Good Precision Turning pictures

Some cool precision turning photos:

Jantar Mantar observatory, sundial, built by Maharaja Jai Singh II of Jaipur in 1724 – buses, automobiles, individuals, palms, trees, photo from hotel, atmospheric distance steamy hot morning, downtown New Delhi, on pilgrimage, 1993, India

Image by Wonderlane
The Jantar Mantar is situated in the modern day city of New Delhi. It consists of 13 architectural astronomy instruments. The site is one particular of five built by Maharaja Jai Singh II of Jaipur, from 1724 onwards, as he was provided by Mughal emperor Muhammad Shah the process of revising the calendar and astronomical tables.

The primary goal of the observatory was to compile astronomical tables, and to predict the instances and movements of the sun, moon and planets. Some of these purposes today would be classified as astronomy.

Completed in 1724, the Delhi Jantar Mantar had decayed considerably by 1867.

There are three instruments inside the observatory of Jantar Mantar in New Delhi: the Samrat Yantra, the Jayaprakash, and the Misra Yantra.

Samrat Yantra: The Samrat Yantra, or Supreme Instrument, is a giant triangle that is essentially an equal hour sundial. It is 70 feet higher, 114 feet long at the base, and 10 feet thick. It has a 128-foot-lengthy (39 m) hypotenuse that is parallel to the Earth’s axis and points toward the North Pole. On either side of the triangle is a quadrant with graduations indicating hours, minutes, and seconds.

At the time of the Samrat Yantra’s building, sundials already existed, but the Samrat Yantra turned the standard sundial into a precision tool for measuring declination and other associated coordinates of numerous heavenly bodies.

Jayaprakash Yantra: The Jayaprakash consists of hollowed out hemispheres with markings on their concave surfaces. Crosswires have been stretched amongst points on their rim. From inside the Ram, an observer could align the position of a star with different markings or a window’s edge.

Misra Yantra: The Misra Yantra was developed as a tool to decide the shortest and longest days of the year. It could also be utilised to indicate the precise moment of noon in different cities and places regardless of their distance from Delhi – very remarkable!

The Mishra yantras have been in a position to indicate when it was noon in a variety of cities all over the planet and was the only structure in the observatory not invented by Jai Singh II.

en.wikipedia.org/wiki/Jantar_Mantar,_Delhi

Their view #hotwinterlight #essay #lastintheset

Image by ocDeluxe
Exhaustion. Fibrillation, noise, competing frequencies. My rhythm is off and I need to find my personal heartbeat once again. It is been foggy right here all week–I typically really like fog–but the final few months have left me feeling like a zombie, all hollow and empty and inhuman, and I haven’t been capable to take pleasure in it. I wake up every morning and go about my routine, which is about all I can say. I shared this with my wife and she suggested that I take the entire day off from what I normally do. (Thanks for the viewpoint and help, honey!) This morning I opened to exactly where I left off in the Bible and read Lev. 23, the Lord is establishing rules for days of rest. Huh, interesting… so possibly I make myself a guarantee to rest today, which ironically is even a Saturday, the classic Sabbath day. And by rest I mean avoiding all factors that really feel like work, like photography in most instances. I couldn’t think about wanting to perform anyway, feeling like a zombie and all, so mostly, I’d just concentrate on becoming and paying attention–but should the temptation arise I promised myself I would not work.

Friendship drew me out of the home this morning, got my proverbial feet moving, with the guarantee of a uncommon art show downtown. A myriad of booths promoting old prints from woodcuts, etchings, monotypes, linocuts, and some I’ve heard of, like mezzotints. Input. The 1 I liked most was 00. Pass, for now.

But I also necessary space, to be in space, by myself for a whilst. Someplace a handful of blocks away, on a library hold shelf, a Philippe Halsman retrospective sat with my name on it. So I let my pal Mike know I was going to duck out for a few minutes to fetch it. The hot winter light, living, alive, impossible to ignore caught my eye. It shaped, defined, every thing about me brick and stone brought to life. I created a handful of snaps on my phone as I walked, reflex, which didn’t feel like operate and I didn’t have to perform at it, although it did little to ease my weary spirit.

Sustenance. Mike and I headed northeast for lunch, to that one hundred-year-old schoolhouse turned restaurant that serves regional microbrews. Burger and a beer and, ahh, the bliss of unhurried conversation. My burger was overcooked, like me, but the copper ale, delicious. It is often wonderful to connect with buddies more than a great meal, and the conversation welcome and prompting of reflection.

