View allAll Photos Tagged Deflectors
Private collection sale € 34,90
Contact theflyingsabenien@gmail.com
USAAF - United States Army Air Forces
Scale 1-100 model
Douglas DC-3 / C-47A Skytrain
Registration: 42-93087 - United States - Air Force (MSN 12960)
Deflected transparent display stand - White box - Propellers - Wheels
Aircraft type: Douglas C-47 Skytrain - DC-3 Dakota
Aircraft name: Clarence
Camel Caravan to Berlin
USAAF Douglas C-47A Skytrain
86th Fighter Wing
Neubiberg Air Base
Berlin Airlift 1948-1949
86th Transport Squadron - “Camel Caravan to Berlin” - 1948
(525th Fighter Transport Squadron)
70th Anniversary Edition (2018)
The Douglas DC-3 (DC – Douglas Commercial) is considered by many as the aircraft that revolutionized commercial air travel in the 20th Century. The maiden flight of the DC-3 took place on December 17, 1935, the 32nd anniversary of the Wright Brother’s historic flight at Kitty Hawk. Now airlines were able to be profitable without depending on U.S. Mail subsidies and passengers could now fly transcontinental with just one re-fueling stop. There are many DC-3s still flying 75 years after their maiden flights.
During the Berlin Airlift that lasted from June 24, 1948 until May 12, 1949 the 86th Fighter Group had chosen a camel as its mascot and flew one in from Libya that they named Clarence. In October 1948 a C-47A with Clarence aboard and designated “Camel Caravan To Berlin” left Neubiberg AB laden with thousands of pounds of candy, games and toys as a good will gesture for the children of Berlin that were caught in the Soviet imposed blockade of the city.
Picture Camel:
Wiesbaden, Germany, October 21, 1948: Clarence the Camel stands in a C-47 aircraft amid some 5,000 pounds of food, candy, books, games and toys on the way to Berlin for distribution to children of the blockaded city during the Berlin Airlift. Clarence — mascot of the pilots of the 86th Fighter Group at Neubiberg Air Force Base — was flown in from Tripoli, Libya, for a tour of the U.S. zone of Germany after the ""camel caravan"" stop in Berlin.
During the Berlin Airlift, the United States Air Force 86th Tactical Fighter Wing at Neubiberg air base in West Germany operated a C- 47 Skytrain support aircraft. On 22nd October 1948, as a gift for the children of Berlin, the C-47 was used to fly 7,000lb (3175kg) of Candy, along with a baby Camel called 'Clarence' into Tempelhof airport in the US sector of Berlin. The camel was the mascot of the 525th Fighter Squadron based at Neubiberg and had been bought by a member of the squadron in Tripoli for $50 and shipped to Germany in the bomb bay of a B-26 Invader bomber. When Berlin was besieged the base personnel decided to present both it and the candy to the children as a gesture of goodwill for Christmas.
Douglas C-47 Skytrain:
Designed to meet an American Airlines requirement for an enlarged version of the DC-2, the DC-3 was first flown on December 17th, 1935. Capable of carrying 24 passengers at a cruising speed of 180 mph, the DC-3's speed and long range revolutionized commercial air travel in the 1930s and 40s, when it carried 90 percent of the world's air travelers. Early DC-3s used Wright R-1820 Cyclone engines, but Pratt & Whitney R-1830 Twin Wasp Radials were fitted to later versions; these engines had better single engine performance and allowed the DC-3 to fly at higher altitudes.
Brand: PPC
Colors: Black - Blue - Camel - Grey - Red - Silver - Transparent - White
Material: Synthetic
Condition: New
Dimensions (cm): Box: 5 x 8 x 28,5
Weight (g): 160
DR Class "50.35" 2-10-0 No.50 3501 with Wagner smoke deflectors and front fall plate and 2'2'T28 tender. Of the 3,164 DRG Class "50" and "50UK" locos built 1939-48, 2,159 went to West Germany (DB), 350 to East Germany (DR); many of the latter had St.47K-Mo high tensile steel boilers which were siffering from premature metal fatigue so in 1958-62 208 were rebuilt into Class 50.35 "Rekoloks" with "Reko E" all-welded, high performance boilers with combustion chambers, feed water heaters, Witte smoke deflectors and no front fall plate (though the prototype retained the Wagner smoke deflectors and front fall plate). The last was withdrawn in 1989. DR converted 72 Class 50.35's" to oil burning Class "50.50" locos in 1966-71 (last withdrawn 1981) whilst 88 Class 80.40 newbuilds to the "Rekolok" design were constructed 1956-60. At the Meiningen Steam Festival, 09/12.
# The Application of Stealth Design Technology in Unmanned Cardboard Gliders
## Abstract
This article explores the innovative use of stealth design technology in the development of unmanned aerial vehicles (UAVs), specifically cardboard gliders constructed from pressed cardboard materials. By leveraging polygonal stealth design principles, these drones aim to minimize radar visibility, offering strategic advantages for reconnaissance and surveillance missions.
## Introduction
The evolution of military technology has led to a significant emphasis on stealth capabilities in aerial vehicles. Traditional stealth aircraft utilize advanced materials and geometric designs to evade radar detection. This article proposes a novel approach: the construction of unmanned gliders from specially designed pressed cardboard. The use of lightweight materials not only reduces production costs but also aligns with eco-friendly practices in military operations.
## Stealth Design Principles
### 1. Polygonal Geometry
The cornerstone of stealth technology is the geometric design of the aircraft. Polygonal shapes reduce the radar cross-section by deflecting incoming radar waves away from the source. In the case of cardboard gliders, employing flat surfaces and sharp angles can effectively minimize radar signature.
### 2. Material Properties
While cardboard inherently lacks radar-absorbing properties, advancements in material science can enhance its stealth capabilities. Coating the cardboard with radar-absorbing substances or integrating special additives during the pressing process can improve its effectiveness against detection.
### 3. Shape Optimization
The shape of the glider is crucial for ensuring invisibility. A design that incorporates low aspect ratios and high lift-to-drag ratios will not only enhance aerodynamic performance but also aid in radar evasion.
## Design and Manufacture of Cardboard Gliders
### 1. Structural Integrity
Pressed cardboard can be engineered to maintain structural integrity while remaining lightweight. The design must ensure that the glider can withstand operational stresses without compromising its stealth features.
