Manufacturing_process photos on Flickr

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The 4’x4’ acrylic print, ‘POWER & CONNECTIVITY’ features a photo collage of hardware remnants collected from the Madison Brass Works prior to its renovation into the Goodman Brassworks Facility.

These outlets, fuse boxes, and switches routed electricity throughout the building, enabling all of its manufacturing processes. The use of these on/off buttons and control dials spanned the first hundred years of the building’s history, when it functioned as a foundry where brass castings and fittings were made.

The work acknowledges the decades of industrial labor that took place at this historic site. The display also includes a didactic text panel and one of the original start/stop button boxes. A rich symbol of power and connectivity, the image serves as a reminder of how integral these two elements are to the continued success and vitality of our community.

On display as part of the GCC Brassworks permanent collection, this artwork communicates a piece of Madison’s history and helps beautify a highly-trafficked community space.

Created by Angela Richardson for the Goodman Community Center, Brassworks Facility, 214 Waubesa Street, Madison, Wisconsin, U.S.A. Permanently installed December 2018.

Funded by Schenk-Atwood-Starkweather-Yahara Neighborhood Association and a Madison Arts Commission 2017/2018 Individual Fellowship Award with additional funds from the Wisconsin Arts Board.

Talavera at Tlaquepaque - TaTa by Chic Bee

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Thank you for leaving? No, I think it means "Thank you for Visiting."

Tlaquepaque is a charming and lovely art mall in Sedona, Arizona, USA

In English, it's pronounced Till ah-key pah-key. The name is that of a village in Mexico...

The beautiful Mexican tiles are known as Talavera tiles. I have some large Talavera flower pots. They are very beautiful...

By the way, this photo and our description are the fourth item down from the top on:

whotalking.com/flickr/Talavera

en.wikipedia.org/wiki/Talavera_(pottery)

Talavera is a type of majolica earthenware, distinguised by its white base glaze.[1] Authentic Talavera pottery only comes from the city of Puebla and the communities of Atlixco, Cholula and Tecali, as the clays needed and the history of this craft are both centered there. All pieces are hand-thrown on a potter's wheel and the glazes contain tin and lead, as they have since colonial times. This glaze must craze, be slightly porous and milky-white, but not pure white.

There are only six permitted colors: blue, yellow, black, green, orange and mauve, and these colors must be made from natural pigments. The painted designs have a blurred appearance as they fuse slightly into the glaze. The base, the part that touches the table, is not glazed but exposes the terra cotta underneath. An inscription is required on the bottom that contains the following information: the logo of the manufacturer, the initials of the artist and the location of the manufacturer in Puebla.[2][3][5]

The design of the pieces is highly regulated by tradition. The paint ends up slightly raised over the base. In the early days, only a cobalt blue was used, as this was the most expensive pigment, making it highly sought after not only for prestige but also because it ensured the quality of the entire piece.[6] Talavera is the most outstanding of Mexico’s pottery traditions.[5] Only natural clays are used, rather than chemically treated and dyed clays and the handcrafting process takes three to four months.

The process is risky because a piece can break at any point. This makes Talavera three times more costly than other types of pottery.[7] Because of this, Talavera manufacturers have been under pressure from imitations, commonly from China,[8] and similar ceramics from other parts of Mexico, especially Guanajuato. Guanajuato state petitioned the federal government for the right to share the Talavera demonimation with Puebla, but, since 1997, this has been denied and glazed ceramics from other parts of Mexico are called Maiolica or Mayolica.[3][4]

Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work "Talavera." [9] Certification is issued by the Consejo Regulador de la Talavera, a special regulatory body. Only nine workshops have so far been certified: Uriarte Talavera, Talavera La Reyna, Talavera Armando, Talavera Celia, Talavera Santa Catarina, Talavera de la Nueva Espana, Talavera de la Luz, Talavera de las Americas, and Talavera Virglio Perez. Each of these needs to pass a twice-yearly inspection of the manufacturing processes. Pieces are subject to sixteen laboratory tests with internationally certified labs.[2] In addition, there is a test done by the Faculty of Sciences of the University of Puebla to ensure that the glaze does not have lead content of more than 2.5 parts per million or cadmium content of more than 0.25 parts per million, as many of the pieces are used to serve food.[3][10] Only pieces from workshops that meet the standards are authorized to have the signature of the potter, the logo of the workshop and the special hologram that certifies the piece's authenticity.[8]

Production

The process to create Talavera pottery is elaborate and it has basically not changed since the early colonial period when the craft was first introduced.[1][6] The first step is to mix black sand from Amozoc and white sand from Tecali. It is then washed and filtered to keep only the finest particles. This can reduce the volume by fifty percent.[7] Next the piece is shaped by hand on a potter's wheel, then left to dry for a number of days.[6] Then comes the first firing, done at 850 °C (1,560 °F).[3] The piece is tested to see if there are any cracks in it. The initial glazing, which creates the milky-white background, is applied. After this, the design is hand painted.[6] Finally, a second firing is applied to harden the glaze.[3] This process takes about three months for most pieces,[8] but some pieces can take up to six months.[11]