The a single aspect I really feel is at the moment missing in my life: Solitude. There’s a vacancy in time to wander and stare. And now that I truly have the day cost-free I needed to figure out exactly where to devote the rest of it. Soon after I mentioned goodbye to Mike I drove to Cathedral Park. Despite the fact that I’ve spent most of my life in Portland and in no way observed it. Pity. It’s a lengthy drive, but seemed as good of location as any and so there I went. I wavered when although crossing the Freemont Bridge, seeing how beautifully hazy the extended views have been, but expertise tells me that if I changed my mind now I’d end up nowhere. The female GPS with a foot fetish (in 1000 feet, turn left…) guided me with disturbing precision into the parking lot. Craving simplicity I slung my manual film camera more than my shoulder and left the DSLR in the vehicle.

Temptation. A crowd had formed on the primary lawn, about a group of performers with soap buckets and roped sticks. Giant morphing bubbles emerging like dragons out of thin air. The halos and reflections… stunning against the textured sky. Youngsters were running and jumping, giggling, as they popped the bubbles. Photographers everywhere, I counted at least fifty if you consist of camera phones, and excellent photographs could have/would have come easy, though it would have felt like operate to me. My shoulders drooping, held back, I moved along to wander and stare and discover: following that intuitive thread beyond my comprehension. I wandered on the dock, along the bank, by way of the trees, back to the auto, back to the park, up along the bridge pillars, down and around. I was fairly thorough in my wandering. I hurried only once, when mud disguised as grass tried to swallow my shoes.

Withdrawal. I made my way to the prime of the park in line with the bridge pillars with the hope of sitting quietly by myself for a while. A number of photographers showed shortly right after and setup tripods around me–apparently I had picked a excellent photo spot–and went about their company quietly. I listened to the sound of clacking shutters for a while and then fled back toward the river in silence.

Train tracks cut through the park I guess I had seen them on my way in, but they never really registered. Had I been a tiny more quickly I may have beaten the train, but as it had been I was cutoff. I waited patiently and then not so patiently as every freight auto lumbered passed, eventually realizing I would be there for the longer I had patience for. So I walked along the graveled tracks toward the opposite finish of the park, often reaching out with my fingers and tracing the corrugated ribs on the passing automobiles, iron fence boards. How curious to be so close to such a massive moving object with out any sense of worry or awe. And I listened, deeply, to the higher-pitch groans and screams of the metal on metal as the tracks traveled up and down like slow-moving pistons flexing around every wheel. I believed about cutting amongst the vehicles, maybe using the access stairs, or possibly hopping on a vehicle, but knew it was a bad concept for a lot of motives, and, besides, I was here to be patient and stare. By way of the gaps I noticed other folks waiting on the other side. Apparently none of us were happy with exactly where we have been. Waiting was mandatory.

We uncover our own beat in silence. Stillness and quiet are essential to sound, or rather music. It is the rests in among that support shape the rest of time. And often, maybe, we can locate stillness amongst the noise.

Right after the train passed I settled into a bench for a whilst, close to the major activity. Three guys in blue jeans, black tees, baseball caps, circling a pull wagon overloaded with buckets and bags and discarded coats. A single of the guys handed his bubble sticks more than to young woman who was carrying out a great job. A father with blond curly hair, I’m guessing German by his speech, chassed a giggling small boy with matching features. The boy about my own’s age, produced me miss my family members. A performer with a video camera bolted firmly to a helmet steadily floated by means of the action as if balancing water. Shortly following, he launched an RC helicopter, a huge one, like 650 class, and dispatched some of the bubbles with the rotor blades before moving on to far more sophisticated maneuvers. And there I sat till the last of the sun crept more than the tops of the hills, just before moving down toward the bank to explore further.

I felt a tinge of jealousy for the boulders sitting along the bank, year soon after year and watching the river flow by, the sun rising and setting, the altering light on the beautifully gothic spires of the St. John’s Bridge. But there was also ugliness here too. In another context I may well have thought this river bank a crime scene: scattered discarded clothing, crunchy and brittle, bleached from the sun the purse, riffled and cast aside the empty liquor bottle the lone shoe bobbing face down among the rotting twigs and effluvium. I’m not sure why, but I finally felt compelled to pull out my Pentax and make a couple exposures of the bridge. Practically nothing I will want to keep, likely, but the making was enjoyable nonetheless–and it didn’t really feel like perform. And that prompted me to make a couple of snaps on my telephone, to complete the set from earlier, except my telephone flashed low battery and shut down unexpectedly soon after a couple of–a casualty of the casual GPS use earlier. Or maybe a sign.

In the distance the bubble guys now wielded a smoke machine. Really unusual–the blobs of trapped smoke looked specifically like anything from a lava lamp. They even managed to trap a smoke-filled bubble inside a bigger typical one. Impressive. Still no compulsion to photograph and I moved on.