### 2. Manufacturing Process
The production of these gliders involves a specialized pressing technique that shapes the cardboard into stealth-optimized forms. This process can be scaled for mass production, making it a viable option for military use.
### 3. Cost-Effectiveness
Using pressed cardboard significantly reduces manufacturing costs compared to traditional UAV materials. This economic advantage allows for the development of a larger fleet of drones, enhancing operational flexibility.
## Operational Advantages
### 1. Reconnaissance and Surveillance
Stealth cardboard gliders can be deployed for reconnaissance missions in areas with high radar coverage. Their reduced visibility allows for covert data collection, providing valuable intelligence without alerting enemy forces.
### 2. Ecological Considerations
The use of biodegradable materials aligns with contemporary military strategies focused on sustainability. Cardboard drones can minimize environmental impact while fulfilling military objectives.
### 3. Tactical Versatility
The lightweight and low-cost nature of these gliders enables rapid deployment and adaptability in various operational scenarios. This versatility can enhance mission success rates.
## Conclusion
The integration of stealth design technology in the manufacture of unmanned cardboard gliders presents a unique opportunity for military advancements. By utilizing polygonal shapes and innovative materials, these drones can offer effective stealth capabilities while remaining environmentally conscious and cost-effective. Further research and development are essential to refine these designs and maximize their potential in modern warfare.
## Future Research Directions
Future studies should focus on enhancing radar-absorbing properties of cardboard, optimizing aerodynamic designs, and exploring the operational efficacy of these gliders in real-world scenarios.
## Strengthening Cardboard Structures for Atmospheric Applications
### Abstract
The increasing interest in lightweight aerial vehicles, such as quadcopters and gliders made from cardboard, necessitates the exploration of materials and methods that enhance durability and performance. This study investigates techniques for reinforcing cardboard structures, particularly in humid environments, and minimizing the incorporation of metal components.
### 1. Introduction
Cardboard is an appealing material for constructing lightweight aerial vehicles due to its low cost and ease of fabrication. However, its susceptibility to moisture and structural weakness poses significant challenges, especially when deployed in high-altitude scenarios. This paper outlines strategies to strengthen cardboard for use in quadcopters and gliders, which may be released from helium balloons at high altitudes, and discusses methods to minimize metal components for weight reduction.
### 2. Strengthening Cardboard Structures
#### 2.1 Waterproof Coating
Cardboard is inherently porous, making it vulnerable to moisture absorption. To enhance its water resistance, a waterproof coating is recommended. Coatings such as polyurethane or epoxy resin can provide a robust barrier against humidity. These coatings can be applied via spray or brush methods and should be allowed to cure fully to ensure optimal performance.
#### 2.2 Reinforcement Layers
Adding additional layers of cardboard can significantly improve the structural integrity of the vehicle. This can be achieved by utilizing corrugated cardboard, which offers superior strength-to-weight ratios. In addition, other lightweight materials, such as fiberglass or carbon fiber, can be laminated onto the cardboard to enhance its rigidity and resilience.
#### 2.3 Honeycomb Structure
Incorporating a honeycomb design within the cardboard can enhance its load-bearing capacity while minimizing weight. This structure allows for increased stiffness and strength, making it ideal for aerial applications where aerodynamic efficiency is crucial.
#### 2.4 Plastic Lamination
Laminating the cardboard with a thin layer of plastic can provide added protection against moisture. This process involves encasing the cardboard in a plastic film, which not only shields it from environmental factors but also adds a degree of structural support.
#### 2.5 Foam Inserts
Using lightweight foam materials as inserts can add strength and reduce overall weight. Foam can be strategically placed within the cardboard structure to provide additional support in critical areas without compromising the vehicle's weight limits.
### 3. Minimizing Metal Components
#### 3.1 Use of Plastic Components
Replacing metal parts with plastic alternatives is a viable method for reducing weight. Many manufacturers produce strong, lightweight plastic components that can serve the same functions as metal parts, including gears, connectors, and frames.
#### 3.2 3D Printed Parts
Advancements in 3D printing technology allow for the creation of custom components using lightweight materials such as PLA or PETG. 3D printing enables the design of integrated parts that can combine multiple functions, thereby reducing the total number of components required.
#### 3.3 Adhesive Joints
Utilizing strong adhesives or tapes instead of metal fasteners such as screws and bolts can significantly decrease the number of metal parts in the assembly. This approach not only reduces weight but also simplifies the construction process.
#### 3.4 Integrated Designs
Designing components to fulfill multiple roles can minimize the need for additional parts. For instance, the frame of the quadcopter can be designed to also serve as a mounting structure for motors and batteries, reducing complexity and weight.
### 4. Conclusion
By employing the techniques outlined in this study, it is possible to enhance the performance and durability of cardboard quadcopters and gliders, especially in humid environments. The integration of waterproof coatings, structural reinforcements, and the minimization of metal components will contribute to the successful deployment of these innovative aerial vehicles in various atmospheric conditions.
### 5. Future Work
Further research is recommended to explore additional materials and methods that can enhance the performance of cardboard aerial vehicles, including the effects of varying environmental conditions on structural integrity and performance.
Heroyam 🔱 Slava
Bohdan
seen from Walkie-Talkie (20 Fenchurch Street)
gesehen vom Walkie-Talkie (20 Fenchurch Street)
Tate Modern is an art gallery in London, housing the United Kingdom's national collection of international modern and contemporary art, defined as from after 1900, and forms part of the Tate group together with Tate Britain, Tate Liverpool and Tate St Ives. It is located in the former Bankside Power Station, in the Bankside area of the London Borough of Southwark.
Tate Modern is one of the largest museums of modern and contemporary art in the world. As with the UK's other national galleries and museums, there is no admission charge for access to the collection displays, which take up the majority of the gallery space, whereas tickets must be purchased for the major temporary exhibitions.
Due to the COVID-19 pandemic the museum was closed for 173 days in 2020, and attendance plunged by 77 per cent to 1,432,991. However, it recovered strongly in 2022, with 3,883,160 visitors, making it the third most visited in Britain and the fourth-most visited art museum in the world.
The nearest railway and London Underground station is Blackfriars, which is 550 yards (0.5 km) from the gallery.