This process is so complicated and plagued with the possibility of irreparable damage that during colonial times, artisans prayed special prayers, especially during the firing process.[12]

Some workshops in Puebla offer guided tours and explain the processes involved. The oldest certified, continuously operating workshop is in Uriarte.[11] It was founded in 1824 by Dimas Uriarte, and specialized in traditional colonial-era designs.[13] Another certified workshop, Talavera de la Reina, is known for revitalizing the decoration of the ceramics with the work of 1990s Mexican artists.[7]

[edit]Usage

The Casa de los Azulejos in Mexico City

Talavera ceramic is mostly used to make utilitarian items such as plates, bowls, jars, flowerpots, sinks, religious items and decorative figures. However, a significant use of the ceramic is for tiles, which are used to decorate both the inside and outside of buildings in Mexico, especially in the city of Puebla.[14]

The Puebla kitchen is one of the traditional environments of Talavera pottery, from the tiles that decorate the walls and counters to the dishes and other food containers. It is a very distinct style of kitchen. In monastery kitchens of the area, many of the designs also incorporate the emblem of the religious order.[15] Many of the facades in the historic center of Puebla are decorated with these tiles.[6][16]

These tiles are called azulejos and can be found on fountains, patios, the facades of homes, churches and other buildings, forming an important part of Puebla's Baroque architecture.[17] This use of azulejos attested to the family's or church's wealth. This led to a saying "to never be able to build a house with tiles", which meant to not amount to anything in life.[1]

Being able to show this kind of wealth was not restricted to Puebla. In Mexico City, the church of the Convent of La Encarnacion and the church of the Virgin of Valvanera both feature cupolas covered in Talavera.[18] The most famous example of Talavera in the capital city is the Casa de los Azulejos, or House of Tiles, which is an 18th-century palace built by the Count del Valle de Orizaba family. What makes this palace, in the City of Palaces, distinct is that its facade on three sides is completely covered in expensive, blue-and-white tile – sensational at the time the tiles were applied.[19][20]

History

Talavera bowl from the 16th or 17th century

Techniques and designs of Islamic pottery were brought to Spain by the Moors by the end of the 12th century as Hispano-Moresque ware. From there they influenced late medieval pottery in the rest of Spain and Europe, under the name majolica.[5][15] Spanish craftsmen from Talavera de la Reina (Castile, Spain) adopted and added to the art form. Further Italian influences were incorporated as the craft evolved in Spain, and guilds were formed to regulate the quality.[6]

During roughly the same time period, pre-Hispanic cultures had their own tradition of pottery and ceramics, but they did not involve a potter's wheel or glazing.[1][6] There are several theories as to how majolica pottery was introduced to Mexico.[1] The most common and accepted theory is that it was introduced by monks who either sent for artisans from Spain or knew how to produce the ceramics themselves. These monks wanted tiles and other objects to decorate their new monasteries, so to keep up with this demand, either Spanish artists or the monks taught indigenous artists to produce the glazed pottery.[1][5] A significant number of secular potters came to Mexico from Seville and Talavera de la Reina, Spain during the very early colonial period.[1][14] Later a notable potter by the name of Diego Gaytán, who was a native of Talavera, made an impact on pottery after he arrived in Puebla.[14]

From the time that the city of Puebla was founded in 1531, a large number of churches and monasteries were being built. The demand for tiles to decorate these buildings plus the availability of high-quality clay in the area gave rise to the ceramic industry. It was soon produced by indigenous people as well as Spanish craftsmen, which resulted in a mixture of influences, especially in decorative design. The new tradition came to be known as Talavera Poblana to distinguish it from that of Talavera pottery from Spain.[2][6] By 1550, the city of Puebla was producing high-quality Talavera wares and, by 1580, it had become the center of Talavera production in Mexico.[5]

From 1580 to the mid-17th century, the number of potters and workshops kept growing, each having their own designs and techniques. The colonial government decided to regulate the industry with guilds and standards. In 1653, the first ordinances were passed. These regulated who could be called a craftsman, the categories of product quality, and norms of decoration.[14] The effect was to standardize the production of ceramics and increase the quality of what was produced. Some of the rules established by the ordinances included the use of blue cobalt on only the finest, quality pieces, the marking of pieces by craftsmen to avoid counterfeits, the creation of categories of quality (fine, semi-fine and daily use), and yearly inspections and examination of master potters.[1]

