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Stability.

Stabiliteit van het evenwicht.

 

Construction material in the line of the forces.

 

Constructie materiaal in de lijn van de krachten.

 

Stable sailing is a building skill.

 

Spailboat levert zijn energie, ammoniak, en / of waterstof, LH2, af aan tankers die het naar havens brengen.

 

Men moet olie gebruiken om ermee te bouwen.

 

Spailboat is een naam. Er zit speed spailing in, uit het Engels, terwijl er ook spelevaren in zit. Spelevaren is een denigrerende term voor rijke lui die uit verveling niets anders kunnen doen dan doelloos varen, op hun omslaande jachten. De echte verwijzing is echter de letterlijke. Spelen. Toevallig ook met ai, de klank van Sail. Dus, de naam voor het nieuwe type zeilboot, respectievelijk, windsurfboot, of, kitesurfboot, is Speelboot, respectievelijk, Spailboat.

 

Een Spailboat, speed-sail-boat, is zeilboot die de lift normaal behandelt. Alle gewone -niet normaal- langsgetuigde zeilboten slaan om. Het is eigenlijk ongelofelijk maar, alle zeilboten zijn instabiel, ofwel, labiel, ofwel in mensentermen, een wankel gebeuren. En, levensgevaarlijk. Dus, een Speelboot is wel een zeilende boot, maar, het mag geen zeilboot heten, omdat zeilboot al bezet is door de gangbare. Maar kitesurfen is ook zeilen, maar toch geen zeilboot. Speelboot is een kitesurfboot, met de monoliete behandeling van een windsurfer.

 

Omdat speelboten niet omslaan. Sterker, speelboten gaan vliegen. De massa, echter, is veel te groot om te gaan vliegen, desalniettemin wil de tuigage het geheel dat deze vasthoudt, opliften. Dus, een speelboot lijkt op een kitesurfer. Want, een kite staat eigenlijk zoals speelbootzeilen staan opgesteld. Een nadere kijk leert ons namelijk dat vleugels die als kite staan, de behandelaars van die vleugels in staat stellen de overbrenging tussen de lift en de blokkade hierop te normaliseren. Ofwel, alleen en slechts dan als de vleugel staat opgesteld als een kite, maar ook windsurferzeil, werkt de lift opwaarts.

 

Logisch, als men bedenkt dat andere bekende vleugels, aan vogels of vliegtuigen, de lift ook omhoog werken. Heel onlogisch dus dat zeilboten eigenlijk van vliegende naar duikende evolueerden. Vikingschepen, Latijnse zeilboten, de eerste brikken en barken, de latere windjammers (volschepen, barken, brikken) hielden hun zeilen in feit ook al op als kite. Zeilen was aanvankelijk windsurfen. Toen kwamen er rond 1800 AD langsgetuigde zeilboten, en nu kon er wel hoger aan de wind worden gelopen.

 

Om energie op te wekken hoeven we nergens heen, zodat de "aan de windse koers" waardeloos wordt > weinig snelheid. We kunnen weer vliegen. Dus, een speelboot is geen windsurfer, omdat de zeilen ver weg staan. Wel lijkt een speelboot in alles op een windsurfer. Werkelijk, een speelboot is in feite een windsurfer. De zeilen worden volledig gemanipuleerd met als enige doelen de snelheid en, het vliegen. Dus, een speelboot lijkt het meeste op een kitesurfer, heeft de eigenschappen van een windsurfer, en valt onder de noemer: zeilboten. Maar, een speelboot lijkt in feite nergens op. Het is, zoals gezegd, geen zeilboot, terwijl het wel zeker een zeilboot is. Maar natuurlijk. Kort gezegd komt het erop neer dat een speelboot iets nieuws is.

 

Een speelboot vaart, net als windsurfers en kitesurfers, half wind en voor de wind, maar, een speelboot kan ook wel degelijk hoogte winnen. Een speelboot kan alles, als het komt tot zeilen. Windsurfen is eigenlijk super zeilen. Een windsurfer zeilt ook, en een kiter zeilt ook. Toch heet kitesurfen geen zeilen, maar kiten. Een windsurfer surft, terwijl surfen toch echt oorspronkelijk zonder zeil gebeurde. Een Spailboat spailt. Ofwel, een speelboot speelt. De link terug naar de actualiteit is spelen van de jeugd. Het leukste spel van allemaal is kiten. Als de jeugd heet voor het zeggen had, dan zouden ze altijd zeilen, als het waait. En dat noem ik spelen.

 

Een Spailboat is een robot die kan windsurfen. Massa, M, in kg, dat kan windsurfen. Windsurfen kenmerkt zich door de snelheid, v, in m/s en het surfen met de korte windgolven. Het surfen is het mooiste wat er is op aarde. We nemen een groot stuk water. We blazen er wind overheen. Er ontstaan golven. De golven lopen haaks op de wind. De half windse koers loopt parallel aan de golven.

  

We need stable wind surf machines with turbines.

 

The new riggings lead to stable sailing compositions. The already mentioned windsurfing, SB, is the wave riding version of the stable sailing compositions and; meant for usage at the windy waters near the both poles, in fact just outside the cargo shipping routes. Also the edges of overcoming hurricanes, especially the periodic appearing ones like, the ones in the Mexican Gulf during the so-called hurricane season, are goals. On both working grounds is room enough for a very large fleet. A “million” super sized, SB, can provide the worlds' hunger for energy, by means of the *provision of hydrogen and electricity. Imagine then an entering of an imaginary million super sized, SB: a tiny significant amount of energy will be sucked out of the hurricane, causing the hurricane to loose a bit of its ferocious strength and so, causing lesser devastating power when hitting land! The mentioned working grounds are characterized by high winds, making beautiful “water mountain chains”, or swell, and in between two “stretched hills” are long “valleys”. These valleys -tubes- can be considered as speedways, which make the ocean in high winds like an endlessly wide freeway, making enough room to spare for the earlier mentioned absurd sounding amount super sized, SB. Gaining maximum speed out of windsurfing is done perpendicular to the wind so that, the mentioned freeways are always windsurfed parallel with the wind front. Because, the wind sweeps the waves. The wave fronts on open sea run perfectly perpendicular to the wind because, here is no diffraction or, refraction of the waves!

 

In the fact of the matter happens now the coincidence that, both surfing the swell and the usage of the wind alone are done most economically in the same direction; parallel with the wave fronts, perpendicular to the wind. So, the both directions, in where for the two maximum speeds are reached, are the very same. It is therefor that the both speeds reinforce each other, leading towards better sail positions.

 

The hydrogen, LH2, can be stored on board in special tanks, with Indium.

 

Cavitation, air bubbles around the water appendages beacause of the high speed. So, SB has luxury problems in high winds, by means of the potential to go faster than the water can take without creating air bubbles around the swords, the water appendages. Windsurfers call this cavitation phenomena: “spin out”. It is therefor no wonder that the needed speed tempering force on the windsurfing, SB, in high winds is, logically, to be used to make passive working paddle wheels, or scoops, spin, in order to drive for instance a continuous current dynamo. There is, however, a major down side in keeping the speed down. More speed means more overall lift and more overall lift means more compulsion and more vertical lifting force. SB, definitely wants to get airborne in order to get rid of the water resistance on the hulls. Without the hulls dragging though water opens way to put the sails in a more economic way, flatter to the wind. This rotatory mechanism, in which the increasing speed then at some point leads towards the possible clear lifting of the windsurfing SB, out off the water -because of more lift and better sail positions-, is now suddenly stopped because of the spin outs, cavitation, around the through water dragging swords! In this rotatory mechanism, one must be aware that by doubling the speed, the lift force increases by a factor four, in other words, the speed and the lift are quadratically related! After all, for getting air born we only need the rotatory speed making boat lifting mechanism to go on for just a bit longer. If we walk around dragging problems in general, then we encounter, at some point of the walk, the replacement of slides by wheels, by firstly the Egyptians. Digging further into the context, in where dragging and cutting are combinations, we encounter the successful replacements of the slide-like dragging cutters, by cutting wheels; in for instance glass cutters and can openers. These cutting wheels spin, during the cutting, causing less cutting resistance. Even a side force can be taken by the cutting wheels, during the cut making! In fact, besides the lower cutting resistance, cutting wheels have the same characteristics as cutting knives. If we translate this cutting information back towards the drag related cavitation problems in the water, then we find that the air bubbles around the water appendages, might not necessary occur, when replacing the former used swords by spinning sword wheels. By dragging spinning wheels with the cutting edges through water, the speed of the windsurfing, SB, now differs from the dragging speed of the cutting edges of the cutting wheels through the water. In other words, the water now “feels” a lower dragging speed, allowing the water to keep its original form, because no cavitation is caused. By controlling the circular speed of the spinning sword wheels, by means of a gear box, the cavitation can be avoided at all times. But off course, cutting water differs from cutting glass and in order to create side ways blocking force on spinning sword wheels in water, these sword wheels must slip! The side ways blocking force in water is also quadratic related with the dragging speed. In order to let the sword wheels slip, for creating -more- side ways blocking force, there is a certain amount of resistance needed! Once again the gear box can regulate the resistance, and so, the spinning speed and once again the tempering force is, logically, to be used for making continuous current and with the surplus, hydrogen. Using sword wheels means most of all that the speed of the hull may now over top the former cavitation speed barrier. More speed implies, notably quadratically, more lift, clearing the way to allow the,SB, to get air born; now leading at once towards lesser water resistance, which now, also at once, speeds up the SB, importantly, resulting once more in better sail positions, et cetera. In other words, the earlier mentioned rotatory mechanism is with usage of swords wheels back in action. In facto, the, as the result of the mentioned rotatory mechanism, reachable speeds over water now have to be tempered for safety reasons, making it once again appropriate to use the speed tempering force on the spinning wheels for generating continuous current! For an optimum energy conversion, we need to solve a so-called differential equation, in where all the parameters are related to one and other. The versions of the composition, SB, for over land ride, or over asphalt, or over non-hardened ground -with then very big wheels under, SB-, or over a special track, rails. The last mentioned version of, SB, the so-called Spailtrains over a special track, might possibly reach speeds running up towards, 400km/hr; because these under carriers clamp their wheels around the rails, like the carriers on roller coaster tracks, increasing the massive control over the sails importantly. And again, these possibly reachable high speeds need to be tempered for safety reasons, making it obvious that again the tempering forces are used to drive continuous current dynamos. The continuous current might now directly be led towards the electricity network. Special tracks for Spailtrains are favorably moored on places where windmills are active, because the electricity transportation cables towards the main electricity networks are already installed. Also one may assume that windmills are placed in windy places on land, where the wind is blowing most of the time from one particular direction. The Spailtrains can be used next to the windmills, at the same time, and, in case the wind is over topping the maximum wind mill operating wind force, clearly additionally, and by doing so, widening the wind force window from, eight bfr, towards, ten, or even twelve bfr. SB, compositions operate, just like windmills, flat on the winds direction, for maximum benefit of the given sail areas. The ends of wind mill blades move, at maximum speed in wind force, eight bfr, up to, 250km/hr. The blade, towards the end, is indeed positioned almost perfectly flat, respectively perpendicular, on the wind. If only wind mills did not vibrate and if the positions at the ends of the blades should be hold in a stable and firm way, then the speed at the ends of the blades, in wind force, twelve bfr, might easily run towards the, 800km/hr, though circular. Steady in position hold transversally moving blades do not have the problem of vibrating caused by the turning motion. In other words, a transversal moving blade could reach, 800km/hr, without shaking to pieces. Spailtrains, clamping their selves around rails, are able to position wings in a stable way, making theoretical speeds of, 800km/hr, possible. SB, in general, widens the operating window of the wind force and, as a consequence, the working ground. Antarctica.