History
Bankside Power Station
After sharing the Millbank site with Tate Britain for many decades, since 2000 Tate Modern has occupied the converted former Bankside Power Station. This was originally designed by Sir Giles Gilbert Scott, the architect of Battersea Power Station, and built in two stages between 1947 and 1963. It is directly across the river from St Paul's Cathedral. The power station closed in 1981.
Prior to redevelopment, the power station was a 200 m (660 ft) long, steel framed, brick clad building with a substantial central chimney standing 99 m (325 ft). The structure was roughly divided into three main areas each running east–west – the huge main Turbine Hall in the centre, with the boiler house to the north and the switch house to the south.
Initial redevelopment
For many years after closure Bankside Power station was at risk of being demolished by developers. Many people campaigned for the building to be saved and put forward suggestions for possible new uses. An application to list the building was refused. In April 1994 the Tate Gallery announced that Bankside would be the home for the new Tate Modern. In July of the same year, an international competition was launched to select an architect for the new gallery. Jacques Herzog and Pierre de Meuron of Herzog & de Meuron were announced as the winning architects in January 1995. The £134 million conversion to the Tate Modern started in June 1995 and completed in January 2000.
The most obvious external change was the two-story glass extension on one half of the roof. Much of the original internal structure remained, including the cavernous main turbine hall, which retained the overhead travelling crane. An electrical substation, taking up the Switch House in the southern third of the building, remained on-site and owned by the French power company EDF Energy while Tate took over the northern Boiler House for Tate Modern's main exhibition spaces.
The history of the site as well as information about the conversion was the basis for a 2008 documentary Architects Herzog and de Meuron: Alchemy of Building & Tate Modern. The conversion work was carried out by Carillion.
Opening and initial reception
Tate Modern was opened by the Queen on 11 May 2000.
Tate Modern received 5.25 million visitors in its first year. The previous year the three existing Tate galleries had received 2.5 million visitors combined.
Extension project
Tate Modern had attracted more visitors than originally expected and plans to expand it had been in preparation since 2004. These plans focused on the south west of the building with the intention of providing 5,000 m2 of new display space, almost doubling the amount of display space.
The southern third of the building was retained by the French State owned power company EDF Energy as an electrical substation. In 2006, the company released the western half of this holding and plans were made to replace the structure with a tower extension to the museum, initially planned to be completed in 2015. The tower was to be built over the old oil storage tanks, which would be converted to a performance art space. Structural, geotechnical, civil, and façade engineering and environmental consultancy was undertaken by Ramboll between 2008 and 2016.
This project was initially costed at £215 million. Of the money raised, £50 million came from the UK government; £7 million from the London Development Agency; £6 million from philanthropist John Studzinski; and donations from, among others, the Sultanate of Oman and Elisabeth Murdoch.
In June 2013, international shipping and property magnate Eyal Ofer pledged £10m to the extension project, making it to 85% of the required funds. Eyal Ofer, chairman of London-based Zodiac Maritime Agencies, said the donation made through his family foundation would enable "an iconic institution to enhance the experience and accessibility of contemporary art".[15] The Tate director, Nicholas Serota, praised the donation saying it would help to make Tate Modern a "truly twenty-first-century museum".
The Tanks
The first phase of the expansion involved the conversion of three large, circular, underground oil tanks originally used by the power station into accessible display spaces and facilities areas. These opened on 18 July 2012 and closed on 28 October 2012[8] as work on the tower building continued directly above. They reopened following the completion of the Switch House extension in June 2016.
Two of the Tanks are used to show live performance art and installations while the third provides utility space. Tate describes them as "the world's first museum galleries permanently dedicated to live art".
The Switch House
A ten-storey tower, 65 m (213 ft) high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 m2 (242,100 sq ft) of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space.
In May 2017, the Switch House was formally renamed the Blavatnik Building, after Anglo-Ukrainian billionaire Sir Leonard Blavatnik, who contributed a "substantial" amount of the £260m cost of the extension. Sir Nicholas Serota commented, "Len Blavatnik's enthusiastic support ensured the successful realisation of the project and I am delighted that the new building now bears his name".
Galleries
The collections in Tate Modern consist of works of international modern and contemporary art dating from 1900 until today.
Levels 2, 3 and 4 contain gallery space. Each of those floors is split into a large east and west wing with at least 11 rooms in each. Space between these wings is also used for smaller galleries on levels 2 and 4. The Boiler House shows art from 1900 to the present day.
The Switch House has eleven floors, numbered 0 to 10. Levels 0, 2, 3 and 4 contain gallery space. Level 0 consists of the Tanks, spaces converted from the power station's original fuel oil tanks, while all other levels are housed in the tower extension building constructed above them. The Switch House shows art from 1960 to the present day.
The Turbine Hall is a single large space running the whole length of the building between the Boiler House and the Switch House. At six storeys tall it represents the full height of the original power station building. It is cut by bridges between the Boiler House and the Switch House on levels 1 and 4 but the space is otherwise undivided. The western end consists of a gentle ramp down from the entrance and provides access to both sides on level 0. The eastern end provides a very large space that can be used to show exceptionally large artworks due its unusual height.
Exhibitions
Collection exhibitions
The main collection displays consist of 8 areas with a named theme or subject. Within each area there are some rooms that change periodically showing different works in keeping with the overall theme or subject. The themes are changed less frequently. There is no admission charge for these areas.
As of June 2016 the themed areas were:
Start Display: A three-room display of works by major artists to introduce the basic ideas of modern art.
Artist and Society
In The Studio
Materials and Objects
Media Networks
Between Object and Architecture
Performer and Participant
Living Cities
There is also an area dedicated to displaying works from the Artist Rooms collection.
History of the collection exhibitions
Since the Tate Modern first opened in 2000, the collections have not been displayed in chronological order but have been arranged thematically into broad groups. Prior to the opening of the Switch House there were four of these groupings at a time, each allocated a wing on levels 3 and 5 (now levels 2 and 4).
The initial hanging from 2000 to 2006:
History/Memory/Society
Nude/Action/Body
Landscape/Matter/Environment
Still Life/Object/Real Life
The first rehang at Tate Modern opened in May 2006. It eschewed the thematic groupings in favour of focusing on pivotal moments of twentieth-century art. It also introduced spaces for shorter exhibitions in between the wings. The layout was:
Material Gestures
Poetry and Dream
Energy and Process
States of Flux
In 2012, there was a partial third rehang. The arrangement was:
Poetry and Dream
Structure and Clarity
Transformed Visions
Energy and Process
Setting the Scene – A smaller section, located between wings, covering installations with theatrical or fictional themes.