The period between 1650 and 1750 was known as the Golden Age of Talavera.[2] Puebla became the most important earthenware center of New Spain.[1] Pieces were shipped all over the territory, and were sent to Guatemala, Cuba, Santo Domingo, Venezuela and Colombia.[14] During this time, the preferred use of blue on Talavera pottery was reinforced by the influence of China's Ming dynasty through imported Chinese ceramics that came to Mexico via the Manila galleons.[1] Italian influences in the 18th century introduced the use of other colors.[5]

During the Mexican War of Independence, the potters' guild and the ordinances of the 17th century were abolished. This allowed anyone to make the ceramic in any way, leading to a decline in quality.[2] The war disrupted trade among the Spanish colonies and cheaper English porcelain was being imported.[14] The Talavera market crashed. Out of the forty-six workshops that were producing in the 18th century, only seven remained after the war.[2]

In 1897, a Catalan by the name of Enrique Luis Ventosa arrived to Puebla. Ventosa was fascinated by the history of the craft which was unique from other art forms in Mexico. He studied the original processes and combined it with his knowledge of contemporary, Spanish work. He published articles and poems about the tradition and worked to decorate ceramic pieces. In 1922, he befriended Ysauro Uriarte Martinez, a young potter, who had inherited his grandfather's workshop. The two men collaborated to create new decorative designs, adding pre-Columbian and Art noveau influences to the Islamic, Chinese, Spanish and Italian influences that were already present. They also worked to restore the former levels of quality. Their timing was good as the Mexican Revolution had ended and the country was in a period of reconstruction.[2]

However, by the 1980s, there had been a further decline in the number of workshops until only four remained.[7] Talavera had been under pressure in the latter part of the 20th century because of competition from pottery made in other Mexican states, cheap imports and the lack of more modern and imaginative designs.[4] In the early 1990s, the Talavera de la Reina workshop began revitalizing the craft by inviting artists to work with their artisans to create new pieces and new decorative designs. Among the artists were Juan Soriano, Vicente Rojo Almazán, Javier Marín, Gustavo Pérez, Magali Lara and Francisco Toledo.[4][7][8] They did not change the ceramic processes, but added human forms, animals, other items and traditional images of flowers to the designs.[7]

Since then there has been some resurgence in the craft. In the 2000s, seventeen workshops were producing Talavera in the old tradition. Eight were in the process of becoming certified.[4][7] These workshops employed about 250 workers and exported their wares to the United States, Canada, South America and Europe.[14]

Although the Spaniards introduced this type of pottery, ironically the term Talavera is used much more in Mexico than in Talavera de la Reina, Spain, its namesake.[1] In 1997, the Denominación de Origin de la Talavera was established to regulate what pieces could be officially called Talavera. Requisites included the city of production, the clay that was used, and the manufacturing methods. These pieces now carry holograms.[4] One of the reasons the federal law was passed was that the remaining Talavera workshops had maintained the high quality and crafting process from the early colonial period, and the goal was to protect the tradition.[3]

However, the tradition still struggles. Angelica Moreno, owner of Talavera de la Reina, is concerned that the tradition of the craft is waning, despite her workshop's efforts. One problem the craft faces is the lack of young people who are interested in learning it. An artisan earns about 700 to 800 pesos a week, which is not enough to meet expenses.[7]

Museum exhibitions

In the early 20th century, interest developed in collecting the work. In 1904, an American by the name of Emily Johnston de Forrest discovered Talavera on a trip to Mexico. She became interested in collecting the works, so she consulted scholars, local collectors and dealers. Eventually, her collection became the base of what is currently exhibited in the Metropolitan Museum of Art in New York. Her enthusiasm was passed onto Edwin Atlee Barber, the curator of the Pennsylvania Museum of Art. He, too, spent time in Mexico and introduced Talavera into the Pennsylvania museum's collection. He studied the major stylistic periods and how to distinguish the best examples, publishing a guide in 1908 which is still considered authoritative.[2]

During this time period, important museum collections were being assembled in Mexico as well. One of the earliest and most important was the collection of Francisco Perez Salazer in Mexico City. A bit later, in the 1920s, Franz Mayer, a German-born stockbroker, started his collection. In Puebla, he was considered a bit crazy for buying all of the "old stuff" from the locals. In 1986, the Franz Mayer Museum opened in Mexico City with the largest collection of Talavera Poblana in the world – 726 pieces from the 17th through the 19th century, and some 20th-century pieces by Enrique Luis Ventosa. In Puebla, José Luis Bello y González and his son José Mariano Bello y Acedo sought the advice of Ventosa in starting their collection. They amassed the largest and most important collection in the city which now is housed in the José Luis Bello y González Museum (Bello Museum).[2]

More recently, the Museo de la Talavera (Talavera Museum) has been established in the city of Puebla, with an initial collection of 400 pieces. The museum is dedicated to recounting the origins, history, expansions and variations in the craft. Pieces include some of the simplest and most complex, as well as those representing different eras.[7][21]