 

Because of the normalization of the lift transfer, SB can be made strong enough! The fact of the matter is that all stable constructions can be forced to the limit, in where the heaviest loaded parts of the structure firstly collapse. Stabilized towers out of rock, like pyramids or, church towers, are only limited in their heights by the strength of the rocks at the very bottoms. Within, SB, the lift transfer is normalized, making composition, SB, stable constructions, which therefor can be made strong enough and perfectly suitable to get sized -, respectively scaled, up. And then, next to the overall stability of the composition, SB, each mast in, SB, is also almost normally used itself; because the lift force, vector, 10, works only slightly outside the mast line. There are, in certain variations of the composition, SB, periods of time noticeable in where the masts are stressed out perfectly through the center of the so-called core of the mast cross section! In this case of pure stress on the mast, the maximum stress load, to be taken by the mast, is nothing more the product of material strength and the area of cross section. In this very case, we can use a massive mast, as well as a rope! However, SB, is not a kite surfer, it is a wind surfer, in where each towards the wings running mast take care of the first condition for the eventual monolith kind of control, the so-called massive trim, over the wings, 6. On, SB, the masts work the cumulated lift force, vector, 10, slightly outside the mast lines, in order to direct the lift at all times in a straight line towards the blocking force, in water created by the water appendages. SB, masts are mainly stressed out and at the same time loaded with bending forces. In this very case it is wise to use hollow masts; lesser material, same bending strength. Presume now a square hollow mast cross section, of twenty, by, twenty meters, with skin thickness, 1000mm, loaded with a, around a parallel with two sides of the square, working couple, respectively torque. Now, one side of the square cross section is stressed out towards the limit. If the used materials are of highly strong composite materials, which can withstand, 1000N, approximately 100Kg, per square mm, and if the torque then put, 25%, on top of the stress load, then follows for maximum amount of stress force in this mast cross section, approximately: average tension in the cross section, sigma, times the working area of the cross section, A, or: sigma = 0.25 x ((1 x 0.6) + (2 x 0.8)) x 10^3N/mm^2 = 0.8 x 10^3N/mm^2 , A = (10^3mm x 2 x 2 x 10^4mm + 10^3mm x 2 x 1.8 x 10^4mm) = 7.6 x 10^7mm^2. Maximum lift force, vector, 10 = sigma x A = 0.8 x 10^3 N/mm^2 x 7.6 x 10^7mm^2 = 6.08 x 10^10N. One square meter sail area, in 100km/hr, generates, approximately, 300N = 3 x 10^2N, so, on this mast might hang, 2.026 x 10^8m^2, sail area! The common maximum wing on three supporting points, is, 300m x 20m, or, about twice the width and the length of an Airbus380 wing. At a mast of, 300m, length, might, roughly, hang twenty wings, running from the size, 300m x 20m, towards, 50m x 10m. The total sail area the leads, to, approximately: 0.6 x 20 x 300m x 20m = 7.2 x 10^5m^2 = way below, factor, 400, the theoretical maximum applicable sail area. In reality there are dynamic forces working on, and in, the mast, leading,towards maximum mast lengths of, 200m, for safety reasons. In, 315km/hr, the lift per, m^2, is approximately, 3000N. 3 x 10^3N, times the maximum theoretical total sail area, at masts of, 200m; 7.2 x 10^5m^2, provides lift force: 2.26 x 10^9N is smaller than 6.08 x 10^10N, and in this extreme case, even a mast of 200m, length can be made strong enough! Round and oval mast are even better. Well, 200m, mast length, that is something else than regular masts on conventional capsizing sailboats. SB, with four masts, can be made up to a kilometer long! If such, SB, move along with, 100km/hr, over water, or, 300km/hr, over special tracks, it is easy to understand that there is a lot of kinetic energy, ready to be converted into continuous current and after, into hydrogen. Once in race course, the sail positions are not moving too much, with respect to each other and with respect to the under carrier, so that the hydraulic motors and jacks won't take a lot of continuous current; leading to an enormous surplus to drive the hydrogen reactors, in order to make hydrogen. Holding positions of the with respect to each other movable parts, is done by break mechanisms, which might only take from the continuous current during installation. Off course, making nuance differences takes off of the continuous current, but after all, once in race, SB, compositions are almost static compositions,. At the end of the song, SB, are to be considered as mass, M, running from an endlessly long hill, which then only need to steer occasionally. Ekin = 1/2 M v^2, with M as mass in kg and v as velocity in m/s. Super positioning leads towards the conclusion that Spailboat is a peace machine because, any nation in the world can build them; in order to provide them selves with hydrogen and fresh water. With the deliverance of shear endless amounts of clean energy ( hydrogen ), the need for making war over oil can be put to the past. Also nuclear power can be put back. Drinking water can be made and, transported, without any down sides. Even ecosystems can be purified. SB hits the ground running.

 

Why this picture and the ones after? Imagine wind, storm, and one side of the church will go. The flying butres hangs in there on the pulling side, that is incredible.

 