Temporary exhibitions
The Turbine Hall
The Turbine hall, which once housed the electricity generators of the old power station, is five storeys tall with 3,400 square metres of floorspace. It is used to display large specially-commissioned works by contemporary artists, between October and March each year.
From 2000 until 2012, the series was named after its corporate sponsor, Unilever. In this time the company provided £4.4m sponsorship in total including a renewal deal of £2.2m for a period of five years agreed in 2008. This series was planned to last the gallery's first five years, but the popularity of the series led to its extension until 2012.
In 2013, Tate Modern signed a sponsorship deal worth around £5 million with Hyundai to cover a ten-year program of commissions, then considered the largest amount of money ever provided to an individual gallery or museum in the United Kingdom. The first commission for the Hyundai series is Mexican artist, Abraham Cruzvillegas.
When there is no series running, the Turbine Hall is used for occasional events and exhibitions. In 2011 it was used to display Damien Hirst's For The Love of God. A sell-out show by Kraftwerk in February 2013 crashed the ticket hotline and website, causing a backlash from the band's fans. In 2018 the Turbine Hall was used for two performances of Messiaen's Et exspecto resurrectionem mortuorum and Stockhausen's Gruppen.
Major temporary exhibitions
Two wings of the Boiler House are used to stage the major temporary exhibitions for which an entry fee is charged. These exhibitions normally run for three or four months. When they were located on a single floor, the two exhibition areas could be combined to host a single exhibition. This was done for the Gilbert and George retrospective due to the size and number of the works.
A 2014 show of Henri Matisse provided Tate Modern with London's best-attended charging exhibition, and with a record 562,622 visitors overall, helped by a nearly five-month-long run.[56] In 2018, Joan Jonas had a retrospective exhibition.
A Year in Art: Australia 1992, featuring contemporary Indigenous Australian art of 1992, which opened in June 2021, was extended until September 2022 owing to its popularity.
The Tanks
The Tanks, located on level 0, are three large underground oil tanks, connecting spaces and side rooms originally used by the power station and refurbished for use by the gallery. One tank is used to display installation and video art specially commissioned for the space while smaller areas are used to show installation and video art from the collection. The Tanks have also been used as a venue for live music.
Project Space
The Project Space (formerly known as the Level 2 Gallery) was a smaller gallery located on the north side of the Boiler House on level 1 which housed exhibitions of contemporary art in collaboration with other international art organisations. Its exhibitions typically ran for 2–3 months and then travelled to the collaborating institution for display there. The space was only accessible by leaving the building and re-entering using a dedicated entrance. It is no longer used as gallery space.
Other areas
Works are also sometimes shown in the restaurants and members' rooms. Other locations that have been used in the past include the mezzanine on Level 1 and the north facing exterior of the Boiler House building.
Other facilities
In addition to exhibition space there are a number of other facilities:
A large performance space in one of the tanks on level 0 used to show a changing programme of performance works for which there is sometimes an entrance charge.
The Starr Auditorium and a seminar room on level 1 which are used to show films and host events for which there is usually an entrance charge.
The Clore Education Centre, Clore Information Room and McAulay Studios on level 0 which are facilities for use by visiting educational institutions.
One large and several small shops selling books, prints and merchandise.
A cafe, an espresso bar, a restaurant and bar and a members' room.
Tate Modern community garden, co-managed with Bankside Open Spaces Trust
Access and environs
The closest station is Blackfriars via its new south entrance. Other nearby stations include Southwark, as well as St Paul's and Mansion House north of the river which can be reached via the Millennium Bridge. The lampposts between Southwark tube station and Tate Modern are painted orange to show pedestrian visitors the route.
There is also a riverboat pier just outside the gallery called Bankside Pier, with connections to the Docklands and Greenwich via regular passenger boat services (commuter service) and the Tate to Tate service, which connects Tate Modern with Tate Britain.
To the west of Tate Modern is an area currently under redevelopment following the demolitions of Ludgate House, the former headquarters of Express Newspapers and Sampson House, a massive late Brutalist office building.
Directors
The following have served as Director of the Tate Modern:
Lars Nittve (1998–2001)
Vicente Todolí (2003–2010)
Chris Dercon (2010–2016)
Frances Morris (2016–2023)
Karin Hindsbo (2023–Present)
Protests
Since 2010 there have been a series of protest art performances by the art collective Liberate Tate demanding the Tate to "disengage from BP as a sponsor, and stop allowing Tate to be used to deflect attention away from the devastating impacts that BP has around the world." BP is criticised for operations in relation with petroleum exploration in the Arctic, the Deepwater Horizon oil spill, oil sands and climate change. In June 2015 a group of artists occupied Tate Modern for 25 hours.
(Wikipedia)
Die Tate Gallery of Modern Art (kurz Tate Modern genannt) in London ist eines der weltweit größten Museen für moderne Kunst und zeitgenössische Kunst. Es hat seinen Sitz in einem umgebauten Kraftwerk, der früheren Bankside Power Station, am südlichen Themseufer im Stadtteil Southwark.
Geschichte
Im Jahr 1916 übertrug man der Tate Gallery die Aufgabe, eine Sammlung internationaler Malerei und Plastik ab 1900 zu erstellen. Da sich die Sammlung enorm vergrößerte und auch an Beliebtheit gewonnen hatte, wurde der Standort in Millbank schließlich zu klein. Zweigstellen eröffneten 1987 in Liverpool und 1993 in St Ives in Cornwall. Seit der Eröffnung am 11. Mai 2000 residiert die Hauptsammlung in der ehemaligen Bankside Power Station, die ursprünglich von Giles Gilbert Scott entworfen wurde.[1] Unter den 148 Entwürfen für den Umbau dieses Kraftwerks zum Museum setzte sich der des Schweizer Architekturbüros Herzog & de Meuron durch. Durch die im gleichen Jahr eröffnete Fußgängerbrücke Millennium Bridge, der erste Brückenneubau im Herzen von London seit 1894, wurde eine direkte Verbindung zwischen St Paul’s Cathedral und dem Museum geschaffen. Im Mai 2003 wurde der „tate to Tate“-Bootsservice mit Stopp am London Eye eingerichtet.