Several temporary and travelling exhibits of certain themes have been created from these permanent collections. One of these was called "El Aguila en la Historia de Mexico" (The Eagle in the History of Mexico). The forty-two-piece exhibit was sponsored by the Senate of Mexico to show how the eagle symbol has been used in the country throughout its history. This exhibit was sponsored in honor of the Bicentennial of Independence in 2010. These ceramics were chosen because of their combination of art and utility. Eagles depicted include that of Mexico's coat of arms, as well as those of political figures such as José María Morelos y Pavón and Porfirio Díaz, and those used by institutions such as the Royal and Pontifical University of Mexico and the Mexican Senate itself.[22]

Another exhibit in Mexico centered on the creation of maps using Talavera tile. Most tiles during the colonial period were decorated with flowers and landscapes but a significant number were painted to create murals with maps. Those that survive show how a number of cities developed over the colonial period. Eight of the most representative 16th century Talavera tile maps were at the El Carmen Museum at an exhibit called "Cartografia: Una Vision en Talavera del Mexico Colonial" (Cartography: A Talavera Vision of Colonial Mexico). This exhibit was of reproductions of the originals created by the Talavera de la Luz workshop in Puebla. The chosen maps show the development of Mexico City as well as representations of the Acapulco, Puebla and the Tesuco regions during this time period.[17]

Exhibits have been held outside of Mexico as well. The Museum of the Americas in Spain held an exhibit called "Talaveras de Puebla, Cerámica colonial Mexicana. Siglos XVII a XXI" (Talavera Pottery of Puebla, Mexican colonial ceramics, XVII to 21st centuries). This was a temporary exhibit of 49 pieces, combined with pieces from Spain and China as references. The pieces were loaned by the Franz Mayer Museum and the Bello Museum.[23] [24]

IMG_0545 - Version 3

Stricklandgate, Kendal, Westmorland, England by Billy Wilson

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"Kendal, once Kirkby in Kendal or Kirkby Kendal, is a market town and civil parish in the South Lakeland District of Cumbria, England. Historically in Westmorland, it lies 8 miles (13 km) south-east of Windermere, 19 miles (31 km) north of Lancaster, 23 miles (37 km) north-east of Barrow-in-Furness and 38 miles (61 km) north-west of Skipton, in the dale of the River Kent, from which comes its name. The 2011 census found a population of 28,586. making it the third largest town in Cumbria after Carlisle and Barrow. It is known today mainly as a centre for tourism, as the home of Kendal mint cake, and as a producer of pipe tobacco and snuff. Its local grey limestone buildings have earned it the nickname "Auld Grey Town".

A chartered market town, the centre of Kendal has formed round a high street with fortified alleyways, known locally as yards, off to either side, which allowed local people to shelter from the Anglo-Scottish raiders known as Border Reivers. The main industry in those times was the manufacture of woollen goods, whose importance is reflected in the town's coat of arms and in its Latin motto Pannus mihi panis (Cloth is my bread.) "Kendal Green" was a hard-wearing, wool-based fabric specific to the local manufacturing process. It was supposedly sported by the Kendalian archers instrumental in the English victory over the French at the Battle of Agincourt. Kendal Green was also worn by slaves in the Americas and appears in songs and literature from that time. Shakespeare notes it as the colour of clothing worn by foresters (Henry IV, Part 1).

Kendal Castle has a long history as a stronghold, built on the site of several successive castles. The earliest was a Norman motte and bailey (now located on the west side of the town), when the settlement went under the name of Kirkbie Strickland. The most recent is from the late 12th century, as the castle of the Barony of Kendal, the part of Westmorland ruled from here. The castle is best known as the home of the Parr family, as heirs of these barons. They inherited it through marriage in the reign of Edward III of England. Rumours still circulate that King Henry VIII's sixth wife Catherine Parr was born at Kendal Castle, but the evidence available leaves this unlikely: by her time the castle was beyond repair and her father was already based in Blackfriars, London, at the court of King Henry VIII." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon.

'Reflections in Glass' ...The 'Choir Loft' Ride to Heaven by Clay Dye

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As if, assisting those of the choir to ascend into heaven, this unique 'painterly' effect is a distorted reflection created by the very old rippled glass; the type of glass manufactured & used in buildings of this period.

This manufacturing process of 'rolled glass', would inherantly cause the glass to bunch up as it crossed the rollers, resulting in the distortions seen here. The process more commonly used today (since the sixties) is float glass, which became more favorable as it produces a flatter sheet of glass with very little distortion.