BOOK BOEK

vervolg hoofdstuk 9

intussen al twee jaar van voorbij. In dat opzicht is dat verlies. In mijn beleving mocht alles zo blijven zoals het was in, 1990. Zeker in het begin was het een zeldzaamheid, als een plectrum gericht naar iemand toe werd geschoten. Ronnie, kan het beter en dit zinde, Keith, niet. Op een gegeven moment leek het wel een wedstrijd tussen, Keith, en, Ronnie; wie het beste de plectrums naar de bestemde persoon kon schieten. Zoals kleine veranderingen tijdens en na een concert is dit er een van. Feitelijk hebben, Harry, David, Libgart, Ken, Dirk en ik een nieuwe manier van leven geïntroduceerd. David, vraagt vandaag de dag nog steeds hoe het gaat met mijn, “Trail of Terror”. Een leven dat een spoor van vernieling achterlaat, ja dat is mijn leven. Alle schepen heb ik verbrand, terwijl ik nieuwe schepen met succes enterde. Ik haalde mijn universiteit diploma in een werkelijk zeer turbulente tijd, en sleepte het diploma letterlijk uit het vuur. In het verbranden van schepen ben ik altijd goed geweest en, net als, Harry, woon ik nu in een andere stad. Van, Zaandam, ben ik verhuisd naar Delft. En nu woon ik sinds kort in, Den Haag. Als ik nu door de stad fiets, bekruipt me altijd het gevoel van vakantie. De sfeer van een grote stad is toch wel euforisch te noemen. Het doet me kortsluiting maken naar de ervaringen tijdens de Stones-tournee’s langs de wereldsteden van, Europa, en, Amerika. Ik kon bij wijze van spreken naakt op de fiets door het centrum van, Delft, rijden zonder dat mijn familie het te weten komt. Het verbrande schip heette, Zaandam, en door mijn wilde leven hoef ik nergens meer aan te kloppen. Ze hebben allemaal een beetje een hekel aan me gekregen. Ik denk omdat ik altijd blijf volhouden waar ik mee bezig ben en ook nog succes verhaal. Mensen zien niet graag de zweetdruppels, maar veroordelen me snel als ik weer eens naar Amerika ga, want dat valt dan wel in het oog. Je ziet de mensen denken: “Wat doet-ie nu?” Dat is ongehoord. Is ie wel wijs? Mijn leven speelde zich voornamelijk af in de, “frontrow”. Een leven vooraan tijdens een Stones show, waar dan ook ter wereld. In het begin krijg je geen respons van de band, omdat alles, ook voor de Stones zelf, in veel opzichten nieuw was en, vooral Keith had het veel te druk had met zijn nummers en de sound. Aan het einde van de Urban Jungle Tour herkenden ze met gemak Ken, mijn persoon, Libgart, Harry, David en Dirk. We waren er altijd en altijd op hetzelfde plekje aan de barrier. Later, tijdens de, Bridges To Babylon Tour, en verder werd het publiek dat de, Stones, overal volgde, groter en voor mij raakte de jus er een beetje af, omdat mensen hetzelfde trucje herhaalden van wat wij al eerder hadden gedaan. De eerste plectrum van, Keith, was een mijlpaal en een zeldzaam gebeuren. In, 2003, is het altijd hetzelfde vooraan en iedereen heeft wel een plectrum. Maar toen was een, door, Keith Richards, zelf, aangereikte plectrum, een schaars goed, en voor mij was duidelijk dat de, Stones, in, 1997, een gemeenschapsgoed was geworden, omdat er veel plectrums worden verschoten per show. Soms wel tien tussen de nummers door. Iedereen had alles. Het publiek is verwend en steevast nukkig en weinig inspirerend. Ze leven echt voor die ene glimp van Keith en dat is triest. Als de nieuwe helden, doorgezakte veertigers en vijftigers met geld als drek, dan van, Libgart, horen dat wij het al deden in, 1990, deinzen ze terug. Wij gingen het avontuur aan. Zonder veel geld en met veel inventiviteit. Zo stelde, Harry, zijn hagel-nieuwe motor ter beschikking aan, Dan Reed, die het voorprogramma verzorgde tijdens het tweede deel van de, Urban Jungle Tour. In ruil kreeg hij dan backstage-passes. Wij waren vaak ‘s middags al in het stadion. Deze generatie oude zakken koopt alles. Maar ze kunnen toch nooit de rehearsals zien, daar steken de, Stones, wel een stokje voor. Ze staan vooraan, a la, alles geregeld, maar kopen voor grof geld deze plaatsen, daar waar wij vroeger al, door geldgebrek, allerlei listen nodig hadden om telkens maar weer vooraan te kunnen staan. Er waren journalisten die ons volgden om ons verhaal te horen. In ruil kregen we dit en dat. Het spel rondom het stadion was een deel van ons leven geworden. En we werden dan ook steeds beter in het bereiken van ons doel. De eerste rij en backstage passes. Wij baarden in, 1990, nog opzien door overal op te duiken. Het felbegeerde zogenaamde, “all-access-laminate”, maakte en drukte Harry op een gegeven moment zelfs zelf in, 1994, en, 1995. Harry, is een art-director en geniaal op het gebied van ontwerpen en logo’s. Het namaken van de stickers resulteerde zelfs in het veranderen van rond naar ovale stickers, omdat, Harry, zijn stickers verkocht. Had ik al verteld dat hij ook joods bloed had. Zelfs de hologrammen waren niet van echt te onderscheiden. We kregen wel op ons kop van de, Stones, maar ze vonden het prachtig. Jaloezie tussen Stones-fans onderling is immer aanwezig en zo gemoedelijk als het was in, 1990, zou het niet meer worden. In de latere jaren van de jaren negentig en in, 2003, was er veel geld te verspillen voor complete stelletjes en idioten. Maar telkens denk ik dan: ”Waar waren jullie tijdens de Urban Jungle Tour?” Toen ze echt goed waren en snel speelden en het weer opnieuw ontdekten om de, Stones, te zijn. In, 2003, werden complete reizen gearrangeerd voor rijke Canadezen en Amerikanen, die vroegtijdig in het stadion werden binnen gelaten en zo zonder moeite vooraan konden staan. Dat is geen sport meer. Dit is vervlakking van het Stones-publiek. Als ik dan met veel moeite, door steeds weer andere manieren, aan het front kom wordt dat zelfs opgevat als, “vals spelen”, terwijl ik juist uit geldgebrek inventief ben. Vals spelen is wel degelijk een verhaal. Want met, “vals spelen”, kun je de sound-checks zien en in de keuken kijken van de, Stones. Ze zijn dan nog normaal. En ik heb veel sound-checks gezien en altijd is het een belevenis, want, sound-checken doen ze niet vaak. Eigenlijk zouden mensen dit moeten kunnen zien. Want de geadoreerde helden proberen net zoals iedereen een mooi kunstwerkje af te leveren. Net zoals de overdreven aandacht voor een gepoetste auto op zondagmiddag, zo wordt door de Stones de laatste hand gelegd aan een intermezzo of intro. Mensenwerk en burgerlijkheid tot in den treuren. Meerdere malen is het voor gekomen dat ik de helpende hand toesteek aan timmer werkzaamheden en het opruimen van het veld. Eenmaal binnen gedraag ik me als een werknemer, een zogenaamde rodie en omdat niemand, behalve, J.C, een compleet overzicht heeft over de genen op de vloer is het mogelijk de hele dag binnen in het stadion te blijven, zonder dat iemand vragen stelt. Een beetje opruimen hier en een beetje timmeren daar en de middag is zo om. Als dan de poorten opengaan is het chaos en in die chaos begeef ik me naar het front aan de barrière en sta dan weer vooraan. Intussen kostte het me een hele dag werken in het stadion. Zoals gezegd varieert dat van opruimen tot aan timmeren, en de helpende hand toesteken, waar maar kan, of is gewenst. Gratis naar binnen heeft een consequentie en die is dat je moet werken, anders wordt je gepakt en het stadion uit gegooid. Het schijnt heel moeilijk te zijn voor de moderne mens om zich te schikken in een knechtenrol waar je dan uiteindelijk zelf beter van wordt. Als ik met iemand anders in het stadion ben, en komt het erop aan, dan kijken ze vertwijfeld naar me en willen eigenlijk niet werken. Ze willen niet meehelpen en niet werken, maar juist dan val je op en word je eruit gegooid. Het is blijkbaar moeilijk voor nieuwste generatie in te zien dat de kost voor de baat uit gaat. Lang leve, Amsterdam. Op die manier lukt het me steeds weer opnieuw binnen te blijven. De laatste jaren is het steeds raak. In verhouding veel meer sound-checks ten opzichte van gevolgde concerten. In, 1990, was dat nog een op twintig nu loopt het op tot een op vier. Van de afgelopen concerten, vanaf, 1997, heb ik weinig sound-checks gemist. Een keer was ik een paar platen aan het zagen, vlakbij het mindden-podium, voor een paar hekken in de toren. Plotseling voelde ik ogen in me priemen en ik voelde een raar soort spanning. Niemand was meer op het veld, behalve de andere timmerman en ik. Ik voelde dat ik door moest zagen. Het was, Charlie, die met bewondering naar me stond te kijken, en wachtte totdat ik klaar was, want de sound-check ving aan. Dit was kenmerkend, omdat ik druk aan het werk was. Ik ben immers timmerman in hart en ziel. Mijn handigheid met timmergereedschap komt me dan goed uit. Met dank aan de werkplaats van mijn oom, waar ik ben opgeleid tot timmerman, meubelmaker. Het voordeel van binnen zijn is dat je de sound-checks mag meemaken, en daar is het me natuurlijk allemaal om te doen. Menigmaal verstopte ik me ergens in een kast of onder de tribune om niet op te vallen en rustig te genieten van de sound-check. sound-checks zijn de ultieme beloning voor een dag zweten om in het stadion te komen. De sound-checks vormen de basis van dit script. Niemand ziet dit namelijk. Het best bewaarde geheim van de, Stones, wordt hier geopenbaard.