Entwicklung
Das Museum war ursprünglich für 1,8 Millionen Besucher pro Jahr konzipiert, doch im Jahr 2012 lag die Besucheranzahl bereits bei 5,3 Millionen per anno. 2019 wurde die Tate Modern von rund 6,10 Millionen Personen besucht. 2022 betrug die Besucherzahl etwa 3,88 Millionen Menschen.
Geplant war zunächst, bis 2012 – rechtzeitig zu den Olympischen Sommerspielen in London – die Ausstellungsfläche um 60 % zu erweitern. Mit den zusätzlichen 23.000 Quadratmetern sollte das Museum eine vergleichbare Größe wie das Centre Georges Pompidou in Paris erreichen. Die Finanzierung (mehr als 240 Millionen €) des Anbaus sollte sowohl aus privaten als auch aus öffentlichen Mitteln erfolgen. Der Anbau des Museums, der auf der Südseite des Hauptgebäudes errichtet wurde, war zunächst als Glaspyramide geplant. Dieser Entwurf wurde jedoch verworfen und durch einen futuristischen Backsteinbau ersetzt. Beide Entwürfe stammten wieder vom Architekturbüro Herzog & de Meuron. 2010 sollten die Bauarbeiten beginnen, aber das Fundraising war bis dahin nicht von genügend Erfolg gekrönt. Im April 2011 trat Chris Dercon sein Amt als neuer Direktor der Tate an. Im September 2011 teilte Dercon mit, dass mit dem Bau der Backsteinpyramide spätestens 2016 begonnen werde. Die stillgelegten Öltanks des ehemaligen Kraftwerks werden jedoch bis dahin als Projektionsflächen für Filme und für Installationen zur Nutzung herangezogen werden. Der Konzern Unilever, der sich mit insgesamt 4,4 Mio. britischen Pfund am Sponsoring für die Tate Modern beteiligt hatte und von 2000 bis 2012 für die Finanzierung von zirka jährlich wechselnden Installationen in der Turbinenhalle aufkam, teilte im August 2012 mit, das Sponsoring einzustellen, man bleibe allerdings Mitglied der Gesellschaft als Unternehmen. Seit 2015 wird die Serie in der Turbinenhalle durch einen neuen Sponsor fortgesetzt. Die Eröffnung des Erweiterungsbaus fand am 17. Juni 2016 statt.
Parallel trat Frances Morris ihr Amt als neue Direktorin des Hauses an.
Sammlung
Die Tate Modern präsentiert Werke der bedeutendsten und einflussreichsten Künstler der klassischen Moderne und der Gegenwart. Beginnend mit Werken von Vincent van Gogh, Paul Cézanne, Paul Gauguin und Henri de Toulouse-Lautrec werden die Stilrichtungen der Epoche gezeigt: Impressionismus, Kubismus, Fauvismus, Futurismus, Expressionismus, Dadaismus und Surrealismus sowie Pop Art, Minimal Art und Konzeptkunst. Das Museum zeigt nicht nur Werke der Protagonisten der klassischen Moderne u. a. von Pablo Picasso, Georges Braque, Henri Matisse, Piet Mondrian, Marcel Duchamp, Salvador Dalí und Andy Warhol, sondern auch avantgardistische Richtungen wie die des Wiener Aktionismus oder Werke von Joseph Beuys und einen Schwerpunkt auf amerikanischer Gegenwartskunst (Jackson Pollock, Cy Twombly, Mark Rothko, Ed Ruscha).
Präsentation
Die Dauerausstellung ist in vier Bereiche gegliedert, die nicht kunstgeschichtlichen Epochen folgen, sondern Objekte aus verschiedenen Epochen unter Überschriften anordnen. Bei der Eröffnung 2000 waren das Landschaft, Stillleben, Historienmalerei und Akt. Seit der Neugestaltung 2006 sind diese Bereiche States of Flux (Aufbruchstimmung), Idea and Object (Idee und Objekt), Poetry and Dream (Dichtung und Traum) und Matter and Gestures (Materie und Gesten). Daneben gibt es große Sonderausstellungen und große Einzelobjekte in der ehemaligen Turbinenhalle, der heutigen Eingangshalle.
Sonderausstellungen
Ausstellungsräume (Auszug):
2016: Georgia O’Keeffe. Katalog.[13]
2017: Wolfgang Tillmans.
2017: Alberto Giacometti.
2017/18: Amedeo Modigliani.
2017/18: Red Star Over Russia.
Turbinenhalle (Auszug):
2021/22: Anicka Yi. In love with the world.
Performances gegen Sponsoring durch BP
Seit 2010 führte das Künstlerkollektiv Liberate Tate insgesamt 14 Performances gegen das Sponsoring von BP durch. Im Juni 2015 wurde die Galerie für eine Nacht besetzt. BP sponsert die Tate Modern werbewirksam mit jährlich 224.000 Pfund. Die Initiatoren der Aktion verweisen auf den Klimawandel, die Beteiligung des Unternehmens an der Förderung von Ölsand in Kanada, die Ölpest im Golf von Mexiko 2010 und Ölbohrungen in der Arktis. BP verursache mehr CO2-Emissionen als Großbritannien insgesamt.
(Wikipedia)
Note the gravel deflector for operating from rough airstrips. This aircraft was once a common sight in the UK although not in these colours, having started life with Aer Lingus as EI-ASL in 1975.
The locomotive built to lead a nation at war.
A build long in the making...for well over a year and spanning many life changes that attempted to derail this project, Union Pacific #844 finally emerges from my workshop.
UP #844 has captured my imagination since childhood, appearing in several mini-series, TV shows and ads from the early 1990’s. With a sleek body, brutish flat face, high stepping drivers and enormous smoke deflectors, it embodies every definition of monstrous speed and power.
Manufactured by the American Locomotive Company and delivered to UP in 1944 to accommodate both wartime traffic and the projected increase in passenger service after the war, #835-844 were built upon the nearly perfected FEF-1 and FEF-2 series of locomotives delivered between 1937-1939. The entire FEF-3 series proved to be a masterpiece of design and was continuously called upon to lead top priority freight and passenger service.