I sat in the auto for really a whilst and watched the final of the light fade away. This day would never occur once again. I guess the time was excellent for the soul, I needed time to fill the vacancy, even if the encounter wasn’t wholly successful. The essential in the ignition eventually turned, I never bear in mind selecting to do this, the transmission engaged, I backed up, unconsciously headed in a familiar path. When I passed downtown I regarded dropping by operate for a couple hours to address one thing on my backlog I’ve been avoiding for weeks and then remembered my Lev. 23 promise. Near residence I pulled more than into a grocery retailer parking lot, exactly where I am now, and started performing this, journaling. I’m extremely thankful to God for providing me the present of a day like this. My head is nevertheless foggy, but I’m still grateful even if I could not clear my head. And fog requirements time to dissipate, correct? But fog can be great as well. It can support reveal depth to shape what we may otherwise take for granted. It’s the in-between that shapes the light and it’s the in-between that shapes us, which assists us locate our rhythm. And fog increases that in-between. If it tends to make focusing challenging, then perhaps I require to concentrate on what’s close to. My loved ones is near, so I guess it really is time to go home.

Concorde!

Some cool turning parts manufacturer images:

Concorde!

Image by Chris Devers
Posted by way of email to ☛ HoloChromaCinePhotoRamaScope‽: cdevers.posterous.com/concorde. See the full gallery on Posterous …

• • • • •

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 more than 25 years. Designed and constructed by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a beautiful technological achievement that could not overcome severe economic issues.

In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations about the globe. Carrying up to 100 passengers in excellent comfort, the Concorde catered to initial class passengers for whom speed was essential. It could cross the Atlantic in fewer than 4 hours – half the time of a traditional jet airliner. Nonetheless its high operating fees resulted in extremely high fares that limited the quantity of passengers who could afford to fly it. These issues and a shrinking market ultimately forced the reduction of service till all Concordes had been 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 initial 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 ten in)
Length: 61.66 m (202 ft 3 in)
Height: 11.three m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Best speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each and every
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom

Physical Description:
Aircaft Serial Number: 205. Like four (4) engines, bearing respectively the serial quantity: CBE066, CBE062, CBE086 and CBE085.
Also integrated, aircraft plaque: &quotAIR 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.&quot

1966 Bizzarrini GT Strada 5300 (02)

Image by Georg Sander
Bizzarrini S.p.A. was an automotive manufacturer in the 1960s. Founded by former Alfa Romeo, Ferrari and ISO engineer, Giotto Bizzarrini, the business built a modest number of highly created and advanced sport and racing automobiles prior to failing in 1969.

In 1966 Bizzarrini S.p.A. released a beautiful street legal Grifo A3C as the Bizzarrini 5300 GT Strada (or Bizzarrini 5300 GT America, based on the market). The physique shape and mechanical parts have been the a lot the same as the Iso A3Cs, resulting in a power-packed but sensuous coupe below 40&quot in height.[1]

At least three 5300s had been turned out as gorgeous Style Italia designed spyder/targa versions, all of which survive.v

(Wikipedia)

Der Bizzarrini GT 5300 war ein in geringen Stückzahlen produzierter Sportwagen des italienischen Automobilherstellers Automobili Bizzarrini, der historisch und technisch eng mit dem Iso Grifo des Mailänder Sportwagenherstellers Iso Rivolta verwandt ist. Das Auto war als Rennsportversion des Grifo konzipiert und wurde anfänglich als Iso A3/C vermarktet. Nach dem Ende der geschäftlichen Beziehungen zwischen Bizzarrini und Iso Rivolta wurde es 1965 zu einem eigenständigen Modell. Bizzarrini bot den nun GT 5300 genannten Wagen in einer straßentauglichen Version und in einer überarbeiteten, für Motorsporteinsätze geeigneten Ausführung an. Der Produktionsumfang beider Versionen blieb hinter Bizzarrinis Erwartungen zurück. Auch im Motorsport konnte der GT 5300 nicht an die Erfolge anknüpfen, die 1964 und 1965 mit dem weitgehend baugleichen Iso A3/C erzielt worden waren.

(Wikipedia)

Cool Cnc Cutting Machine photos

Some cool cnc cutting machine images:

Lazerian: Light Modulator

Image by Liverpool Design Festival
A pc-generated kind was converted into modular sections, which have been reduce from 3mm birch plywood making use of a CNC routing machine. Emphasis was placed on limiting the quantity of special module shapes in order to simplify building twenty six distinctive units are utilized in total, repeated through the symmetry of the kind. Design Liam Hopkins and Richard Sweeney

Hardy Star Survives Supernova Blast (NASA, Chandra, 03/20/14)

Check out these grinding surface photos:

Hardy Star Survives Supernova Blast (NASA, Chandra, 03/20/14)

Image by NASA’s Marshall Space Flight Center
When a huge star runs out fuel, it collapses and explodes as a supernova. Despite the fact that these explosions are extremely strong, it is attainable for a companion star to endure the blast. A team of astronomers employing NASA’s Chandra X-ray Observatory and other telescopes has discovered evidence for one particular of these survivors.

