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this is another UFO i finished. it's about having to memorize codes for everything nowadays... we are prisoners of the technology.
Commisioned Code 3 conversion of an EFE single door Leyland Olympian model bus to a dual door type Selkent Travel liveried Leyland Olympian L261 2 CLT on Excursion duties.
This was done for a client as part of a 2 model bus conversions.
Donor models were a single door EFE Olympian and a dual door EFE Titan. Door parts removed from one were used of the other.
AIRCRAFT : Boeing 737-8K5
AIRLINE : TUI fly (TUI Blue Llivery)
OPERATOR : TUI fly Deutschland
TYPE CODE : B738
Code : X3 / TUI
Code : D-ATUD
SERIAL NUMBER (MSN) : 34685
AGE (Mar 2006) : 11 years
Hampshire Constabulary Volvo XC70 1:43 scale code 3 model. One of three different conversions of this vehicle I have just finished. Base is Motorart and come already painted white. The decals are drawn and printed by me. Model has been converted to RHD and I have added the base plate and aerials to the light bar by 2dmodels.
The temp in my vehicle read +1F but the wind out on the Interstate pier made it feel well below zero. The Algoma Montrealais moves into position to unload at Holcim.
The VW Polo range was introduced in 1975 as the smallest car in the family. The Polo is still in production (the Polo Mk6 is the current series) but not anymore the smallest (that is the VW Up).
This one is a 2nd generation pre-facelift estate, with internal code Typ 86C.
Production VW Polo Mk2: Sept. 1981-1994.
Production Polo Mk2 Stationwagon this version: Sept. 1981-Oct. 1990.
German reg. number from Unna (Nordrhein-Westfalen).
Amsterdam-Sloterdijk/Westpoort, Limmerick, March 31, 2021.
© 2021 Sander Toonen, Halfweg | All Rights Reserved
With code blue skies, Big Blue, 5418 sits on the old Saginaw main next to the coal tower awaiting it's day's work out on the Bald Eagle Job.
The aircraft was built at the Messerschmitt AG’s works in Wiener-Neustadt in Austria in 1943. The construction number is W.Nr. 14743 and the aircraft was coded RJ+SM for the ferry flight to Finland. The aircraft first suffered severe damage on 16 April 1943, when Sergeant A. Lehtiö took off for his type flight on the MT. During take-off the aircraft swung out of the runway and the left undercarriage and the wings were damaged. By this time the aircraft had logged 12 hours 40 minutes. During the repair at the aircraft factory the plane was fitted with the wings from MT-218. These were bulged wings at MT-218 had tires of a thicker type. The repair was completed at the end of June in 1944 and the aircraft was handed over to fighter squadron HLeLv 28, where it scored four aerial victories.
During aerial target practice on 1 August 1946 the targeting bag towed by a lead plane wound itself around the propeller and also choked the air intake of the super charger. This resulted in engine overheating and a forced landing into the sea outside the town of Pori. The pilot, Lieutenant V. Pokela survived unharmed. Immediately after the landing The Air Force recovered the aircraft.
The attempt to tow the wreckage to Pori failed and the plane sank again. The aircraft was written off on 10 September 1946 and had logged 119 hours 5 minutes. Timo Nyman, from Orimattila, started the research for MT-208 in 1983 and sports divers from Pori discovered the aircraft at the end of the decade. The diving team of the Finnish Aviation Museum raised the plane on 23-24 August 1999.
the shot at hand: inspired by Ryan the one, the only....always pimp!
this is a regular family outing for the O'Connor family on any given saturday night...it started with "i've got a shot stuck in my head, who wants to help?"
my boy...first hand up!! and can i bring a friend....well only if said friend asks a parent because first, it's illegal and second, there is a small element of danger and third, it's illegal!!
so we're off....to a trespass into Holmes Foundry....hubby is never keen to trespass...what if we get caught, then what...and as always, i assure him that the cops have better things to do than to chase a family around in an abandoned place when all they're doing is taking pictures!!
the image above, truly a joint venture...included the following technicalities:
*the pose - strategically placed by me
*the subjects - 2 boys told to stay very still for 25 secs. (no easy task)
*handheld flashlight - me again to light the graffiti
*red gel flash - courtesy of hubby moving around the scene flashing on command
my son's friend, who had never done anything like this thought this was the best ever outing so the boys were paid with a late dinner out....we got home by midnight!!
isn't this a normal outing?
so now.....tell me what the rest of you do on any regular night out????