Art Deco Bakelite and Catalin Objects by Artdecodude

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Here's an assortment of various bakelite and catalin objects from my Art Deco collection, circa 1930's. Both bakelite and catalin were types of new age plastics used during the Machine Age era. Catalin has a different manufacturing process than bakelite and could be dyed bright colors and marbled.

Shown here is a Taylor Stormguide in the center, which measures temperature and humidity. The bright red and butterscotch catalin combination is very rare.

The half-round, bright red vanity box with brass knobs and feet is also very rare and was manufactured by the General Electric Company. This box is typically seen with a black base and a variety of colored lids (such as the similar green lidded vanity box in the back).

The black, circular box in the back has a very streamlined appearance. It was made by the American Insulator Corporation, and used either as a cigarette or jewelry box.

The arching, molded green and black bakelite box in the front is American made and most likely manufactured by Lady Lillian as a nail polish holder.

The marbled, caramel catalin box in the back is an ingenious cigarette holder. It has a chrome stepped lid and base, and the interior mechanism holds and displays cigarettes in a fanned design when open.

assab-wood-type by Petrescu Press

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Wood Type Manufacture

The design section of this project was simplified by Mr. Walters’ input, who has redrawn the entire set of letters, punctuation and numbers. He provided them as .pdf files, that we used to design the program cutting patterns for the required sizes.

For this project, the typeface was cut in four sizes: 4, 5, 6, and 8 line. All sizes were made in a 6A Font Scheme, with a corresponding No.01 scheme each, the process resulting over 750 wood blocks.

The materials used were end-grain beech wood, at the .918” standard type high. The surface was finished using traditional french polish: shellac varnish, pumice powder and olive oil; resulting in three layers.

Carving of the letters was done using a CNC milling machine. Several other tools were involved in the manufacture process: circular saws, sanders, etc. , used for preparing the wood and cutting the final blocks to size.

Grey Hawk - Mach 8-10 - 7th / 8th Gen Hypersonic Super Fighter Aircraft, IO Aircraft www.ioaircraft.com by IO Aircraft

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Grey Hawk - Mach 8-10 - 7th / 8th Gen Hypersonic Super Fighter Aircraft, IO Aircraft www.ioaircraft.com

New peek, very little is posted or public. Grey Hawk - Mach 8-10 Hypersonic 7th/8th Gen Super Fighter. This is not a graphics design, but ready to be built this moment. Heavy CFD, Design Work, Systems, etc.

All technologies developed and refined. Can out maneuver an F22 or SU-35 all day long subsonically, and no missile on earth could catch it. Lots of details omitted intentionally, but even internal payload capacity is double the F-22 Raptor. - www.ioaircraft.com/hypersonic.php

Length: 60'

Span: 30'

Engines: 2 U-TBCC (Unified Turbine Based Combined Cycle)

2 360° Thrust Vectoring Center Turbines

Fuel: Kero / Hydrogen

Payload: Up to 4 2,000 LBS JDAM's Internally

Up to 6 2,000 LBS JDAM's Externally

Range: 5,000nm + Aerial Refueling Capable

www.ioaircraft.com/hypersonic.php

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Unified Turbine Based Combined Cycle. Current technologies and what Lockheed is trying to force on the Dept of Defense, for that low speed Mach 5 plane DOD gave them $1 billion to build and would disintegrate above Mach 5, is TBCC. 2 separate propulsion systems in the same airframe, which requires TWICE the airframe space to use.

Unified Turbine Based Combined Cycle is 1 propulsion system cutting that airframe deficit in half, and also able to operate above Mach 10 up to Mach 15 in atmosphere, and a simple nozzle modification allows for outside atmosphere rocket mode, ie orbital capable.

Additionally, Reaction Engines maximum air breather mode is Mach 4.5, above that it will explode in flight from internal pressures are too high to operate. Thus, must switch to non air breather rocket mode to operate in atmosphere in hypersonic velocities. Which as a result, makes it not feasible for anything practical. It also takes an immense amount of fuel to function.

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Advanced Additive Manufacturing for Hypersonic Aircraft

Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.

Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.

*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.

What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.

Unified Turbine Based Combined Cycle (U-TBCC)

To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5

However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.

Enhanced Dynamic Cavitation

Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.

Dynamic Scramjet Ignition Processes

For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.

Hydrogen vs Kerosene Fuel Sources

Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.

Conforming High Pressure Tank Technology for CNG and H2.

As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.

As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).

Enhanced Fuel Mixture During Shock Train Interaction

Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.

Improved Bow Shock Interaction

Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.

6,000+ Fahrenheit Thermal Resistance

To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.

*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope

Scramjet Propulsion Side Wall Cooling

With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.

Lower Threshold for Hypersonic Ignition

Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.

Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities

Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.

Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)

To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.

A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.