This hardy star is in a stellar explosion’s debris field – also named its supernova remnant – located in an HII region referred to as DEM L241. An HII (pronounced &quotH-two&quot) area is developed when the radiation from hot, young stars strips away the electrons from neutral hydrogen atoms (HI) to form clouds of ionized hydrogen (HII). This HII area is situated in the Massive Magellanic Cloud, a tiny companion galaxy to the Milky Way.

A new composite image of DEM L241 contains Chandra data (purple) that outlines the supernova remnant. The remnant remains hot and for that reason X-ray vibrant for thousands of years soon after the original explosion occurred. Also incorporated in this image are optical data from the Magellanic Cloud Emission Line Survey (MCELS) taken from ground-primarily based telescopes in Chile (yellow and cyan), which trace the HII emission produced by DEM L241. Extra optical data from the Digitized Sky Survey (white) are also included, showing stars in the field.

R. Davies, K. Elliott, and J. Meaburn, whose last initials were combined to give the object the very first half of its name, first mapped DEM L241 in 1976. The recent data from Chandra revealed the presence of a point-like X-ray supply at the exact same location as a young enormous star within DEM L241’s supernova remnant.

Astronomers can appear at the particulars of the Chandra data to glean critical clues about the nature of X-ray sources. For example, how vibrant the X-rays are, how they adjust more than time, and how they are distributed across the variety of power that Chandra observes.

In this case, the information recommend that the point-like source is one particular component of a binary star technique. In such a celestial pair, either a neutron star or black hole (formed when the star went supernova) is in orbit with a star significantly larger than our Sun. As they orbit 1 another, the dense neutron star or black hole pulls material away its companion star by way of the wind of particles that flows away from its surface. If this outcome is confirmed, DEM L241 would be only the third binary containing each a huge star and a neutron star or black hole ever located in the aftermath of a supernova.

Chandra’s X-ray information also show that the inside of the supernova remnant is enriched in oxygen, neon and magnesium. This enrichment and the presence of the enormous star imply that the star that exploded had a mass higher than 25 instances, to perhaps up to 40 times, that of the Sun.

Optical observations with the South African Astronomical Observatory’s 1.9-meter telescope show the velocity of the huge star is altering and that it orbits about the neutron star or black hole with a period of tens of days. A detailed measurement of the velocity variation of the enormous companion star must give a definitive test of no matter whether or not the binary consists of a black hole.

Indirect proof currently exists that other supernova remnants had been formed by the collapse of a star to kind a black hole. Nevertheless, if the collapsed star in DEM L241 turns out to be a black hole, it would supply the strongest proof however for such a catastrophic occasion.

What does the future hold for this program? If the most current thinking is correct, the surviving massive star will be destroyed in a supernova explosion some millions of years from now. When it does, it may possibly type a binary program containing two neutron stars or a neutron star and a black hole, or even a method with two black holes.

A paper describing these benefits is offered on-line and was published in the November 10, 2012 concern of The Astrophysical Journal. The authors are Fred Seward of the Harvard-Smithsonian Center for Astrophysics in Cambridge, MA P. Charles from University of Southampton, UK D. Foster from the South African Astronomical Observatory in Cape Town, South Africa J. Dickel and P. Romero from University of New Mexico in Albuquerque, NM Z. Edwards, M. Perry and R. Williams from Columbus State University in Columbus, GA.

NASA’s Marshall Space Flight Center in Huntsville, Ala., manages the Chandra system for NASA’s Science Mission Directorate in Washington. The Smithsonian Astrophysical Observatory in Cambridge, Mass., controls Chandra’s science and flight operations.

Original caption/more images: chandra.harvard.edu/photo/2014/deml241/

Image credit: X-ray: NASA/CXC/SAO/F.Seward et al Optical: NOAO/CTIO/MCELS, DSS

Study far more about Chandra:
www.nasa.gov/chandra

p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We’d adore to have you as a member!

_______________________________
These official NASA photographs are being created accessible for publication by news organizations and/or for personal use printing by the topic(s) of the photographs. The photographs might not be used in supplies, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images employed have to be credited. For details on usage rights please visit: www.nasa.gov/audience/formedia/characteristics/MP_Photo_Guidelin…

Upsala Glacier Retreat, Patagonia Icefield (NASA, International Space Station, ten/02/13)

Image by NASA’s Marshall Space Flight Center
Upsala Glacier Retreat and Patagonia Icefield are featured in this image photographed by an Expedition 37 crew member on the International Space Station. This photograph highlights the snout of the Upsala Glacier (49.88S 73.3W) on the Argentine side of the North Patagonian Icefield. Ice flow in this glacier (white mass, left) is from the north (left). Dark lines of rocky moraine inside the ice give a sense of the slow ice flow from left to correct. A smaller sized side glacier joins Upsala at the present-day ice front — the wall from which masses of ice periodically collapse into Lake Argentino. In this image the two.75-kilometer-lengthy wall casts a thin, dark shadow. The surface of Lake Argentino is whitened by a mass of ice debris from a current collapse of the ice wall. Larger icebergs that have calved seem as white dots on the lake surface at appropriate.