Het resultaat van de rechtszaak volgde de volgende dag. Het vonnis was hard voor de hooligans. Het gerechtshof stuurde de hooligans naar de gevangenis en de vergoeding voor mij was tienduizend gulden. De rechtszaak zelf was een farce maar succesvol. De rechtzaak en het verblijf, destijds in, Engeland, bij, Harry, was een toppunt van het einde. Harry, was naar de klote door drugs, werk en, Mel, zijn beoogde vriendin. Bovendien was die periode voor, Harry, een bewogen tijd, omdat hij toen veel, zo niet al zijn schepen in Engeland, aan het verbranden was. Hij was duidelijk zoekende en zocht een weg om te emigreren naar Amerika; iets waar hij een paar maanden ook toe leek gedwongen, door de uitzichtloze situatie. In Amerika zal hij het wel gaan maken, en verdraaid, twaalf jaar later heeft hij het daar ook gemaakt! Ja, zijn, Rock ‘N Roll-leven, is hard. Feitelijk leeft, Harry, een veel te zwaar leven. Anders dan mijn gestel is zijn gestel van staal. Maar hij gaat elke dag over de schreef en predikt dan, dat dat nu juist de vrijheid is, om te doen waar je zin in hebt. En vrijheid biedt altijd de kans te schijnen. Harry, is en kunstenaar en laat zich niet sturen. Hij voelt zich waarschijnlijk als een strijder. Zijn kunst wordt gevormd door zijn talent en door de keuzes die hij maakt. Hij heeft een feilloos gevoel voor kleuren en zijn werk bestaat voor een groot deel uit inkleuren van voornamelijk mensen. De vlezige huidskleur van mensen op zwart-wit prentjes, moeten worden gevonden op het zogenaamde pallet, en Harry is daar een meester in. Hij heeft bovendien een gave om zich te kunnen uiten met behulp van computers. Naar eigen zeggen is de computer zijn enige echte vriend. Opdrachten volbrengt hij altijd binnen een paar dagen, om vervolgens een week bij te komen. Hij werkt achter elkaar door, als er een opdracht binnenkomt en verdient dan een paar duizend dollar per dag! Zijn inspiratie komt van reizen, motorrijden op zijn Harley Davidson, science-fiction-films en muziek. Zijn concurrenten bedienen zich van veel administratie en weinig talent. Hier is, Harry, door gegriefd. Hij weet dat hij op eenzame hoogte staat, maar de huidige maatschappij is vastgeroest en biedt weinig plaats voor kunstenaars. De reden, aangegrepen voor vertrek uit Engeland, herhaalt zich in Amerika en dat doet hem verdriet. Samen met een vriend, Colin, startten zij een bedrijf en investeerden in een drukkerij. Colin, is leider van de motorbende, maar een ongelooflijke aardige jongen. Hij heeft ook nog eens gestudeerd. Daarnaast is hij, Kunfu-Master, en werkelijk elke dag had hij een andere vriendin. Bende-leider zijn heeft zo zijn voordelen! Eenmaal geïnvesteerd en geïnstalleerd als grafisch bedrijf in, L.A., volgde toen precies de computerrace en hun aanschaf bleek binnen een paar jaar ouderwets en achterhaald. Ze konden niet meer concurreren met grotere bedrijven, die de vernieuwingsrace wel konden volhouden en het bedrijf heeft drie jaar bestaan en toen was het op. Intussen is zijn compagnon werkzaam bij een bouwbedrijf en, Harry, werkt thuis aan zijn ontwerpen en logo’s. Nu is hij dus letterlijk de eenzame strijder. Het onheil heeft hij over zichzelf afgeroepen, maar hij blijft vechten voor zijn bestaan. Het enige dat hem staande houdt is zijn geloof. Hij onderscheidt zich door prachtige ontwerpen, maar die worden verkocht in een commerciële markt en worden niet als kunst erkend, maar als een vervulling van een opdracht. Zijn opdrachten hielden hem lange tijd staande, maar ook, Harry, moest op zoek naar ander werk. Hij vond dit in de vorm van een muziek-bedrijf, MOD, Music On Demand, en is daar eindredacteur, niet slecht. Tussen al de troebelheden van de maatschappij biedt de, Rock ‘N Roll, voor het individu vertrouwen. Harry, laat zich nooit ontmoedigen en gelukkig voor hem leefde zijn muziek helemaal op in de jaren negentig. AC/DC, is zijn favoriete band en juist die deden het voorprogramma van de Stones. Intussen gaan de geruchten over, AC/DC, dat zanger, Brion Johnson, in, Moskou, gaat optreden, met het Russisch filharmonisch orkest. Harry regelt dit bijvoorbeeld. Harry, is een moderne zwerver, met altijd geld! In iedere donkere periode schijnt altijd het licht van de verwondering. De kanonnen, die altijd gepaard gaan met een optreden van concert van, AC/DC, worden vervangen door de echte kanonnen van het Russische leger. Tot zover de laatste geruchten in, April, 2005. Ik heb er weinig van gemerkt. Volgens mij is dit optereden nooit doorgegaan. Maar, Harry, was destijds zeer enthousiast. Hij ziet licht, in het pikkedonker. Ook zal, J.C., inmiddels zijn ontslagen door de, Stones, omdat hij kaartjes zou hebben verkocht. Voor, Harry, en mij betekent dit slecht nieuws. En inderdaad, na 2003, was het betalen om naar binnen te komen. Trouwens, na vier tournee's was mijn geld toch echt op. In, 2006, en, 2007, Bigger Bang Tour, stopte ik met het volgen van alle optredens. Harry, en ik, beseften heel goed dat onze tijd voorbij was. Harry is aan de grond, ging terug naar Engeland en ging zich nestelen. Het laatse wat ik van hem zag, voor mijn voordeur, was hoe hij op zijn motor stapte, met een grote tas op de tank, en me die blik gaf. Dit was goodbye, farewell. Harry, en ik hebben altijd al weinig woorden nodig gehad om punten duidelijk te maken. Harry ging naar huis, na zeventien jaar in L.A. te hebben gewoond. Ik wist het. Voelde het. Dit is het einde van een periode. Juni 2009, het einde, en een nieuw begin. Mijn vriendin heeft toen nog vier jaar met alle mogelijkheden geprobeerd mijn leven te bederven, en het lukte haar ook nog aardig. Harry maakte ook haar duidelijk dat ik niets waard was. Ja, ik heb slaapproblemen, en ben een wrak. In 2014 heeft ze een ander en ik vraag daarom af: hoelang heeft ze al een ander? U moet weten dat ik geen twee minuten weg mocht. Zij had besloten dat ik vreemd ging. En nu moest ik boeten. Harry woonde destijds bij me in, en vond dit helemaal prachtig. En dan ineens kwam er mailtje; kom je nog naar Hyde Park? Ik zei: Nee. Ik peins er niet over. Do you want to melt down on the field, I replied. En dat was het dan. De kunst is om de lichtpunten te zien en, Rock ‘N Roll, is een lichtpunt. Rock ‘N Roll, maakt je blij. Het laat mij zingen. Zomaar. Vooral als de omgeving zo somber is. Het biedt gewoon houvast, dat juist voor gitaristen, die door en door naar de klote zijn, toch nog hun talent de kans geven. De klank van een akoestische gitaar is vergelijkbaar mooi als de klank van een harp. Hun talent om de gitaar te spelen, zullen ze nooit verliezen. Een gitaar klinkt altijd, moe of niet. Zo moet ook, Harry, gedacht hebben. De heldere klanken van inspiratie klinken door en je vergeet de rest. Harry, wist dus zijn droom vast te houden. Ik zal dit van hem overnemen, als levensles. Achteraf is dit de les van de, Stones: “Nooit opgeven en altijd vertrouwen in jezelf houden. Er is op deze aarde ruimte genoeg voor ook jouw persoontje.” Als, Keith, inderdaad te weinig talent zou hebben, is dit nog meer waar.

In de periode van de rechtzaak was ik ook al gecrashed en woonde weer bij mijn ouders in, samen met mijn vriendin, Moniwi en dat ging ook helemaal niet goed. De trip naar, Engeland, bleek de relatie met, Moniwi, te breken, omdat ze niet mee mocht van mij en dus een week alleen bij mijn ouders woonde. Bij terugkomst begreep ik niets van de apathische liefde van, Moniwi, en op het vliegveld in, Amsterdam, vloog ze om mijn nek van blijdschap. Doordat ik niet in staat was dit te filteren, in wat voor, Moniwi, een laatste poging was, om toch nog iets van onze relatie te maken, heeft ze waarschijnlijk een keuze gemaakt. Ongelukkiger kon ze moeilijk worden; ik was weg en ze woonde bij mijn ouders in. Bij terugkomst was ik zo versleten, dat ik niets anders wilde dan met rust gelaten te worden. Stom rund, denk ik wel eens. Maar ja. Had ik maar van haar gehouden zoals ik nu van haar houd! Mmm, trouwens, niet getreurd, de aanspraak van mooie meisjes begint weer te komen. De ergste tijd van depressiviteit is voorbij! Het is niet voor niets, 2014, en de ellende ligt achter me, vandaar de kracht om dit op te schrijven. Daags voor de rechtzaak kwam ik aan in, Engeland. In, Londen, haalde, Harry, me op en we gingen naar zijn nieuwe flat. Wat een puinhoop, die flat met twee verdiepingen en grote kamers, maar donker en zeer groot. Ik kreeg een tablet in mijn mond geduwd, was nog niet eens binnen, en stapte toen over de drempel zijn flat binnen en werd linea recta naar de televisiekamer, met een tweepersoons bed, geleid. Harry, gaf me zijn kamer. Hij, en, Mel, waren overal door het huis. Het licht mocht niet aan van, Mel. Zijn kamer was zeer goed aangekleed voor verblijf. Perfect eigenlijk, met super-films als, Black Adder, en, David Bowie, en, Monty Pytons, “Quest for the Holy Grale”. U weet wel, die film die zich afspeelde ten tijde van, Koning Arthur, en ridders van de ronde tafel, die op zoek gaan naar de heilige graal. Ineens stond daar een politie korps, met wapenstok, de invasie van de ridders te verijdelen, en betekende hiermee het einde van de film. Verwoed zocht ik naar de oorzaak van het plotseling stoppen van de film. De video werkte wel. Na een poos ging ik, Harry, halen en die lachte het uit: ”Dat is juist de bedoeling van, John Cleese, dat je denkt dat de film doorgaat, maar door een paar agenten wordt, Koning Arthur, ingerekend en zodoende is de zoektocht naar de heilige graal afgebroken.” Jammer vond ik dat. Het begon net leuk te worden. Black Adder volgde, lang voordat hij werd ontdekt in Nederland en ik kon gewoon niet begrijpen dat er zulke goede humor bestaat. Black Adder, is, Rowan Atkinson, en belichaamt Britse humor. Niet te vertellen en dat probeer ik ook niet eens. En, Black Adder, is anderhalf uur achter elkaar proesten van het lachen. De volgende dag moesten we nog eventjes naar, Oxford, voor de rechtzaak, maar, na een paar uur voor de video, trippend en wel, maakte dat allemaal niets meer uit. Lachen. De dag zelf zou minder leuk worden, al was het resultaat van rechtzaak ongelooflijk.

