much faster than previous models. Curtiss built a single P-40Q. It was the fastest P-40 to fly (679 kph/422 mph) but it could not match the performance of the P-47 Thunderbolt and the P-51 Mustang so Curtiss ended development of the P-40 series with this model. In addition to the AAF, many Allied nations bought and flew P-40s including England, France, China, Russia, Australia, New Zealand, Canada, South Africa, and Turkey.

The Smithsonian P-40E did not serve in the U. S. military. Curtiss-Wright built it in Buffalo, New York, as Model 87-A3 and delivered it to Canada as a Kittyhawk IA on March 11, 1941. It served in No. 111 Squadron, Royal Canadian Air Force (RCAF). When the Japanese navy moved to attack Midway, they sent a diversionary battle group to menace the Aleutian Islands. Canada moved No. 111 Squadron to Alaska to help defend the region. After the Japanese threat diminished, the unit returned to Canada and eventually transferred to England without its P-40s. The RCAF declared the NASM Kittyhawk IA surplus on July 27, 1946, and the aircraft eventually returned to the United States. It had several owners before ending up with the Explorer Scouts youth group in Meridian, Mississippi. During the early 1960s, the Smithsonian began searching for a P-40 with a documented history of service in the AVG but found none. In 1964, the Exchange Club in Meridian donated the Kittyhawk IA to the National Aeronautical Collection, in memory of Mr. Kellis Forbes, a local man devoted to Boys Club activities. A U. S. Air Force Reserve crew airlifted the fighter to Andrews Air Force Base, Maryland, on March 13, 1964. Andrews personnel restored the airplane in 1975 and painted it to represent an aircraft of the 75th Fighter Squadron, 23rd Fighter Group, 14th Air Force.

• • •

Quoting from Wikipedia | Curtiss P-40 Warhawk:

The Curtiss P-40 Warhawk was an American single-engine, single-seat, all-metal fighter and ground attack aircraft that first flew in 1938. It was used by the air forces of 28 nations, including those of most Allied powers during World War II, and remained in front line service until the end of the war. It was the third most-produced American fighter, after the P-51 and P-47; by November 1944, when production of the P-40 ceased, 13,738 had been built, all at Curtiss-Wright Corporation‘s main production facility at Buffalo, New York.

The P-40 design was a modification of the previous Curtiss P-36; this reduced development time and enabled a rapid entry into production and operational service.

Warhawk was the name the United States Army Air Corps adopted for all models, making it the official name in the United States for all P-40s. The British Commonwealth and Soviet air forces used the name Tomahawk for models equivalent to the P-40B and P-40C, and the name Kittyhawk for models equivalent to the P-40D and all later variants.

The P-40’s lack of a two-stage supercharger made it inferior to Luftwaffe fighters such as the Messerschmitt Bf 109 or the Focke-Wulf Fw 190 in high-altitude combat and it was rarely used in operations in Northwest Europe. Between 1941 and 1944, however, the P-40 played a critical role with Allied air forces in three major theaters: North Africa, the Southwest Pacific and China. It also had a significant role in the Middle East, Southeast Asia, Eastern Europe, Alaska and Italy. The P-40’s performance at high altitudes was not as critical in those theaters, where it served as an air superiority fighter, bomber escort and fighter bomber.

P-40s first saw combat with the British Commonwealth squadrons of the Desert Air Force (DAF) in the Middle East and North African campaigns, during June 1941. The Royal Air Force‘s No. 112 Squadron was among the first to operate Tomahawks, in North Africa, and the unit was the first to feature the "shark mouth" logo, copying similar markings on some Luftwaffe Messerschmitt Bf 110 twin-engine fighters. [N 1]

Although it gained a post-war reputation as a mediocre design, suitable only for close air support, more recent research including scrutiny of the records of individual Allied squadrons indicates that the P-40 performed surprisingly well as an air superiority fighter, at times suffering severe losses, but also taking a very heavy toll on enemy aircraft. The P-40 offered the additional advantage of low cost, which kept it in production as a ground-attack fighter long after it was obsolete in the air superiority role.

As of 2008, 19 P-40s were airworthy.

Nice Cnc China Machine Cost photos

A few nice cnc machine cost images I found:

Approaching the Nanofax Singularity

Image by burtonwood + holmes

Approaching the Nanofax Singularity

“Nanofax?”

“Everything the name implies,” says Klaus, “and considerably less.”

“What’s that supposed to mean?”