Remotely sensed data, like detailed astronaut photos such as this, have recorded the position of the ice front over the years. Even although the ice actually flows slowly southward, comparison of this October 2013 image with older data (not shown) indicates that the ice wall of the glacier has moved backwards — upstream — an average of three.six kilometers given that early 2002. This so-called &quotretreat&quot is believed by scientists to indicate local climatic warming in this element of South America. The warming not only causes the ice front to retreat but more importantly, causes all round thinning of the glacier ice mass, as a study of 63 glaciers in Patagonia has shown is now a general trend (Rignot et al. 2003). Ice-front retreat is now identified to be connected to volumetric loss due to melting. Water colour is related to glacier flow. Lake Argentino receives most of the ice from the glacier and hence also receives most of the &quotrock flour&quot (rocks ground to white powder by the ice scraping against the rock floor of the valley) from underneath the glacier. Glacial flour turns the lake water a gray-green hue in this image. The darker blue of the smaller sized lakes (best) indicates that they are getting significantly much less rock flour.

Image credit: NASA

Original image:
spaceflight.nasa.gov/gallery/photos/station/crew-37/html/…

More about space station analysis:
www.nasa.gov/mission_pages/station/research/index.html

View much more pictures like this in the &quotNASA Earth Pictures&quot Flickr photoset:
www.flickr.com/photographs/28634332@N05

________________________________
These official NASA photographs are getting made obtainable for publication by news organizations and/or for private use printing by the topic(s) of the photographs. The photographs could not be employed in components, ads, merchandise, or promotions that in any way suggest approval or endorsement by NASA. All Photos utilised must be credited. For details on usage rights please check out: www.nasa.gov/audience/formedia/attributes/MP_Photo_Guidelin…

Lengthy Island Sound, New Jersey Coast (NASA, International Space Station Science, 11/ten/06)

Image by NASA’s Marshall Space Flight Center
Editor’s Note: This is an archive image from 2006.

This image featuring a southeast-hunting view of the Long Island Sound and New Jersey coast, with the reduce Hudson River and New York Bay in the region of brightest sunglint was photographed by an Expedition 14 crewmember on the International Space Station. On the far correct a gray haze can be observed streaming out to sea offshore of New Jersey, exactly where it becomes harder to see. In fact haze covers most of the visible region offshore, partly obscuring the sea surface. By contrast, clouds appear fairly different from haze according to scientists. Clouds usually have sharp margins and are pure white, as clouds at the bottom show. Industrial haze is grayer and more diffuse, and is common of the air more than the Northeast. Flow lines show that winds are transporting the haze in clockwise fashion–i.e. bending south–which in turn signifies that a high stress system was operating on that day, centered roughly more than the coast. High stress systems are notorious for advertising smog events because they bring clear skies, and sunlight promotes smog formation. Highs also concentrate polluted surface layers near the ground.

Image/caption credit: NASA

View original image/caption:
spaceflight.nasa.gov/gallery/images/station/crew-14/html/…

Much more about space station science:
www.nasa.gov/mission_pages/station/science/index.html

There’s a Flickr group about Space Station Science. Please really feel welcome to join! www.flickr.com/groups/stationscience/

Steven F. Udvar-Hazy Center: SR-71 Blackbird (starboard profile)

A few nice turning parts manufacturer images I found:

Steven F. Udvar-Hazy Center: SR-71 Blackbird (starboard profile)

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

One of the Seven Sister houses built by Captain Arnold in Mannum in 1911. They are all identical and made of pressed tin.

Image by denisbin
The historic port township of Mannum is located in one of the very scenic regions of the Murray where high cliffs of Tertiary limestone have been exposed by the meandering river. This limestone is laid down over clay layers and the stone was the obvious building material for buildings in Mannum from its origins. The town name came from the local Aboriginal word for place of many ducks. The first white people to see this area were Captain Charles Sturt and his party of explorers who came down the Murray to its mouth in 1830. In 1839 when the government was offering Special Surveys for the huge sum of £4,000 the so called Thirty Nine Sections survey was taken out along the Murray River where Mannum now stands. A consortium of investors took out this Special survey including John Cocks, Osmond Gilles (the Colonial Treasurer), Edward John Eyre (the explorer), and William Leigh (a Staffordshire benefactor of both the Anglican and Catholic churches in SA). Gilles and Leigh held the largest parcels of the 4,000 acres granted with Gilles’ land on the Adelaide side west of the Murray and Leigh’s on the eastern side. Their land covered the areas from Mannum to where Reedy Creek enters the Murray at Caloote. Both were primarily speculators and no real development happened in the area at this time around 1839. The economic activity of the district occurred on the pastoral lease land of John Baker who held most of the land from the Tungkillo area down to Mannum and the Murray from 1843 onwards. A decade (1853) later William Randell of Gumeracha took out pastoral leases on land between Mannum and the Mt Lofty Ranges to the north of Baker’s leases. His run was called Mannum!