#844 was delivered on a cold December day in 1944 as the final steam locomotive ever received by UP. Truly an unsleeping giant, #844 is the only steam locomotive of any American Class 1 railroad that has never been struck from the roster. Throughout her revenue career, she headed express freight, fast mail, and the most prestigious passenger trains of the central high plains and mountainous west – The Overland Limited, Los Angeles Limited, Portland Rose, and Pony Express.
Fitted with 80-inch drivers and a 300 psi operating boiler pressure, #844 generates 63,800 lbs of tractive effort. She was designed to comfortably haul a 1,000-ton train at 100 mph and would regularly run at 120 mph.
Significant research was put into this model. Before even laying out the frame I had compiled an 80-year timeline documenting every minor, and major, upgrade, repainting, and alteration. I had one specific goal in mind: to capture her high-speed passenger service essence. As such, I have modeled her exactly as she would have appeared in April of 1949 – oil burning, with a Sellers exhaust steam injector and painted in the famous two-tone gray of Armour Yellow and Harbor Mist Gray. I am proud to say that this is one of the most accurate representations of a two-tone gray FEF-3 in the modeling world.
This model is 8-wide and precisely 1:48 scale. #844 represents the absolute apex of duel-service steam and I want this model to represent nothing less. It is powered by two L power function motors in a 1:1 gear ratio so that she has both high tractive effort and can travel at high speed. The tender is fitted with a power functions control switch and two V2 IR receivers, one dedicated to each motor, powered by a 20c 7.4V Turnigy battery.
I design all my models with usability in mind. That being said, due to the #844’s unavoidable long legs, the locomotive can technically snake its way through R56 curves but is much happier with R120. I will pride myself in saying that the tender can navigate R40 due to my engineering of a unique design to conquer the flexibility challenges that plagues centipede tenders.
Custom wheels and drivers were sourced from Brick Train Depot and Breckland Bricks while the Walschaerts valve gear is from Trained Bricks. I want to particularly thank Monty’s Trains who designed and printed all stickers you see on this model. Monty also provided the technical experience that allowed me to upgrade from a standard Lego battery pack to the vastly superior LiPo world.
I strive to make my models both detailed and accessible. As such, instructions ARE available for this model in both two-tone gray and black (accurately dated to July 1954). Additionally, both liveries come with simple and complex valve gear instructions.
Today known as The Living Legend, UP #844 is the last of a great breed and represents the absolute apex of duel-service steam as one of the most powerful, prestigious and well-engineered Northern type locomotives of all time.
I feel extremely grateful to the Union Pacific Steam Team for ensuring that, through unquantifiable amounts of continuous labor, #844’s clock is not approaching twilight, but held at dawn. She is poised to travel the high iron for time eternal, forever roaring across the heartland plains and into the rising sun.
Thank you everyone for taking time to read this post, I greatly appreciate your questions, comments and praise. This model represents the end of a personal era, and I appreciate all the encouragement and support that I received from the community along the way. Railroading and Lego modeling are my passions, and I am happy to be part of these growing communities.
Cort
Created with fd's Flickr Toys. 8 of us made it for the second part of the Heritage Trail; this time at Geylang. Some of the female members were thrilled that they have a chance to come to this place for photo taking! It was an eye opener... By now word has spread to the organisers to watch out for this crazy bunch and they were better prepared for our constant stops! 8)
McDonnell F-4S Phantom II 153879. This aircraft was originally procured as an F-4J and subsequently upgraded.
Note the jet blast deflector, which is substantially smaller than those found on later U.S. Navy aircraft carriers.
The large, heavy F-4 Phantom fighter never actually operated from Essex-class aircraft carriers such as Hornet.
McDonnell Douglas F-4 Phantom II (Wikipedia):
en.wikipedia.org/wiki/McDonnell_Douglas_F-4_Phantom_II
USS Hornet Sea, Air & Space Museum
Alameda, California
USS Hornet (USN Naval History and Heritage Command):
www.history.navy.mil/research/histories/ship-histories/da...
USS Hornet (CV-12) (Wikipedia):
DRG Class "01" (later DB Class "001") 4-6-2 No.01 150 with Witte smoke deflectors and 2'2'T34 tender approaches Hanau Hbf with empty stock for a steam special for Neustadt an der Weinstrasse, 7 May 2016. It has no fall plate, which was the condition I photographed it in 1973 on the Scheiffe Ebane. However, when I photographed it at The Meiningen Steam Festival in 2012 it had a fall plate! 231 2-cylinder "01's" were built by DRG in 1926-38 (plus 10 which were converted from 1925-built "02" 4-cylinder compounds in 1937-42). At the end of World War II, 171 were in West Germany and 70 in the East. The DB rebuilt 5 in 1950-51 with (rivetted) boilers with combustion chambers, feed water heaters and, in place of the original "elephant ears" smoke deflectors, Witte smoke deflectors (these were withdrawn 1968) then in 1958-61 50 were extensively rebuilt with all-welded boilers, feed water heaters, wide chimnies, Witte smoke deflectors, modified frames and roller bearings whilst the front fall-plate was removed.These were fine performing engines. On the DB, the last "01" (an unrebuilt example) was withdrawn in 1973, on the DR (which rebuilt 35 to "01.5's" any), the last unrebuilt example was withdrawn in 1982.
www.npr.org/2022/10/13/1128523146/saudi-arabia-russia-ope...
The White House accuses Saudi Arabia of aiding Russia and coercing OPEC oil producers
The breach in U.S.-Saudi relations widened Thursday, as the White House accused the kingdom of helping Russia fund its war in Ukraine by pushing up oil revenues.
Last week, the OPEC+ group of oil producers, including Saudi Arabia and Russia, decided to cut oil output by 2 million barrels per day, leading to anger in Washington, with members of Congress calling to retaliate.
National Security Council spokesman John Kirby, in a sharply worded statement, accused Saudi Arabia of strong-arming other oil producing countries to agree to the major oil cut.
"The Saudi Foreign Ministry can try to spin or deflect, but the facts are simple," Kirby said, adding that the kingdom knows the decision will "increase Russian revenues and blunt the effectiveness of sanctions" against Moscow.
He said the administration had urged Saudi Arabia to delay the decision, arguing "there was no market basis to cut production targets."
"Other OPEC nations communicated to us privately that they also disagreed with the Saudi decision, but felt coerced to support Saudi's direction," Kirby said.