Ford Model T by hhschueller

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The Ford Model T, affectionately nicknamed "Tin Lizzie," was a revolutionary automobile produced by the Ford Motor Company from 1908 to 1927. While not the first car ever made, it was the first mass-produced car that was truly affordable for the average person. Henry Ford's vision was to create a "universal car" that was durable, simple to operate, and accessible to the "great multitude." Its introduction marked a fundamental shift from cars being a luxury item for the wealthy to a practical tool for the middle class. By the 1920s, more than half of all cars on the road were Model Ts, solidifying its place as a transformative invention.

A key element of the Model T's success was its groundbreaking manufacturing process. To achieve his goal of affordability, Henry Ford pioneered the moving assembly line in 1913 at the Highland Park plant. This innovation dramatically reduced the time it took to build a car, from over 12 hours to just 93 minutes by 1914. Instead of workers moving around the car, the car chassis was pulled along a line, and each worker performed a single, specialized task. This method drastically cut production costs, allowing the price of a Model T to fall from $850 in 1908 to as low as $260 by 1925. This cost-saving efficiency became known as Fordism and was a model for mass production in many other industries.

The Model T's design emphasized simplicity and durability. It was built to withstand the often abysmal roads of the early 20th century. The car featured a 2.9-liter, 20-horsepower, four-cylinder engine with a top speed of around 45 mph. It used a rugged, lightweight vanadium steel chassis and a unique three-point suspension system that helped absorb road shocks. The steering wheel was placed on the left side, which became a standard for American cars. Its two-speed planetary transmission was designed to be easy for anyone to operate, with a foot pedal for speed control and a hand lever for reverse. Many early models had to be started with a hand crank, though a battery-powered starter was introduced as an option later on.

The Model T's impact on society was profound and far-reaching. By making car ownership accessible to millions, it revolutionized personal mobility and leisure. Families could now travel farther for work, social events, or vacations, leading to the growth of new businesses like gas stations, repair shops, and motels. It also played a significant role in the development of suburbs, as people were no longer confined to living within walking or public transit distance of their jobs. The demand for better roads spurred the creation of the modern highway system. Ford's high wages for assembly line workers (the "Five-Dollar Workday") helped create a thriving American middle class, who could now afford to buy the products they were building.

In its legacy, the Ford Model T is remembered as more than just a car; it's a symbol of American industrial innovation and modernity. It was named the "Car of the Century" in a 1999 international poll, a testament to its enduring influence. Its production run of over 15 million units was a record that stood for over 40 years. The principles of the Model T's mass production system laid the foundation for modern manufacturing, shaping the global economy and consumer culture. Its simple, robust design and accessible price point fulfilled Henry Ford's vision, truly putting the world on wheels and changing the way people lived and worked forever.

Antigravity Caldermobile : White Night / Nuit Blanche Brighton by Dominic Alves

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duration: 25 secs. - with audio

Jubilee Square.

Even on White Night, boring old "noise abatement" laws apply. After the InCANdescent event was smartly cleared away by the City's cleaning crew, this "proof of concept" kinetic light sculpture was installed in the early hours. The organisers were not keen on photography.