Randell’s interest in the Murray and Mannum began back in 1850 when he would have heard that the Governor, Sir Henry Young, his wife, and a party of others cruised up the Murray from Wellington SA to Wentworth in NSW. Governor Young saw the potential of the river for navigation. A committee was established to investigate this and it included William Younghusband, a friend of Captain Cadell of Goolwa, George Fife Angas and John Baker of Tungkillo. The governor offered a reward for the first paddle steamer to venture up the Murray from Goolwa to Wentworth in NSW and Swan Hill in Victoria to prove its navigability. Younghusband worked with Captain Cadell to get this prize money. Cadell named his boat after the wife of the Governor, Lady Augusta. Meantime, without “entering” the race to navigate up to Wentworth, Captain Randell of Mannum readied his paddle steamer to navigate up to Wentworth and beyond. He had taken out his pastoral lease on the Mannum station in 1853. Randell named his boat after his mother, Mary Ann. Randell set out first for Wentworth (and Echuca beyond) but both boats arrived in Wentworth about the same time in August 1853. Because of his connections to Younghusband and the Governor, who had travelled on Cadell’s boat, Captain Cadell received the prize money of £4,000. Because this smacked of favouritism with almost a touch of official corruption the newspapers in Adelaide complained. Randell asked for nothing but was given a “small financial “reward (£300) by the government. The important outcome of the “race” was the beginnings of the River Murray steamer or paddle boat trade.

In turn this river trade led to the establishment of a small settlement at Mannum but it growth was very slow. Randell built a wool store shed on the banks of the Murray at his wharf on his sheep property at Mannum. This was 1854 and the shed was the first structure in what was to become Mannum. Two years later (1856) Randell built a house at Mannum and opened a store here for passing trade. Around that time the government began selling freehold blocks of 50 to 80 acres along the Murray. Consequently the first “settlers” arrived in Mannum, William Baseby and Carl Polack. The first hotel was opened, the Old Bogan, in 1860. The government could see a town emerging privately so they surveyed a government town and port in 1864 downstream from Randell’s wharf area, just beyond what is now the Mary Ann Reserve. Randell had the best spot and the government town did not develop so Randell had a private town surveyed in 1869. This prospered and constitutes the central part of Mannum today. Settlers took up town blocks; Randell donated land for a school in 1871, a flour mill operated by another family opened in 1876, and Mrs. Randell had opened the Bogan store in 1863. More stores followed. The government ferry service began in 1875 and Mannum Council was formed in 1877. Ironically this mid 1870s boom also saw the death of William Randell’s father in Gumeracha. He died at the family estate Kenton Park at Gumeracha in 1876 and is buried in the Baptist church cemetery there. But the town of Mannum was still developing with the churches opening: the Methodist Church in 1880 – replaced 1896; St. Martin’s Lutheran Church in 1882; the Zion Lutheran in 1893; the Presbyterian Church in 1886; the Anglican Church in 1910; and finally the Catholic Church in 1913. The town Institute opened in 1882 and the private school of 1871 was taken over by the state government in 1885. This real boom in the town’s growth came after the settlement of the Murray Flats for wheat farming from 1872 onwards. The founder of Mannum, William Randell died in 1911 but after his father had died in 1876, William Randell had left Mannum and retired to Kenton Park in Gumeracha. His son Murray Randell took over the family river boat business in Mannum from 1899 onwards and had full control of it from 1911. Flour from the family mills in Gumeracha was carted to Mannum and then shipped to the gold mining centres around Bendigo in the 1860s and 1870s. Apart from Mannum, the Randells also had shipping offices in Wentworth.

Among the many stores and businesses in Mannum was the Eudunda Farmers store number 32 which opened in 1926. Like a number of Eudunda Farmers Stores it is still operating in the same location in the Main Street but under the Foodland banner these days.

Industry in Mannum.
1. Walker & Sons Flour Mill. Benjamin Walker had managed a flour mill in Mt Torrens for some time. He moved to Mannum and laid the foundation stone of a new flour mill in 1874 opening it two years later just as the farming boom began on the Murray Flats. It was updated with rollers in 1888 and the steam boiler was replaced with a gas one in 1910. Flour milled here often ended up in Bourke or Wentworth or even parts of southern Queensland near Cunnamulla. It was transported upstream by paddle steamers. When Benjamin died in 1884 his son John took over the mill. Amazingly the mill remained in the Walker family and operated for over 100 years, probably a record for SA. It closed in 1978 after 102 years of operation. Today only four flour mills are left in SA – Cummins, Strathalbyn, Port Adelaide and Mile End compared with 65 at the time of federation in 1901. No SA flour is exported today.