De winter na de tournee van, 1990, dus de winter van, 1990 / 1991, was een ommekeer in mijn leven, Moniwi kwam terug. Niet in de laatste plaats omdat ik haar beste vriendinnen had gebruikt om haar jaloers te maken, en dat werkte. In, 1989, had Moniwi het uitgemaakt, nadat ze in de zomer in Spanje een Spaanse jongen ontmoette. Moniwi maakte het na de zomer uit en ik was zielsverloren. De naweeën ervan bestonden uit drugsgebruik en veel stappen, uitgaan dus, en zuipen. Hij, de Spaanse jongen, verlegen, mooi en perfect eigenlijk, stond voor de deur en ik liet, Moniwi, en hij een avond alleen. Urban Jungle-concerten. Dan krijg je tenminste wat je wilt en vergeet je even de realiteit. Mooier kan toch niet? Niets dan. Al het touren zou volgen. Bovendien trok ik tijdens de, Steel Wheels Tour, bij mijn oom en tante in, na de zomer van, 1989. De eerste paar maanden voelde de vrijheid goed aan. Vrijheid in doen en laten, uitslapen bijvoorbeeld. Thuis blijven, bij mijn vader en moeder bleek niet te kunnen. Mijn hoofd spookte en ik sliep niet. Ik voelde me teugelloos en moest weg. Bij mijn oom en tante sliep ik nog steeds slecht, maar omdat ze des morgens weggingen, kon ik toch overdag bij slapen en voelde me redelijk. Ik kon mijn eigen ritme gaan bepalen. Op een gegeven moment kreeg mijn oom in de gaten dat ik vooral overdag sliep en alleen leefde voor het voetbal. Op dat moment droomde ik nog van idealen, zoals het worden van een goede voetballer. Talent had ik, maar mijn lichamelijke gesteldheid werkte niet mee om door te breken. Zo kwam de marihuana van mijn oom en tante, langzaam in mijn leven als slaapmiddel, maar drank en drugs waren gelukkig, ook voor mijn oom en tante taboe. Want drank en drugs maakten je kapot. Weed niet? Nee, volgens hen kon weed geen kwaad. Want dan sliep ik lekker en was ik niet tot last. In de winter van, 1991, in, Februari, ging mijn opa dood en net voor die tijd werd ik het huis uitgezet, geplaatst in een kleine flat. Mijn oom en tante hadden deze flat geregeld, en ik kon mooi daar wonen. In die zes maanden tijdens mijn verblijf aldaar was ik verwend, letterlijk gedrogeerd en mijn baantje kwijt bij de catamaran-importeur, omdat ik voor mijn oom ging werken. Op school ging het slecht en ik bleef ook zitten dat jaar. Ik hunkerde naar weed en seks. Allebei was het op mij flatje in overvloed voorhanden. Moniwi, had altijd zin, en ik ook. Bovendien werkte ik toen voor een klein aannemertje die me grof betaalde. Geld was er gelukkig genoeg om de levensstijl te handhaven, voor een tijdje. Niemand kon werkelijk iets doen. Mijn grootste passie, voetballen ging ook niet meer en ik verspeelde mijn plaats in de selectie en ik moest nu gaan ploeteren in de zogenaamde B-selectie. We werden dat jaar wel kampioen, en het jaar daarop ook en ik heb gelukkig mooie wedstrijden gespeeld en bovendien kwam ik na een jaar in de, B-selectie, weer in aanmerking voor de, A-selectie. Direct tijdens de eerste training van de A-selectie ging het niet. Ik moest afwerken op doel. Mijn enkel was verrekt, mijn bovenbeenspieren waren verrekt, maar dat verzweeg ik natuurlijk. Ik leerde de regels van de straat. Ik moest vechten voor mijn vriendinnetje, ik moest vechten om de school te halen, ik moest vechten op mijn werk. Ik moest een huis bouwen en blijven functioneren. Kortom, ik was naar de klote, en dat voor iemand van, 21 jaar! Ik voelde me tachtig of nog veel ouder. Ik kon, tijdens die selectie-training niet aanzetten en niet schieten en precies die training ging het om felle sprints gevolgd door afwerken op doel. Ik was niet explosief en kon niet voluit schieten, kortom, raakte geen bal en de trainer keek me vertwijfeld aan. Ik kon goed voetballen, passeerde verdedigers met alle gemak, maar in deze training ging het niet om een mannetje te passeren, maar het kwam aan op kracht. De trainer was een Amsterdammer en had veel meegemaakt met zijn pupillen en spelers, maar hoe ik erbij liep was klaarblijkelijk voor hem zelfs deerniswekkend. Met spijt in zijn stem en handelen zei hij niet te begrijpen waarom juist de meest getalenteerde speler, linksbuiten nog wel, zo gebukt gaat onder spanningen. Het waren niet alleen spanningen trainer. De reden dat ik letterlijk steeds door mijn benen zakte was meer, plus het gevoel onbegrepen te zijn en zoals ik later begreep, geluk dat ik ontbeerde, daar waar ik zo gewend aanraakte in de Jaren Tachtig. Mijn bovendijbeen was gescheurd, maar ik zei dit niet. En, we moesten toen precies, natuurlijk, schieten van afstand, afwerken vanaf de tweede lijn, 20 meter van de goal. En bovendien kreeg ik in de grote partij, aan het einde, gewoonweg de bal niet toegespeeld, hoe vrij ik ook stond. Ik werd, “even”, door de, A-selectie, genegeerd en zo ontnamen ze me mijn kans iemand te passeren en een opening te vinden. Ook de plekjes in de kleedkamer zijn voor de grote jongens. Toen vond ik het opzienbarend en kinderachtig en vooral stom om zo opzichtig met de aanvoerders-band te lopen, alsof er nooit een andere zal komen. Werkelijk hilarisch wordt het toneel in de kleedkamer voor de wedstrijd of training als ze blijven staan en grapjes maken, en jou wegkijken, en ik me inderdaad zo gespannen voelde en ergens anders ging zitten. En ik vond dat niet erg. Met inderdaad spot verliet ik dan mijn stelling en zocht een andere kapstok uit, ver weg van de verwarming. De aanvoerder van het elftal was goed en had een perfect atletisch, halfbloedig en dus een aanstekelijk lijf voor de oudere heren, kon de bal goed raken, maar had tijd nodig in de aanname. Hij was ook een goede kickbokser en hier pronkte hij mee door middel van zijn hardheid. Maar met alleen een bal, dus zonder de lange bal, had hij geen kans in het korte spel. Als het eerste speelde, op zondag middag, liep de aanvoerder meer in de rondte als een lust-object, dan als een goede voetballer. Als ik maar eens de kans kreeg om te voetballen in het eerste en als ze me maar de bal toeschoven. Mijn moeder wilde dat ik op atletiek of een andere individuele sport ging, om zo maar niet afhankelijk te zijn van, “klootzakken”. Tijd gaf ik de aanvoerder niet en ik zou hem wel even laten zien wat er gebeurt in de kleine ruimte. Het korte spel en de bal slechts een keer raken en versnellen en hem passeren gebeurde niet in werkelijkheid, slechts in mijn dromen. Om in een eerste elftal te mogen spelen is een ieder afhankelijk van de wensen van de club. Klasse justitie, de zonen van de voorzitter en zo mogen wel meespelen en krijgen kans op kans. Mijn enige kans werd door die ene training vergooid; iets waarvoor ik leefde! De club stelde vervolgens vast, dat het wel plezierig was dat de B-selectie telkens kampioen werd. Voornamelijk door mijn doelpunten en assists. Het zat me wel en niet mee in die tijd op het voetbalveld. Toch heb ik mooie herinneringen, want ik speelde goed. Zo goed dat altijd iedereen bleef staan om me te zien spelen. Het nadeel van de, B-selectie, is dat je zondag om tien uur moet spelen. Voor iemand met slaap-problemen is dat niet een beetje vroeg, maar zeg maar gerust onmogelijk vroeg. Daarna zuipen in de kantine en verplicht naar het eerste kijken en daarna thuis aan de dope. Maandag kon ik niet naar school, punt. Dat was een ding dat zeker was. Dinsdag, donderdag en zaterdagmiddag trainen, alle energie naar het voetballen, terwijl ik die luttele energie nodig had om orde op zaken te stellen, in mijn gewone leven. Waarom zat mijn vader niet in het bestuur? En waarom deed mijn oom, die wel het een en ander te zeggen binnen de club, niet een goed woordje voor me. Oh ja, dat was natuurlijk omdat hij en mijn vader een levenslange ruzie met elkaar hadden, dat was ik even in mijn naïviteit vergeten. Maar voor mij onbegrijpelijk dat werkelijk middelmatige voetballers zich staande hielden in het eerste. Triviaal en kenmerkend voor de grootste club uit de, Zaanstreek, was het absurde lage niveau van het eerste. Ik wist intussen wel hoe dat kwam. Het leek wel een club uit het, Midden Oosten, waar de sheiks het voor het zeggen hebben en per definitie neefjes opstelden in het eerste en niet mijn persoontje, klein en mager maar toch echt wel een talent, de kans gaven om te groeien. Deze ontkenning van mijn voetbal-capaciteiten heeft mij zeer aangegrepen. Mijn neef, die bij een andere club speelde kreeg wel die kans en werd doodleuk uitgenodigd door een prof-club uit de regio, Volendam. Hij speelde daar met, Johan Steur. Helaas voor mijn neef; hij brak zijn enkel. Weg carrière. We voetbalden vaak samen en leerden elkaar trucjes en passeerbewegingen en we waren gewoon echt goede voetballers. Maar hij kreeg de kans en ik niet. Oververmoeid en letterlijk met een waas voor ramde ik steeds vaker zomaar, Moniwi, in elkaar. Steeds vaker uitte mijn agressie zich en op een gegeven moment leek ik gek te worden. Ook in het uitgaansleven heb ik veel ruzies uitgelokt. Mijn broer zal vaak zijn geramd en een enkele keer hard ook. Excuses, Bernard. Toen ik in 1994, zoals dat heet, op een blauwe maandag, nog eenmaal ging voetballen stond ik wel direct in het eerste. Ik was toch sterker en groter geworden en evenwichtiger en nu kon niemand meer om me heen. Maar de, Voodoo Lounge Tour, van, 1994, begon tegelijkertijd met het voetbalseizoen en na een paar weken zegde ik mijn lidmaatschap op en vertrok in, Oktober, naar, Amerika. Het was heel zoet om toch nog een keer in het eerste te spelen. Nog geen maand na de verhuizing, van mijn oom en tante naar de kleine flat, stond Moniwi met een grote koffer op de stoep en ze vroeg of ze bij me mocht wonen. Dit was een droom, maar die verstoorde ik dus zelf. Natuurlijk! De omstandigheden de komende vier jaar waren ook ongunstig. We verhuisden naar een oud huis waarvan zelfs de fundering en de gevels opnieuw opgetrokken dienden te worden. Niet echt een plek om rustig aan een relatie te bouwen. Toen had ik alles op alles moeten zetten om een gewoon leven te gaan leiden en niet domweg blind aan het huis werken om het daarna te verkopen, om Stones-concerten te zien, om maar niet de realiteit van het leven te hoeven zien. Sterker, ik overtuigde, Moniwi, dat het volgen van een Stones-tour geweldig is. En ik dacht echt dat de, Stones, niet meer gingen touren, na het geweldige succes van de, Steel Wheels -, en, Urban Jungle Tour. Dat konden ze onmogelijk overtoppen. Bovendien was het acht jaar stil geweest en ik verwachtte weer zo’n stilte. Dus ik kon makkelijk zoiets suggereren. Ik leefde met de dag. Het ongelooflijke nieuws van de, Voodoo Lounge Tour, deed me letterlijk verblinden. Ja, toen dacht ik echt dat ze nog een keer zouden gaan touren. In, 1994, was het huis klaar en ik zou naar, Amerika, gaan voor de, Voodoo Lounge Tour. Nogmaals, ik was ervan overtuigd dat dit de laatste keer zou worden. Ik vond het toen al gewaagd van de, Stones, om, in, 1994, al T-shirts te drukken met doodleuk de vermelding: 1994/1995 World Tour. Ik moest eerst nog zien dat ze, 1994, volmaakten. 1995, was nog zover weg. Maar ik was dom om te denken dat, Moniwi, altijd aan mijn zijde bleef. Ik heb daar geen minuut meer aan getwijfeld, hoewel, Moniwi, er toch anders over ging denken. Ze hield echt van me, dat bewees ze eigenlijk elke dag, maar op een gegeven moment heeft ze het opgegeven. Ik was gefocusseerd op alles, met name op de verrichtingen van de, Stones, en de voortgang van het huis, behalve op, Moniwi. Nu besef ik dat de ideale situatie er een is die je dagelijks moet onderhouden. Of te wel: ”Er moet gewerkt worden aan relaties, net zoals er gewerkt moet worden aan een huis.” En toch maakte de schoonheid van, Moniwi, me niet gelukkig. Ik was alleen maar met mezelf bezig, en vond de gevoelens van, Moniwi, ondergeschikt. Dit zou ze me terugbetalen, en letterlijk heb ik er tien jaar last van gehad. Mijn deel was verdriet en ongelukkigheid. Ik besloot te gaan studeren in, 1995, omdat ik bang was dat ik dood zou gaan van verdriet. Ik moest een doel hebben om te leven. Stones-concerten waren het enige dat me verroerde en, “over bewust”, lette ik thuis op de uitvoeringen van nummers en diepte ze uit tot in den treuren. Ik had niets beters te doen, lijkt wel. Maar bedenk dat ik geen televisie had gedurende de jaren 90 en altijd aan het werk of studeren was en muziek was mijn rustpunt. Nummers die mijn gehele jeugd hebben bepaald. Mijn steun en toeverlaat. Ik snapte werkelijk niets van de manier van spelen. Waarom zijn de Stones anders dan alle andere bands? Ik kon dan ook de veranderingen van de shows goed meemaken. Hoe is het mogelijk dat de band, in de, Jaren Negentig, dezelfde kleur en emoties kan oproepen als van, de Jaren Zestig. Geen andere band heeft die kleurechtheid. Under My Thumb, Let’s Spend The Night Together, Shattered, en, 19th Nervous Breakdown, klonken tijdens de, Voodoo Lounge Tour, ongehoord echt. Ongelooflijk vond ik dat. Bij het horen van de intro’s voel je dat ze de juiste snaar weten te raken en dat ze terugkeren naar vervlogen tijden. Mijn moeder zei altijd dat de, Beatles, en, Stones, tijdloos waren. En nu begrijp ik dit. Tijdens de, Bridges to Babylon Tour, 1997, en, 1998, en de, No Security Tour, van, 1999, waren de, Stones, weer ouderwets op elkaar ingespeeld en speelden, op verzoek, nummers. Een keer werd, Waiting on a Friend, aangevraagd, via voorkeurstemmen op de internet-site. Bill Gates, sponsorde die tournee en als tegenprestatie kon het publiek voorkeurstemmen uitbrengen, via de website. Ik heb al veel gehoord, maar toen, Waiting on a Friend, out of the blue werd ingezet, was het overduidelijk dat, Waiting on a Friend, en feitelijk alle andere nummers symfonietjes zijn. Nummers van, Keith, kunnen perfect worden geconserveerd. De lijnen en contouren bestaan uit basiselementen. Waarschijnlijk omdat elk Stones-nummer en zeker ook die van de, Beatles, bestaan uit losse elementen, is de kleur-echtheid gegarandeerd. Anders dan het gerommel en gehark en gegraaf, met als gevolg dat de muziek een brei wordt van bandjes die proberen, Rock’ N Roll, te spelen, speelt, Keith, sober en schoon en ontvouwt stalen brug waarop, Waiting on a Friend, leunt. En ook, 19th Nervous Breakdown, werd bijvoorbeeld gedragen door, Keith. De lijnen en de bas-loopjes zijn uitgekristalliseerd. Mijn voorlopige conclusie is dat een nummer eerst zijn vorm aanneemt als de bas-loop is uitgelegd. Om minimaal te spelen, zoals de, Stones, doen, moet de basis helder zijn. Omdat elk nummer bestaat uit basis-lijnen is het zaak te weten wat deze zijn. En omdat, Keith, de nummers zelf schrijft is het triviaal te vermelden, dat hij die gene is, die precies weet wat die basis elementen van zijn nummers zijn. Doordat het onmogelijk is om te spelen als, Keith, is het simpelweg onmogelijk voor bands om dit te kopiëren. En doordat de, Stones, zichzelf, tijdens de jaren negentig, in een levensecht oefenterrein begeven, is het niet verwonderlijk, dat met het verstrijken van de jaren, de klassieke nummers een voor een, klakkeloos, werden afgestoft. Verreweg hoogtepunten waren de versies van, When The Whip Comes Down, Some Girls, You Got The Silver, Sister Morphine, met een toen, uniek voor een Stones-concert, tweede toegift, tijdens de, No Security Tour: You Can’t Always Get What You Want, werd plotseling ingezet, als extra toegift, door, Keith, en volgens mij was dit niet gepland. Voor de liefhebber: Eerste show in, Houston, Februari, 1999. Tijdens de, No Security Tour, van, 1999, was, You Can’t Always Get What You Want, inmiddels uit het repertoire geschrapt, want de, No Security Tour, had een veel harder karakter dan alle voorgaande tournee’s. Mick had pijn. Er knaagde bovendien iets aan zijn geweten en werd zich bewust van zijn bovenmenselijke status, vergelijkbaar met Caesar of Alexander De Grote. Marianne Faithfull, vergelijkt hem met de Zonne-koning, Louis XIV. De grote, Mick Jagger, werd, naar mijn mening, voor het eerst in zijn leven aan de kant geschoven door een vrouw; Jerry Hall. Toen, Keith, You Can’t Always Get What You Want, inzette stond daar een duidelijk geëmotioneerde, Mick Jagger. Je kon het hoopje verdriet opvegen. Ik stond toen, in, Houston, in de, Compaq Centre, direct aan het podium en zag hoe, Keith, plotseling weer naar het midden van het podium liep en achteloos het nummer inzette. Eerder werd die avond ook al, Sister Morphine, op schrijnende wijze vertolkt. Mick, had pijn, dat was duidelijk en, Keith, hielp hem daar overheen. Net zoals bij de tweede toegift liep, Keith, gedurfd, tijdens de intro, naar de rand van het podium en was op dat moment de bliksemafleider. Natuurlijk is het normaal als, Mick, de show steelt, maar toen kon dat even niet. Mick, was een hoopje verdriet. Keith, nam de honeurs waar als voorman en, Mick, kon, na zichzelf weer te hebben hervonden, op hartverscheurende wijze, Sister Morphine, brengen. Inclusief de gebroken stem die precies bij het nummer past. De, No Security Tour, was geen doorsnee tour. De geluidsinstallatie had veel te veel vermogen en was bestemd voor stadions. En de, No Security Tour, had in, Amerika, plaats, in, kleine arena’s. Toen, Some Girls, op verbluffende wijze, authentiek, werd gebracht, met een werkelijk spectaculaire staande intro, waarbij binnen de seconde, alle instrumenten zich perfect mengden, was het duidelijk: Mick, moest weer zingen, iets anders zou hij niet kunnen op dat moment. Hij zou in het dagelijks leven worden uitgehold door verdriet en onmacht, ten gevolge van zijn scheiding. Anders zou hij sterven van verdriet. Wie nu nog durft te zeggen dat de, Stones, slechts voor het geld spelen is niet goed bij zijn hoofd. Die tournee van, 1999, was niet voor het geld. Die was er, om, Mick, te laten te overleven. Om hem zijn verdriet te laten uiten. En, wat is er beter, dan uiting door middel van muziek. Mijn broer was mee naar, Amerika, en zag het ook. Nog steeds verhaalt hij met ontzag de impact van de, Stones, als ze kwaad zijn. Hij vertelde dat de stoere Amerikaanse yuppies, met allemaal een prachtige vriendin aan hun zijde, inclusief een vlotte zonnebril, letterlijk verbleekten toen, Keith, en, Ronnie, bij wijze van hoge uitzondering, over gingen op, Trash Rock. Nogmaals, When the Whip Comes Down, Midnight Rambler, en, Star Fucker, gespeeld op het midden podium in de kleine arena’s, begin, 1999, in, Amerika, waren een zegen voor de diehard fans, maar een regelrechte kwelling voor mensen, die dachten, dat ze het hadden gemaakt in hun leven. Al hun zekerheden konden de prullenbak in. Hun vriendinnen vonden het plotseling geweldig, en vonden, Mick, en, Keith, nu ineens zeer aantrekkelijke beesten. De yuppies en de jetset, zo moet u zich voorstellen, kochten voor honderden dollars een plekje vooraan en probeerde natuurlijk indruk te maken met die plaatsen, op hun veel te mooie, “gekochte”, vriendinnen. De Amerikanen verwachten weer een, Stones-concert, zoals ze die kenden van de, Voodoo Lounge, en, Bridges to Babylon. Zo kenden ze de, Stones, niet, en zo zijn de, Stones, ook helemaal niet aardig voor hun publiek. Letterlijk niet wetende waar te zoeken en te kijken, om zich nog enigszins te profileren als vlotte veertiger, volgde vooral de vrouwelijke, en veel jongere aanhang, de wulpse bewegingen van, Mick. De jetset werd getrakteerd op primitieve omgangs-normen, waar zij dus zogenaamd ver boven dient te staan en er nu met hun neus werden ingewreven. De meisjes vonden dat prachtig en hadden plotseling geen oog meer, en zeker geen interesse voor hun welgemanierde partners. Ze wilden bruut worden aangerand en worden verkracht en als oud vuil worden behandeld. Ze wilden ook die primitieve manier van leven ondervinden. Ze wilden ook wel eens gillend en schreeuwend klaarkomen! Keith, en, Ronnie, gooiden het ene spervuur na het andere de zaal in. Met de veel te grote geluidsinstallatie in de kleine zalen, was het een ware geseling voor de genen, die nog niet uit de zaal waren gevlucht. In het oog van de orkaan stond daar plotseling weer een herboren, Mick Jagger, die zichtbaar opluchtte tijdens de storm. Mick, kwam tot rust en, Keith, lachte liefkozend naar hem. Alsjeblieft, maatje, hier heb je je verdriet, verwerk het maar lekker. Alles komt goed. Wat een band! Sentiment komt wel erg hard aan, maar dat is het leven! Ik sta altijd vooraan en was waar de, Stones, waren. Maniakaal volgde ik ze door heel, Europa, en later, in, 1994, en verder door de, USA. Tot mijn verbazing zag ik van dichtbij de oogcontacten tussen de bandleden en zag dat de, Stones, konden temporiseren en pieken, wanneer ze maar wilden. Zo waren ze instaat een menigte van honderdduizend man in slaap te sussen om ze daarna meedogenloos wakker te schudden. Als ze zin hadden in experimenten werd een gehele set aangepast om de experimenten in te kleden, met als vangnet opsluiting door gepaste nummers. Na bijvoorbeeld probeersels als, Factory Girl, en, I Just Want to Make Love to You, kwam een klassieker, een nummer met een voortstuwende kracht, als, Satisfaction. Dus al zou het experiment mislukken, de menigte zal dit snel vergeten. Klassieke Rock-nummers om de experimentele nummers maskeerden dit, bij voorbaat. De boodschap van dit alles is dat iedereen een kans moet krijgen om te schijnen. De Stones hebben zelf de regie in handen. Ze maken tijd en ruimte voor probeersels, om zo het spectrum op te rekken. Omdat ze omringd worden door zekerheden, de nummers, het stadion en de enorme geluidsinstallatie, mislukken experimenten niet! Het heeft even geduurd, maar toevallig geluk moet je afdwingen.