What is said in hotel bars should stay in hotel bars (especially when said over breakfast sake / nihonshu), but really - this is so interesting. Named after Alexander Calder, the inventor of the mobile, the structure follows similar dynamics - except upside down! Stability is of course aided by myriad gyroscopes embedded in the structure, and balance maintained by internal weights, continuously adjusted by stepper motors - hence the odd buzzing sounds. Each major component (arm or egg-flower) has a processor running a complete real time model of the structure. (This is done at a very sophisticated level. A library of air resistance and slight aerofoil lift behaviours for 58,000 different variations of petal positions is accessible by the software, for instance.) Accelerometers and accurate force measurement at the joints of the structure enable any deviation between predicted and actual behaviour to be instantly detected. Typically this will be caused by either wind currents, or incredulous drunk people poking the structure. The distributed processing enables near instantaneous compensatory correction for these events. (The stability is of course partially illusory. Designed to be displayed primarily in an indoor environment, a strong enough air current, or a hard enough shove will cause catastrophic failure, and collapse of the structure - in a manner perhaps analogous to ABS related accidents.) The project was created to showcase the video display panels, the product a secretive joint venture by a Consortium in response to (as generally perceived within the industry) an "over dominance" in the sector by a large South Korean manufacturer of OLED displays. Based also on OLED technolgy, there is no addressing matrix. Instead, video data "bumbles" or "pinballs" between pixel units using very high frequency, very short range radio - the data being stored or passed on as required. (The pixel units can also interpolate and extrapolate missing data - both spatially and temporally - but in practice, despite the haphazard data distribution method, there is a high level of reliability, and thus seldom the need for this function to be invoked.) Accordingly, the panels can be cut, and the edges planed and sanded to any shape, a boon to artists. Power is distributed via two fine fibrous conducting planes just below each surface. The material of the conductors is "self-healing". On exposure to both water vapour and oxygen in the air, the fibres react to become an insulator to prevent shorting and power leakage. The fibres also swell during the reaction, forming a seal, and preventing further ingress of water or oxygen molecules, and thus preventing deeper deterioration of the conducting layers from the cut edges. Intentional power connections - to transfer power between the light panels and also to power the electric motors - are made using vampire connectors that bite into opposites sides of the sheets, through to the conducting layers. A small amount of conductive hydrophobic gel must be used in these situations, to inhibit the self healing properties of the conducting layers, and to prevent the power connections thus failing. (This method is anticipated to ensure securely conductive connections "for at least 80 years", although with a material that has only been in production for 5 weeks, it is difficult to be sure for certain!) The cigar shaped pixel units are aligned at right angles to the surfaces (apparently by simple buoyancy during the manufacturing process when the resin substrate is still liquid and thinly spread horizontally by gravity), with the ends touching and drawing power from the embedded conducting fibrous mesh. The thermoplastic resin base can also be heated and then bent or moulded by presses into curved surfaces without affecting operation. Acoustic transducers in the pixel units automatically determine the geometry of the panels (including any curvature) and the placement of adjacent pixel units by generating and timing the travel time of a chatter of clicks, each time a panel is powered up. This information is used to assist in placing the projection of the video. (In the example above, the video images of "coloured walls of flame" are wrapped using a cylindrical projection around each of the egg-flowers in their closed positions.) Each pixel unit can generate colours using a palate of seven colours - as opposed to the usual (RGB) three. This provides an ultra rich gamut easily capable of accommodating tetrachromacy. Unfortunately this richness of colour is not reproduced in this set, because obviously standard bayer filtered CCD cameras were used, and so the colours appear blandly oversaturated. When the South Korean manufacturer eventually found out about the project, they got very cross and decided to throw a spanner in the works big time and in an act of monstrous hypocrisy they lodged an "anti-trust" complaint with the European Commission, and the Consortium was embarrassed into taking the route of scoundrels and bounders everywhere by filing for bankruptcy in a court in Texas on the weekend of the festival, to contain any contingent liabilities. (Hence the sudden reluctance to have the installation photographed.) This caused problems for the Installation Engineers, because their Hotel's hyper sharp credit agency service flagged up a problem. Fortunately the Hotel's manager was by then an ecstatic fan of the sculpture, even helping out with assembly and disassembly - a process that requires many hands. (Once powered up the structure is reasonably stable - but getting there is tricky - think about it.) In the best grand tradition of arts patronage the Hotel manager cheerily faxed off a Japanese Language Only Purchase Order to the Hotel group's Director of Finance to puzzle over when he eventually came back from holiday, and continued to buy everyone drinks. With high production investment and development costs, poor yield rates, low margins, near commodity prices and very short technology life cycles, who would get involved in electronic displays?

See also enhanced video details of the spherical fulcrum connectors and egg-flower petal mechanisms.

Part of a set / slideshow documenting in photographs and video the White Night / Nuit Blanche festival held in Brighton and Hove at the end of October 2010.

See also these related flickr galleries: White Night Brighton +Silhouettes +Light +Colours +People and from the sister festival in Picardie Nuit Blanche Amiens.

The set description contains additional related external links.

Coca Cola 15yrs service badge 1997 by Argy58

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Made by the British maker Manhattan Windsor of Birmingham, this impressive cut out lapel badge was awarded to designated Coca Cola staff in 1997 after 15 years service. Also known by their other name, Manhattan Products (Birmingham Ltd), the company made the finest hard fired vitreous enamel lapel badges, award badges, name badges, key fobs and key chains. Although no longer in production, the company's manufacturing processes were all done in-house and in the UK (towards the end of the 20th Century it became increasingly popular for artwork to be shipped to the Far East, before returning as ready made badges).

The badge details the iconic contoured Coca Cola bottle, which has become a brand in its own right. The bottle's development is briefly summarised below:

In 1915, the Root Glass Company of Terre Haute, Idiana, was tasked with designing a new Coca Cola bottle. The resulting contour shaped bottle was released onto the market in 1916 and as the century unfolded, and subtle changes applied to the shape, it quickly established itself as a design classic.

Forty four years later in 1960, the US Patent and Trademark Office granted the Company its first trademark for the contour bottle and accompanying Coca Cola script. In 1977, the Company was granted a second trademark for just the contour shape itself, without any supporting lettering.

Many believe that Coca Cola fully embraces the spirit and soul of American culture unequalled by any other American product. The advertising fraternity frequently cite Coca Cola as a beacon of design excellence for its branding, advertising and longevity.