Kirby's remarks followed a statement Wednesday night from Saudi Arabia's Foreign Ministry, rejecting claims that the oil cut was "politically motivated against the United States" or that the Saudis were "taking sides" in Russia's war with Ukraine. The Saudis said the oil decision was made unanimously by OPEC+ members "based purely on economic considerations."
A dramatic cut to the amount of oil on the market could drive up fuel prices in a rocky year at the pump.
President Biden told CNN on Tuesday there would be "consequences" for Saudi Arabia but declined to elaborate on what action he is considering.
"This move is clearly going to severely strain an already bad relationship between the U.S. and Saudi Arabia and spark a pretty significant backlash across both sides of the aisle in Washington, D.C.," says Jason Bordoff, director of Columbia University's Center on Global Energy Policy.
Biden lobbied against cutting oil supplies
It wasn't just the sheer size of the cut in oil production by OPEC+. It was also the timing — coming less than three months after Biden visited Saudi Arabia to lobby against such a reduction, and just ahead of the U.S. midterm elections where prices at the gas pump could have an effect on voters.
"It feels punitive against the Biden administration," says Jonathan Panikoff, an expert on Middle East security at the Atlantic Council and a former U.S. intelligence analyst on the region.
"I think it's hard to think it's otherwise because the Saudis aren't naive about the U.S. political situation," Panikoff says. "It may not have been the core reason for doing it, but they absolutely were happy to do it."
Saudi Arabia's gearing up for weaker fuel demand
Firas Maksad, a senior fellow at the Middle East Institute, a think tank in D.C., says Saudi Arabia has legitimate business reasons for the cut. It's seeking higher fuel prices now in case a global recession reduces demand later.
This week, OPEC — which stands for the Organization of the Petroleum Exporting Countries — lowered its forecasts for crude oil demand in the coming months because of global inflation, soaring interest rates and geopolitical tensions.
Maksad says U.S. officials were engaged in a "full-court press" with their counterparts in the Gulf region leading up to the Oct. 5 OPEC+ meeting. He says there was an understanding of what the U.S. administration was pressuring members of the oil cartel to do.
"It's just that the will to acquiesce to U.S. domestic policy — the administration's domestic political considerations — was not there," he says.
Russia profits from a seat at the table
It was one thing to have America's partner Saudi Arabia lead the drive to cut production. Pouring salt into the administration's wounds was having Russian Deputy Prime Minister Alexander Novak, who is sanctioned by the U.S., sitting at the table when the cuts were announced. Saudi Arabia and Russia co-chair OPEC+.
The U.S. and many of its allies have been trying to slash Russia's oil and gas exports, which help prop up the country's economy. Oil production cuts will drive up the price per barrel and funnel more revenue into the Kremlin's coffers to help pay for the war in Ukraine. Saudi Arabia's decision to band together with Russia in production cuts is seen as undermining U.S. efforts to curb Russia's oil earnings.
"Many in D.C. view the Saudis now as aligning themselves with Russia at a time when Russian troops are killing Ukrainians and reduced Russian energy exports are plunging much of the world into an energy crisis," says Bordoff.
Democrats in Congress are calling for Biden to take tough measures against Saudi Arabia. That includes legislation introduced by Rep. Ro Khanna of California and Sen. Richard Blumenthal of Connecticut to stop selling arms to the kingdom. And Senate Foreign Relations Committee Chairman said the U.S. should "freeze all aspects of our cooperation with Saudi Arabia."
But the Atlantic Council's Panikoff says freezing weapons sales to Saudi Arabia may not be the wisest move as it could allow China to fill that void. He says instead, the U.S. needs to be "smarter" about how it approaches the Saudis.
It goes back to the crown prince
Panikoff says the OPEC+ decision winds back to the kingdom's powerful de facto leader, Crown Prince Mohammed bin Salman.
"I don't think we've fully accepted the notion that he is a different leader than we've ever dealt with. And so we're going to have to have a different relationship," he says.
The crown prince is a transactional leader, Panikoff explains, and the U.S. will have to decide if it wants to spend time and energy rebuilding its strategic relationship with the kingdom or become more transactional, as well. Panikoff says that could affect Saudi Arabia's security guarantees.
"Maybe we don't sell the more advanced aircraft," he says. "Maybe we remove some Patriot batteries and say, 'Look, we recognize your security, we're not trying to diminish it. ... We have to balance our security goals as well.'"
Panikoff believes the crown prince's decision to tie himself so closely to Putin with the OPEC+ decision is a misstep.
But Maksad, with the Middle East Institute, says the Gulf region is no longer beholden to the U.S. and has the right to look for other options.
"And so they are building bridges to China, which, by the way, accounts for over a quarter of oil exports from Saudi Arabia," he says, "and also with Russia, that had been sort of expanding its role in the Middle East."
www.msn.com/en-us/news/opinion/in-ukraine-the-middle-east...
In Ukraine, the Middle East is starting to take sides and it could tip the scales
Opinion by Elena Siniscalco
Historically, the Gulf states have maintained a delicate balance in international conflicts outside of the Middle East and North Africa. This is a formula they adhered to when the Russia-Ukraine conflict broke out in February; keen to remain neutral, Saudi Arabia and the UAE were determined to be passive observers.
But that may be changing.
It seems the Gulf states, and their rival Iran, have covertly crept their way into the Russian and Ukraine conflict. With Iran supplying arms and surveillance technology to Russia, and the Saudi Crown Prince, Mohammed Bin Salman (MBS) mediating a monumental prisoner swap alongside Turkey – the Middle East seems to be trying their hand.
That isn’t to say that Ukraine is yet another proxy battleground for Middle Eastern powers. Last week, Russia and Saudi Arabia agreed to limit OPEC+ oil production by about two million barrels a day. This move stunned the Kingdom’s Western allies, with US officials branding it “a total disappointment,” even “hostile”.
This is quite a departure from the quintessentially non-confrontational approach the Gulf states normally adopt in Western wars. And a recent move by Zelensky indicates there is far more to play than just diplomatic wins. There are – indeed – opportunities that could determine the outcome of this conflict.
Last week, President Zelensky appeared on Saudi Arabia’s Arab News Frankly Speaking show. This rather unorthodox approach to wartime communications was partly due to Saudi Arabia’s significant role in mediating a 300-person prisoner swap last month – which Zelensky was quick to praise.