Oil and pencil on thick paper, 21 x 15 cm, 2017. This original painting is available for sale at the price of 140 US$, shipping is worldwide free. Contact me in case you are interested in more information about my work, or the availability for work on graphics
In 2008 we went to Pueblo Grande for the Annual Indian Market in Phoenix. The Navajo (Diné) Code Talkers played a vital role in winning World War II in the Pacific. Only one of the original 29 Code Talkers is still living. However, after they were established in 1942 there were approximately 400 Code Talkers.
During the early months of WW II Japanese intelligence experts broke every code the US forces devised. They were able to anticipate American actions at an alarming rate. With plenty of fluent English speakers at their disposal, they sabotaged messages and issued false commands to ambush Allied troops. To combat this, increasingly complex codes were initiated. At Guadalcanal, military leaders finally complained that sending and receiving these codes required hours of encryption and decryption—up to two and a half hours for a single message. They rightly argued the military needed a better way to communicate.
When Phillip Johnston, a civilian living in California learned of the crisis, he had the answer. As the son of a Protestant missionary, Johnston had grown up on the Navajo reservation and was one of less than 30 outsiders fluent in their difficult language. He realized that since it had no alphabet and was almost impossible to master without early exposure, the Navajo language had great potential as an indecipherable code. After an impressive demonstration to top commanders, he was given permission to begin a Navajo Code Talker test program.
Their elite unit was formed in early 1942 when the first 29 Navajo Code Talkers were recruited by Johnston. Although the code was modified and expanded throughout the war, this first group was the one to conceive it. Accordingly, they are often referred to reverently as the original 29. Many of these enlistees were just boys; most had never been away from home before. Often lacking birth certificates, it was impossible to verify ages. After the war it was discovered that recruits as young as 15 and as old as 35 had enlisted. Age notwithstanding, they easily bore the rigors of basic training, thanks to their upbringing in the southwestern desert.
The code was as ingenious as it was effective. It originated as approximately 200 terms—growing to over 600 by war's end—and could communicate in 20 seconds what took coding machines of the time 30 minutes to do. It consisted of native terms that were associated with the respective military terms they resembled. For example, the Navajo word for turtle meant tank, and a dive-bomber was a chicken hawk. To supplement those terms, words could be spelled out using Navajo terms assigned to individual letters of the alphabet—the selection of the Navajo term being based on the first letter of the Navajo word's English meaning. For instance, Wo-La-Chee means ant, and would represent the letter A. In this way the Navajo Code Talkers could quickly and concisely communicate with each other in a manner even uninitiated Navajos could not understand.
Once trained, the Navajo Code Talkers were sent to Marine divisions in the Pacific theater of WWII. Despite some initial skepticism by commanding officers, they quickly gained a distinguished reputation for their remarkable abilities. In the field, they were not allowed to write any part of the code down as a reference. They became living codes, and even under harried battle conditions, had to rapidly recall every word with utmost precision or risk hundreds or thousands of lives. In the battle for Iwo Jima, in the first 48 hours alone, they coded over 800 transmissions with perfect accuracy. Their heroism is widely acknowledged as the lynchpin of victory in the pivotal conflict.
Old code lines at Sparrowbush, NY left behind from the Erie Railroad still hang along side the rails of the former Delaware Division. Their purpose these days is only to sing in the wind and give birds a place to rest their wings.