De Stones, hebben zich een weg gebaand door de tijd en steeds goed opgelet wat mogelijk is voor de tijd. En bekend is dat in deze tijd alles mogelijk is. De, Stones, hebben de tijd met glans naar hun hand gezet. Ik voelde me sterk verbonden met de kracht van de muziek van de, Stones, maar was verloren en zocht ongewild grip in de goede muziek en de entourage van de Stones-karavaan en kwam verder en zo kwam ik in contact met, Alan Dunn, eerst in, Birmingham, USA!, via de telefoon, via, Arend Jan van der Marel in, Amsterdam!, en later in levende lijve bij aanvang van het concert in, 1995, in, Wembley. Alan Dunn, grijnsde. Ik maakte zo goed als deel uit van het Stones-circus en werd zelfs herkend door fans, die me hadden gezien tijdens de, Stones-film, van, 1990, in het, IMAX-theater. Alan Dunn, en meerdere leden van de vaste kern van de Stones-administratie kenden me en in, Londen, in, 1995, zei, Alan Dunn, dat hij wel een vermoeden had, waarom ze elke keer beter gingen spelen en dat dit voor betrokkenen een eindeloze rit is geworden. De crew en de die-hard fans zitten gevangen en worden verblind door de voortgang van de grootste, Rock ‘N Roll-band, aller tijden. Zij worden beter en de fans, die het volgen, gaan langzaam stuk. Het wordt altijd beter, dus de mensen die het laatste goede concert hebben gezien weten net zoveel als de mensen die alle concerten volgen. De groep vaste bezoekers van de eerste rij werd zodoende steeds groter en eind jaren negentig, en tijdens de laatste, Licks Tour, namen zij met honderden mijn plaats in op de eerste rijen en ik distantieerde me ervan. Noodzakelijk, door geldgebrek. Maar ook omdat ik nu zeker wist dat de Stones zo groot zijn geworden door het afdwingen van inspanningen van anderen en als de lachende derde er van door te gaan, met de opgedane kennis. Kijk naar, bijvoorbeeld, Brian Jones, Mick Taylor, Billy Preston. Ik wist dat de, Stones, niet of nauwelijks acht slaan op mensen die hun eigen leven vergooien om, Rock ‘N Roll, te spelen en te zien. Weten ze wat ik weet? Zoeken ze wat? Billy Preston, weet nu dat zijn muziek is samengevat in een nummer, niet van hem zelf, maar van, Jagger / Richards, en heet, Hot Stuff. In dit nummer is de alle franje en tierelantijn afgeschud en wat overblijft is definiërende muziek. Uitgedroogd en sober, als een overblijfsel of relikwie van de muziek van, Preston, is de beat van, Hot Stuff, een belichaming van wat eens zijn muziek was. De, Stones, hebben in alle rust van dichtbij het kunstje afgekeken van, Billy. Hij verzorgde tijdens de, tour van, 1975, en, 1976, het voorprogramma en deed twee nummers tijdens het Stones-optreden. De, Stones, verloren destijds in rap tempo terrein aan met name, Led Zeppelin. De funky muziek van, Billy, was een uitgelezen mogelijkheid voor de, Stones, om zich aan te passen aan de tijd. Led Zeppelin, was onaantastbaar. De kracht waarmee, Led Zeppelin, de jaren zeventig binnen kwam zeilen was ontzagwekkend. De gitarist, Jimmie Page, was in topvorm en de zanger, Robert Plant was de nieuwe belichaming geworden van, Rock ‘N Roll. Voor zowel Jagger als Richards werd, Exile on Main Street, pijnlijk bewaarheid. Ze werden van de weg gereden door, Led Zeppelin, Pink Floyd, Dire Straits, en door de nieuwe funk muziek en wat later door de, Punk. Iggy Pop, voorop.