2. Dry Dock. William Randell formed ‘The River Murray Dry Dock Company’ around 1874 to finance the dock which he purchased from Landseer Shipping agents in Milang. The dry dock was floated up to Mannum and located into the river bank so that it was no longer a floating dock. A cutting was made into the bank to accommodate the 144 feet long dry dock. It took over a year to complete the work for the dock to open for business in 1876. With so many steamers plying the river the dry dock was always busy repairing barges and steamers and it created employment for a number of local men but it never made any significant financial returns for William Randell. After William Randell died in 1911 the dry dock was sold to a Swedish resident of Mannum, Johan Arnold, a riverboat man. Arnold had settled in Mannum in 1889. He worked the dry dock and built ships in Mannum including the Renmark, J.G. Arnold, Wilcannia, Nellie, Mundoo, Goldsborough and Murrumbidgee and some other barges. He then established his own shipping company called River Steamers Limited. They traded up to Hay, Wentworth and beyond. He later built the largest steamer ever built in SA, the Mannum. It was 150 feet long. Arnold soon had 80 men on his payroll between the dry dock and his shipping company, spread across all the major river ports where he had shipping offices. Disaster struck in 1921 when the Mannum caught fire whilst docked in Mannum. It was destroyed. Arnold’s house was called Esmeralda. He donated nearby land for the Mannum Hospital and the Anglican Church and he subdivided the rest of his land for town blocks. Captain Arnold died in 1949.

3. Shearers. John and David Shearer arrived in SA from Scotland in 1852. John followed in his father’s footsteps and learnt to be a blacksmith opening his first business in Mt Torrens in 1871 the year he married his 15 year old bride. Five years later in 1876 he opened a blacksmithing works in Mannum. It grew slowly. Brother David had joined the business in 1877 and he helped with the expansion of the business. John invented and patented throughout Australia wrought iron plough shears in 1888 that were a quarter of the price of most others. They were also not brittle like the cast iron plough shears and they lasted longer. The business now expanded greatly with an Australia wide market. They also produced stump jump ploughs and mechanical parts for river steamers. By 1919 Shearers employed over 100 people making agricultural implements, most of which were transported interstate although many of these products were produced in their Kilkenny plant in Adelaide which they had opened in 1904. They made strippers, wagons, harrows, ploughs, harvesters etc. In 1910 the partnership dissolved with David and sons keeping the Mannum plant and and John and sons keeping the Kilkenny plant. At that time David moved the Mannum Shearer factory from Anna Street out to Adelaide Road.

During World War One David’s Mannum plant made ammunition wagons, stirrups etc. In 1952 Shearers became a public company and consequently in 1972 it was taken over by another Adelaide agricultural machinery manufacturer Horwood Bagshaws. They then sold up the Adelaide works and continued production in Mannum. At its peak Horwood Bagshaws employed around 380 people in Mannum. After going into receivership in 1990 the struggling manufacturer was purchased in 1998 by Sweeney Investments from Adelaide. This company still markets implements as Horwood Bagshaws but it also does engineering work for mining companies, defence organisations, and other industries located all over Australia. It employs around 50 people and numerous contractors.
But David Shearer the founder is known for more than being an agricultural implement maker. He was a self educated scientists and “dreamer.” In 1907 he joined the NSW Branch of the British Astronomical Association. He went on to build his own telescope and observatory, the first private one in SA. The simple limestone building, now rendered with cement, had a typical domed roof with sliding panels on a steel track. The telescope is gone and the roof would have to be altered again for the building to be used as an observatory. The adjoining David Shearer House has also been altered especially Shearer’s octagonal lookout tower for night sky observations. Both buildings are on the Register of the National Estate. David Shearer’s other claim to fame is the invention of the first motor car in Australia. In the early 1890s he designed and then built in 1897 a steam powered and propelled vehicle which travelled at 15 miles per hour. He based his design on the transfer of power from engine to wheels that had been used for steam powered tractors. The first car to appear in England was in 1899 and Henry Ford developed his first car in the USA in 1908. David Shearer was ahead of his time but his invention was based on steam power and the future for cars was on the petrol based vehicles invented in Germany in 1885. (Benz began manufacturing petrol driven cars in Germany in 1888 and Bernardi invented the first petrol driven motorcycle in 1882 in Italy.) Shearer’s car however, managed trips of up to 100 kms and he drove it from Mannum to Adelaide in 1900. David then turned his inventing attentions to a mechanical harvester. The Shearer car is now in the Birdwood Mill Museum.