Photography, layout and design: Argy58

(This image also exists as a high resolution jpeg and tiff - ideal for a

variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded

format is for screen based viewing only: 72pi)

Factory floor. Abandoned Barber-Colman factory in Rockford, IL by slworking2

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History of the Barber-Colman Company

Historically one of Rockford’s largest manufacturers.

Began with the founding of the Barber & Colman Company in 1894 – partnership between Howard Colman, an inventor and entrepreneur, and W. A. Barber, an investor. [Today he would probably be considered a venture capitalist.] Colman’s first patent and marketable invention was the Creamery Check Pump used to separate buttermilk and dispense skimmed milk.

Colman’s textile production inventions led the company on its rapid rise as a worldwide leader in the design and manufacture of diversified products. Specific items designed for the textile industry included the Hand Knotter and the Warp Tying Machine. Through these innovations, Barber & Colman was able to build its first plant on Rock Street in Rockford’s Water Power District, and to establish branch offices in Boston MA and Manchester, England.

Incorporated as Barber-Colman in 1904 and built 5 new major structures on their site by 1907.

Later innovations for the textile industry included an Automatic Winder, High Speed Warper and Automatic Spoolers. By 1931, the textile machinery division had branch production facilities in Framingham MA; Greenville SC; Munich, Germany; and Manchester. This part of the business flourished through the mid-1960s but then declined as other divisions expanded.

Branched out from the textile industry into machine tools in 1908 with Milling Cutters. Barber-Colman created machines used at the Fiat plant in Italy (1927) and the Royal Typewriter Co. outside Hartford CT. By 1931, the Machine Tool and Small Tool Division of Barber-Colman listed branch offices in Chicago, Cincinnati and Rochester NY.

As part of its commitment to developing a skilled work force, Barber-Colman began the Barber-Colman Continuation School for boys 16 and older shortly after the company was founded. It was a 3-year apprentice program that trained them for manufacturing jobs at Barber-Colman and paid them hourly for their work at rate that increased as their proficiency improved. The program was operated in conjunction with the Rockford Vocational School.

To foster continued inventions, an Experimental Department was established with the responsibility of continually developing new machines. A lab was first installed in 1914 and was divided into two parts – a chemistry lab to provide thorough analysis of all metals and their component properties, and a metallurgical lab to test the effectiveness of heat treatment for hardening materials. Innovations in the Experimental Department laid the groundwork for the company’s movement into the design and development of electrical and electronic products, and energy management controls.

BARBER-COLMAN became involved in the electrical and electronics industry in 1924 with the founding of the Electrical Division. First product was a radio operated electric garage door opener controlled from the dashboard of a car. Unfortunately, it was too expensive to be practical at the time. The division’s major product in its early years was Barcol OVERdoors, a paneled wood garage door that opened on an overhead track. Several designs were offered in 1931, some of which had the appearance of wood hinged doors. This division eventually expanded into four separate ones that designed and produced electronic control instruments and systems for manufacturing processes; small motors and gear motors used in products such as vending machines, antennas and X-ray machines; electronic and pneumatic controls for aircraft and marine operations; and electrical and electronic controls for engine-powered systems.

In the late 1920s, the Experimental Department began conducting experiments with temperature control instruments to be used in homes and other buildings and the Temperature Control Division was born. Over time, BARBER-COLMAN became known worldwide leader in electronic controls for heating, ventilating and air conditioning. These are the products that continue its name and reputation today.

The death of founder Howard Colman in 1942 was sudden but the company continued to expand its

operations under changing leadership. Ground was broken in 1953 for a manufacturing building in

neighboring Loves Park IL to house the overhead door division and the Uni-Flow division. Three later additions

were made to that plant.

The divestiture of BARBER-COLMAN divisions began in 1984 with the sale of the textile division to Reed-

Chatwood Inc which remained at BARBER-COLMAN’s original site on Rock Street until 2001. The machine tool

division, the company’s second oldest unit, was spun off in 1985 to Bourn and Koch, another Rockford

company. At that time, it was announced that the remaining divisions of the BARBER-COLMAN Company

would concentrate their efforts on process controls and cutting tools. These moves reduced local

employment at BARBER-COLMAN’s several locations to about 2200. The remaining divisions were eventually

sold as well, but the BARBER-COLMAN Company name continues to exist today as one of five subsidiaries of

Eurotherm Controls Inc whose worldwide headquarters are in Leesburg VA. The Aerospace Division and the

Industrial Instruments Division still operate at the Loves Park plant, employing 1100 workers in 2000. The

historic complex on Rock Street was vacated in 2001 and the property purchased by the City of Rockford in

2002.

Extensive documentation from the Experimental Department was left at the Rock Street plant when the

company moved out and was still there when the site was purchased by the City of Rockford. These

documents are now housed at the Midway Village Museum.

Eveready Hot Shot Battery. Abandoned Barber-Colman factory in Rockford, Illinois by slworking2

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