However, Zelensky’s television appearance came shortly after reports Russia had used Iranian made drones, indicating enhanced military and strategic cooperation between the two countries, an undoubtedly deeply concerning development for the Gulf.
Zelensky even went on the record to offer “wonderful terms and conditions” to Arab investors in exchange for Gulf investment in Ukraine’s $350bn reconstruction and development efforts.
And it does make sense. Sanctions on Russia, and a global recession inching ever closer, have given Saudi and the Gulf states leverage in the global oil supply chain – enriching the kingdoms, even leading to record profits for Aramco.
As a result, they are perfectly situated to provide economic assistance to Ukraine’s daunting rebuilding efforts. A prospect Saudi Arabia, the UAE, and Bahrain will likely take seriously, as they attempt to wean their economies and capital off oil.
If the last decade is any indication, Russia is capable of formidable impact on Middle Eastern politics. For example, Russia handed Syria back to Bashar Al-Assad when defeat seemed imminent – much to the Gulf’s ire. There was also the price war between OPEC and Russia in 2020 that forced oil prices below zero. Not to mention the substantial Russian investment being directed to the Gulf, particularly the UAE – its top investment destination in the region.
It’s no surprise the Gulf currently sees more value in cooperation over confrontation. The latter has rarely yielded desirable results. The question, however, remains. Will a Russian-Arab partnership produce long-term results?
While there are some short-term gains for the Gulf, any long-term alignment would come at a high cost.
As the war drags on, with no end in sight, there will certainly be a revaluation by the West of the Gulf states’ position on Ukraine. It’s worth remembering that, for the West, this is not about politics. It fundamentally views the conflict as one that defines worldview and order, and their allies’ positions determine which side of that they will fall on. And the Saudis will undoubtedly find few friends in a Russian bloc which includes Iran.
Moscow would likely take note of Saudi Arabia’s own potential economic and geopolitical clout – demoting Russia in 2019 to become China’s primary supplier of oil. The two nations have since competed heavily for the top spot, with Saudi retaining its position.
The reality is an economically battered Russia is in no position to offer much to the Gulf nations. If anything, as a net exporter, Russia is leaning heavily on the Gulf states in its time of economic need. And although Russia still has its trump card in Europe – through the continents’ heavy reliance on Russian gas supplies – the same is simply not true in the Middle East.
For now, the Gulf may maintain the balance they have struck. But for how long they, and Moscow, can keep their interests aligned in what is an unequal and economically skewed relationship, is a question which could change the geopolitical landscape.
If you have one, then best to let the world know about it, I'd say.
The paintwork just in front of the rear wheel was actually flapping in the breeze.
Southern Railway Maunsell Class "V" or "Schools" 4-4-0 No.925 (BR No.30925) "Cheltenham" with single chimney and smoke deflectors in early non-standard Bulleid 1938 SR Malachite green livery, having green cylinder covers (instead of black), black smoke deflectors (instead of green) and black & white lining (instead of black & yellow). Just 6 "Schools" had this particular livery especially painted for the refurbished and repainted "Bournemouth Ltd" launched in 1938. Arriving at Toddington on a service from Cheltenham Racecourse, Gloucestershire-Warwickshire Railway, 05/13.
QJ class 2-10-2 locomotives were normally fitted with smoke deflectors and so to see this example at the depot at Sujiatun was quite a surprise.
Netherlands' goalkeeper #23 Andries Noppert deflects the ball during the Qatar 2022 World Cup round of 16 football match between the Netherlands and USA at Khalifa International Stadium in Doha on December 3, 2022. (Photo by Jewel SAMAD / AFP)
via WordPress readnews.xyz/the-division-2-deflects-sekiros-rise-to-the-...
The PC charts are all the time much less predictable and the week ending 23rd March is not any exception. Tom Clancy’s The Division 2 maintains its place at the top spot with Sekiro: Shadows Die Twice getting into in second spot.
There was lots of motion each up and down and hundreds of new / re-entries which embody Battlefield V, World of Warcraft: Battle for Azeroth, Aerofly FS2 and Football Manager 2018.
You can view the full worth PC chart for the week ending 23rd March under:
LW
TW
Title
Publisher
1
1
TOM CLANCY’S THE DIVISION 2
UBISOFT
2
SEKIRO: SHADOWS DIE TWICE
ACTIVISION
2
3
FOOTBALL MANAGER 2019
SEGA
4
BATTLEFIELD V
EA GAMES
5
WORLD OF WARCRAFT: BATTLE FOR AZEROTH
BLIZZARD
7
6
ANTHEM
EA GAMES
10
7
FALLOUT 76
BETHESDA SOFTWORKS
3
8
FARMING SIMULATOR 19
FOCUS HOME INTERACTIVE
8
9
THE SIMS Four BUNDLE PACK 9
EA GAMES
23
10
THE SIMS Four BUNDLE PACK 5
EA GAMES
24
11
DIRT RALLY 2.0
CODEMASTERS
27
12
THE SIMS Four BUNDLE PACK 1
EA GAMES
13
BATTLEFIELD 1: REVOLUTION
EA GAMES
15
14
THE SIMS Four BUNDLE PACK 3
EA GAMES
15
AEROFLY FS2
AEROSOFT
16
FOOTBALL MANAGER 2018
SEGA
14
17
THE SIMS Four BUNDLE PACK 7
EA GAMES
18
ANCESTORS LEGACY
1C COMPANY
13
19
THE SIMS Four BUNDLE PACK 11
EA GAMES
20
20
OMSI 2: THE OMNIBUS SIMULATOR
AEROSOFT
21
21
PLANET COASTER
SOLD OUT SALES & MARKETING
22
GRAND THEFT AUTO V
ROCKSTAR
17
23
OVERWATCH
BLIZZARD
18
24
FALLOUT Four GOTY
BETHESDA SOFTWORKS
25
CALL OF DUTY: WWII
ACTIVISION
5
26
X-PLANE 11
AEROSOFT
27
WOLFENSTEIN II: THE NEW COLOSSUS
BETHESDA SOFTWORKS
25
28
CRASH BANDICOOT N.SANE TRILOGY
BLIZZARD
29
SYBERIA 3
MICROIDS
30
ELEX
THQ NORDIC
Ukie Games Charts©, compiled by GfK Chart-Track
Ukie web site: ukie.org.uk