Week 9 Picasso the Foreigner (1441-1445) 3/23 – 3/28/2025
ID 1445
Man Ray American 1890 - 1976
Fair Weather , 1939
Oil on canvas
Man Ray described Fair Weather as the culmination of his Surrealist career. The mannequin figure may be a coded self-portrait and the painting contains quotations from a few of his earlier paintings. Fair Weather is also a nightmarish premonition of the Second World Wart; the bombarded stone wall and puddle of blood are two of its more direct symbols of violence. The artist left this painting behind when he departed Europe for his native United States in 1940, but he eventually reclaimed it and kept it for the rest of his life.
125th Anniversary Acquisition. Gift of Sidney and Caroline Kimmel, 2014-1-1
From the Placard: The Philadelphia Museum of Art, PA
During the summer of 1936, Picasso's tangled personal situation grew even more complicated. He began a new romantic relationship with Dora Maar, whom he spotted in a café in Saint-Germain-des-Pres (in December 1935 or January 1936? Even now, the question remains unanswered) and to whom Éluard introduced him. Maar was a fellow artist, a well-known surrealist photographer who had worked with Man Ray, Max Ernst, Georges Bataille , and Brassaï. Pierre Daix mentioned a "perfect communion," recalling Picasso's fascination with her in that scene: Dora Maar at the café, an emancipated woman, intense provocative, disturbing, playing at stabbing a large knife between the fingers of her gloved hands. Picasso asked for the gloves and she gave them to him. …
I wasn't aware of those photographs from March 1936. Through Picasso's lens, I discovered a calm, intense young woman sitting in the evening shade, with regular features, pale eye, dressed in a comfortable cardigan, focused on reading a newspaper, and emanating a vibrant, almost charismatic presence. But I discovered another side to her in the portrait sessions that the two of them conducted together at Boisgeloup--Maar photographing Picasso, Picasso photographing Maar--and in a series of joint experiments that followed in Maar's darkroom on Rue d'Astorg, playing games with the photographer-model and subject-object relationships, taking turns in front of the lens and behind the lens, games that she had already played with Man Ray…Maar produced some incredible photographs in Portrait of Picasso, Winter 35-36, inverting his image, scrawling a halo of black ink on his face to steal one of his eyes and transform him into a Cyclops, playing with him the way he used to play with his models. Thus, Picasso became an object that she could distort at will with beautiful use of shading, contrasts, abstractions, chiaroscuros.
Unlike Breton and the others, there was no obsequiousness in her attitude to Picasso. It was moe like two equals jousting. As a subversive daughter of a respectable family, Maar was aware of her superiority and affirmed it with confidence, aplomb, audacity, and wit. A few years earlier, according to Daix, Brassaï had forgotten a blank photographic place at Boisgeloup, and Picasso, ever eager to experiment, had not been able to resist "the urge to attack this smooth, uniform surface, like the top of a frozen lake." Three years later, it was Dora Maar who was teaching him the technique. In the hands of this photographer who had now become his subject and guide, Picasso was, I believe, suddenly destabilized, his legendary fearlessness lost as he was subjugated and stimulated in turn by this political activist who challenged him, this photographer more expert in technique than he was, this respected surrealist (the D of whose first name was one of the initials of the seven women chosen by Breton for the name of the gallery GRADIVA). With Dora Maar in Three-Quarter Profile (spring 1936), Dora Maar and Antique Figure (August 1, 1936), Dora and the Minotaur (September 5, 1936), and Dora with Mantilla (September 20, 1936), by "subjecting her to her own rayogram technique, invented by Man Ray," Picasso gradually, haltingly attempted to imprison the photographer in his own universe.
Picasso The Foreigner An Artist in France, 1900 - 1973 Annie Cohen-Solal (Translated from the French by Sam Taylor) Farrar, Straus and Giroux New York 2021. Translation 2023.
Pages 347-349
accidentally generated by my friend ActionScript 3.0 :)
responsible line
tc_mc.x=45+i*10;
i like it. it sums up something
Binary Code quilt for my son's mancave. Made from recycled men's plaid shirts. Blogged here...zanyquilter.blogspot.com