  

De jaren zestig waren definitief verleden tijd, halverwege de jaren zeventig. Er stonden nu al weer nieuwe soldaten aan het front. De episode met, Mick Taylor, die de band nog steeds en, steeds meer, voorzag van muzikale impulsen, tijdens de begin Jaren Zeventig, liep plotseling af. Hoewel, Mick Taylor, was verworden tot oud vuil leunden de, Stones, op hem; dit oude vuil. Mick Taylor, verliet de band, om de afgang van zijn lichaam te voorkomen. De situatie van de Stones was niets meer dan een stelletje zielepoten, die net hun kip met de gouden eieren, Mick Taylor, zagen verdwijnen. Terug aan de grond in, 1975. Het enige wat overeind bleef waren de geweldige nummers. Zo blijkt, Gimme Shelter, echt een heel goed nummer, dat juist in die periode helemaal werd gearrangeerd en tot in de puntjes werd uitgekauwd. Happy, het solo-nummer van, Keith, bleek zich ook uitstekend modern en vooruitstrevend te gedragen tijdens live-optredens. De tour van, 1975, gaat gepaard met verwoede pogingen van de, Stones, zich te revancheren, op volgens mij met name, Led Zeppelin. Op het podium komen de gebruikelijke bovennatuurlijke krachten nog steeds moeiteloos los. En dat is bij beide bands zo. Duidelijk is alleen dat, op het gebied van pure rock, de, Stones, de meerdere moeten erkennen in, Led Zeppelin, vergelijkbaar zoals de, Who, de, Stones, in, 1968, naar huis speelde.