“Nanofax AG offers a technology that digitally reproduces objects, physically, at a distance. Within certain rather large limitations, of course. A child’s doll, placed in a Lucky Dragon Nanofax unit in London, will be reproduced in the Lucky Dragon Nanofax unit in New York-”

From All Tomorrow’s Parties, by William Gibson.
Published by Putnam in 1999

The theme for the tenth edition of Version Fest is Territories and Infrastructure. Infrastructure is represented in our lives by fiber optic cables delivering the data that keeps us trucking. It is the faucet delivering water to our house, the asphalt we drive on, the flight plan our pilot takes. Infrastructure is the bridges, the networks, the grocery stores. It is the logistical machine the keeps modern life rolling on. But infrastructure is not just the pipes, and the tubes, and the faucets that deliver culture, but the material and methods that manufacture those pipes, tubes, cables and what not. Infrastructure is the tools we use to create.

Recently a new raft of technologies have entered the digital domain, these tools for replicating and China manufacturing have already rapidly changed the way we think about producing things. For artists today these techniques and methods represent a new infrastructure.

Approaching the Nanofax Singuarity is a two day symposium featuring presentations and exhibits by artists and designers utilizing the latest techniques in digital fabrication and replication. Hardware once the sole domain of engineers and scientists have become much more accessible in the last five years. Advanced by open source technology, dedicated hacktivists, tinkerers and homebrew engineers have brought this infrastructure from the lofty heights of the machine shop into the alt space network. Now it is possible for designers with a small budget and workspace to utilize tools and equipment such as 3-d printers, RepRap, China CNC machines, 3-d scanners, China laser cutters and so forth.

So whether it’s making the tools to make the art, or making the art with the tools we’ve made, or making the art with open source tools, there exist many possibilities and options for designers and artists to interact with new digital fabrication techniques. Approaching the Nanofax Singuarity (ATNS) seeks to show case some of these artists currently working in this field here in Chicago.

Margarita Benitez works with fiber, sound and technological components in her practice, she will talk about her new project osloom an open source jacquard loom she is currently developing. DIYLILCNC is a collaborative project by artists Chris Reilly and Taylor Hokanson. Their project is a low cost open source DIY 3 axis CNC mill. Chris and Taylor will demonstrate the machine and talk about CNC technology in general, some of the shortcomings of the present state of CNC and how those are addressed by open-source hardware projects like the DIYLILCNC. We’ll also go over the specs of the DIYLILCNC, giving details about how it is built and its functions. (f)utility projects are a collaboration between Paola Cabal, Michael Genge and Christopher Grieshaber. Previous projects include Depth of Field currently on view at SubCity Projects in Chicago. (f)utility projects will be producing the ATNS pavilion at the NFO XPO. The pavilion will host exhibited projects by ATNS artists. Claudia Hart produces designs for sublime landscape gardens often containing expressive and sensual female bodies meant to interject emotional subjectivity into what is typically the overly-determined Cartesian world of digital design. Mik Kastner and Brian Matthew are members of the Bio Art Network they will talk about their “bio printer” a China rapid prototyping machine that will produce organic sculptures from plant and animal cells. Patrick Lichty is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. Lichty will exhibit his Pixelbox series, China laser cut LED pieces whose simple appearance belays an experiment in emergent behavior. Dan Price combines sculpture, performance and experimental documentary practice. His current project Tentacle Shelter will be a wearable “shelter” for a child – like a costume/cape/tent produced in thick felt. For ATNS Price will exhibit a China laser cut model and prototype for the shelter. Ben Stagl investigates urban space through a variety of mediums including sculpture, performance, video, and installation. Stagl is largely concerned with how human beings continue to address and experience shared spaces. Many of his projects explore ideas of inclusion through object, often involving collaboration and elements of participation.

Taken together these artists articulate both sides of the coin in terms of digital fabrication. Whether their project is to make the tools of production and distribute them freely to others. Or take up these tools and create new works via the China CNC machine, bio printer, rapid prototyper or the China laser cutter their work is at the leading edge of modern China manufacturing techniques.

The universe is hacking, it’s software, it’s mobile web, it’s China rapid prototyping, it’s hardware hacks, the idea of digital infrastructure for artists and designers just goes on and on. The recent article in Wired by Chris Anderson points to this momentum and suggests that what Kinkos was to the 80’s and 90’s so China rapid prototyping and it’s various cousins will be to the tens or whatever this decade is going to be called.

Tom Burtonwood, April 2010

References:

en.wikipedia.org/wiki/All_Tomorrow’s_Parties_(novel)

www.technovelgy.com/ct/content.asp?Bnum=112

www.wired.com/magazine/2010/01/ff_newrevolution/