4. Butter factory. The old butter factory which has more recently been an antiques and collectibles shop was established in 1924. It opened as the Producers Supply and Butter Company. It competed with Farmers Union which had opened a butter factory in Murray Bridge in 1922. The Mannum butter factory was located by the river as most milk arrived at the factory by milk barge. (Farmers’ Union in Murray Bridge owned four river barges for carting fresh milk to its factory there). Archie Schofield purchased the Mannum butter factory and took control in 1932. After a fire it was rebuilt in 1935. The Schofields operated the butter factory until it was sold to Farmers’ Union in 1955. It was then submerged by the 1956 Murray flood and appears not to have re-opened as a butter factory.

Paddle Steamer Marion and Mannum Dock Museum.
The Museum entrance fee is .50 or for a concession. It includes the Randell Dry Dock, the Paddle Steamer Marion, the Keys Beam engine and displays on Murray River floods, the life cycle of the Murray, the Ngarrindjeri dreaming, and the history of white settlement in Mannum. But from the outside you can still see the restored Paddle Steamer Marion provided it is not cruising the Murray. Its history goes back to 1897 when it was built by Landseers at Milang. At over 100 feet long it was one of the bigger river steamers. After a long history of river trading her transportation days ended when her owners went into liquidation in 1952. She was sold on to several owners before she ended up being a floating boarding house. In 1963 the National Trust purchased her as a monument to the riverboat trade. She was sailed down to Mannum to be the centre piece of the NT Museum there. For over thirty years she languished in a dilapidated state in the Museum. In 1989 she was restored so that she could be used as a working river vessel with her being recommissioned in 1994. She occasionally does river trips for paying passengers. Some of her most interesting journeys were promotional trips paid for by the SA government. One was in 1910 for the Scottish Agricultural Commission when members visited SA. They travelled down from Mildura in the PS Marion. Another was in 1915 when the SA government paid for a trip by Australian parliamentarians, both Federal and state parliamentarians. Politicians from all states except Western Australian participated including the Premier of NSW, the Prime Minister, Andrew Fisher, and the Attorney General, Billy Hughes who became the next Prime Minster. The promotional journey was to familiarise the politicians with the construction of Weir Number One across the Murray at Blanchetown which was then nearing completion.

Some Mannum Buildings.

1. The Anglican Church of St. Andrew was opened in 1910. Before that time the Anglicans attended services when the paddle steamer Etona visited the town.

2. The Mannum hospital was built in 1921 on land donated by Captain Arnold. The grounds incorporated his former home, Esmeralda which he purchased in 1905. Captain Arnold had settled in Mannum in 1889.

3. The Baptist Church. It began life as the Presbyterian Church in 1886 but was sold just three years later to the Baptists. The Randell family were Baptists and worshipped there.

4. Shearer Business Complex dating from 1876. The site of the original Shearer factory is now a car park but with fine memorial gates. Along one side is a fine old stone building which was once the Shearer company offices but it is now a Laundromat. Above the factory site is the Shearer House which is actually in Anna Street. A fine set of steps leads up from the Main Street to Anna Street. It is an imposing house overlooking the Main Street with a central part and two added wings. Originally one wing had a tower for astronomical observations. Adjacent to the house is the ruins of the Shearer Observatory. It is a round structure and once had a domed roof with sliding panels for the telescope to be used for observation. It is on the Register of the National Estate but urgently needs restoration.

5. The Institute was opened in 1882 and extended in 1911 with a Classical style façade with a triangular pediment above the entrance.

6. The Pretoria Hotel in the Main Street. It opened in 1900 when the Boer War was at its height hence the name.

7. The Mannum Hotel. The first hotel was erected on this site in 1866 for Randell. It was rebuilt as the Bogan Hotel in 1869. The upper floor was added in the 1870s. It was also the site for the first Council meetings of Mannum.

8. The Old Woolshed was built by Captain Randell in 1854 as the first structure in his Port of Mannum.

9. St. Martin’s Lutheran Church opened in 1882. A Lutheran school operated here from 1884-1917 when the Government closed all Lutheran schools. For many years (43) the congregation as led by Pastor Ey. A second congregation opened a second Lutheran church in Mannum called the Zion Lutheran in 1893. Its parent church was in Palmer.

10. Bleak House. The four roomed house built by Captain Randell in 1856 is up the hill from his wharf. It was the first stone structure in the town. This structure would be the rear part of the current building. The front part dates from the 1860s, probably 1869 when Randell subdivided part of his land to create the township of Mannum.

11. The Catholic Church of Mount Carmel. This was opened in 1913.

12. The Methodist Church, now the Uniting. The first church was built in 1880. But the construction was poor and the church was pulled down a few years later. In 1896 the second Methodist church opened on the same site. The current church was built in 1954 and replaced the earlier one.

Cool Surface Grinding Stainless Steel photos

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)

Verify out these turning components manufacturer images:

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)

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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

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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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Cool Surface Grinding Manufacturer images

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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.

Nice Turning Machining photographs

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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

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