 

Gezegend met, zoals hij zelf zegt een antenne heeft, Keith, de teloorgang van zijn band aangekeken. De massieve knetterende drum van, Led Zeppelin, was niet normaal en inderdaad, de drummer overleed in, 1980. Net als overigens de super-drummer van de, Who, Keith Moon, die, in, 1978, overleed. Pink Floyd, pakte de muziek weer anders aan en toverde het ene na het andere sublieme album uit de hoge hoed. Toch, eerlijk is eerlijk, live on stage, kon, Keith, zich nog steeds meten met de nieuwe orde. Keith, heeft gelukkig heel zijn leven geluisterd, hij moest wel. Een gouden kans voor jonge, Mister Richards. Eerst ontspon hij de, Blues, op een manier die de, Beatles, bijkans deed verbleken. Hij deed dit overigens niet alleen, want een zekere, Brian Jones, was toen zijn maatje, zelfs toen, Keith, nog een tiener was. Hij kwam samen met, Brian, tot een synthese van twee gitaren, die klonken als een eenheid. Met name de manier van spelen van, Keith, dwingend, bepalende en ruig vereiste een drummer die niet probeerde die gitaar, de zogenaamde rythem gitaar, te overstemmen. En feitelijk

The goal of "SlutWalk" is to bring together people of all genders, ages, professions, religions, ethnicities, sexual orientations, and economic statuses to create a dialogue and bring an end to attitudes that normalize victim blaming and slut shaming and to ultimately put an end to rape culture.

Globular Cluster M 55 in the constellation Sagittarius consists of 100,000 stars. It is located at a distance of about 17,600 light-years away from Earth and has a mass of about 269,000 times that of the Sun.

 

Object: M 55

Optics: Lacerta Newton 12" F4 + 3" Wynne-Corrector

Mount: Sky-Watcher EQ8

Camera: ZWO ASI 183MM Pro @-20°C, Gain=53, Offset=10

Filter: ZWO EFW 7x36mm, ZWO 36mm Filters

Exposure: total ~0.5h, R 22x30sec, G 24x30sec, B 18x30sec, L (derived from RGB), 200 Bias, 40 Darks, 40 Flats per channel

Date: 2018-07-17

Location: ATHOS Centro Astronómico S.L., La Palma

Capture: Sequence Generator Pro

Guiding: Off-Axis, ASI120MM, PHD2

Image Acquisition: Stephan Schurig

Image Processing: Stephan Schurig

AstroPixelProcessor 1.062: Calibration, Registration, Normalization, Integration, Channel Combination, Background Flattening & Calibration, Star Colors Correction, Auto Digital Development

Photoshop 19.1.5: Levels, Curves, Exposure (Offset, Gamma), Masked Nik Dfine 2 Denoise, Masked Dynamic (Dynamic, Saturation), Star Shrink, Masked Curves, Masked Color Balance, Masked HighPass Sharpening, Masked Unsharp Masking

Remarks: Poor Seeing

World sage, scientist, thinker Fangruida (Smith) Lume.j

 

.未来世界100年的历史巨变和10件重大事件（Fangruida）

2018年9月15日

 

1.未来世界100年全球人口将达到100亿以上，地球资源日近枯竭。人口和资源矛盾日益尖锐。虽然科学技术，大规模的高技术高智能会给人类极大的发展空间，人口过多将会使世界更加拥挤不堪。倘若人口继续增长，几个世纪之后，地球的人口将达到200-300亿。资源和人口的矛盾更加尖锐复杂，难以应对。

2.未来世界100年之内，人类将开始进入月球-火星和其他宜居星球，开启人类历史发展的新纪元时代，星球时代星球世界逐步显现。人类移居月球，火星等星球，逐步成为现实的可能性极大。

3.未来世界人类社会科学技术高度发展，高技术高智能将引发社会的重大结构性变革，并引发人类社会的一系列变革和改变。

4.未来世界世界格局将发生重大变化，竞争和合作日益复杂，世界的无序-有序不断变化，各种模态和结构均在其中。

5.未来世界100年，战争和各种难以化解的争夺，冲突会引发战争，世界各种矛盾激化，政治，经济，军事，文化，宗教，种族，土地，资源，人口，等等都是诱因。各种竞争更加激烈。

6.未来100年或几千年，并不会发生“地球末日”，“世界末日”的大灾难。但是，宇宙和太阳系的发展变化将更加活跃，地球人类面临的危险和不测事件将会加剧。在某种意义上，地球的生死存亡并非空穴来风。那种误以为，地球毁灭宇宙毁灭仅仅是几百万年几千亿年才可能发生的事情，实际上是一种理性自杀，意识自杀。地球的演变，太阳系的演变，银河的演变，只不过是瞬间发生的事情，对于人类来说，似乎还十分遥远；而对于宇宙来说，并不是特例，十分普通，常态化，时序化。科学技术尽管发达迅猛，但科学技术也有许多不测性和不可预见性和未知性。地球，太阳系和银河的任何微妙变化，将直接影响人类甚至祸及人类，这绝非危言耸听。所谓超级大地震，超级大海啸，等等，尚不待言。地球之变，太阳系之变，宇宙结构之变，对于人类的生存演化更具有决定性的关联。不只是小行星撞击地球，陨石雨，星际物质嬗变，等等，更重要的是宇宙结构特别是太阳系银河系等的巨大变化，直接影响地球人类的生存与毁灭。而且，时间跨度并非几千万年，几百亿年之久，而是几百年几千年几万年之内。

7.人类在地球空间并非孤独，因为他有庞大的生物群始终伴生伴随，所以，他并不是孤独之类。而在地球之外，在太阳系，在银河，在广袤的宇宙，生命体和生命活性物质存在并不一概否认；但是，具有高度进化思维的生命人类物种，极其罕见甚至仅仅是偶发的孤类体。物质物种包括一切极端的生命大分子在宇宙普遍存在并不是悖论，但是诸如高智化的动物人类，却不是常项。生命就是自然的历史的不可逾越的自然程序，不论开始和结束，对于宇宙和自然界都无关紧要，甚至包括物质之类。

8.新的重大技术发明创造不断涌现。诸如高速重载复合型核动力火箭飞船，太空隧道，月球隧道，火星隧道，地球隧道，高智化生物机器人，复合性安全性核动力飞机，新型特质材料，大规模智能化机械制造技术，大规模作物优良培植培育技术，人类高能度教育培训技术等等将支持支撑世界的变革和模式改变。

9.世界政治，世界经济，世界文化，世界军事，世界宗教，等随之产生连锁反应。随着星球社会星球世界的来临，世界的传统模式和传统结构也将产生一系列变革和变化。世界的传统观念传统意识传统思维，也随之产生变异。星球社会的哲学理念和哲学思维结构，远远超出人们的一般想象和理解。

10.世界的宽泛化，一体化，组合化，耦合化，交融化，互补化，分格化，嵌套化逐步加深。

 

The 100-year history of the future world and 10 major events (Fangruida)

September 15, 2018 lume.J 2017

 

1. In the future world, the global population will reach more than 10 billion in the 100 years, and the earth resources will be nearly exhausted. The contradiction between population and resources is becoming increasingly acute. Although science and technology, large-scale high-tech and high intelligence will give people great room for development, and too much population will make the world more crowded. If the population continues to grow, the population of the planet will reach 20-30 billion after centuries. The contradiction between resources and population is more acute and complicated, and it is difficult to cope.

2. Within 100 years of the future world, mankind will begin to enter the moon-Mars and other livable planets, opening a new era of human history, and the world of planets in the planetary era will gradually emerge. It is highly probable that humans will move to the moon, planets such as Mars, and become a reality.

3. The future world's human social science and technology is highly developed. High technology and high intelligence will lead to major structural changes in society and trigger a series of changes and changes in human society.

4. The future world world will undergo major changes, competition and cooperation will become increasingly complex, the world will be disorderly and orderly changing, and various modalities and structures will be among them.

5. In the 100 years of the future world, wars and various difficult disputes, conflicts will lead to war, and various contradictions in the world will intensify. Politics, economy, military, culture, religion, race, land, resources, population, etc. are all incentives. . Various competitions are more intense.

6. In the next 100 years or thousands of years, there will be no catastrophe of "the end of the earth" or "the end of the world." However, the development of the universe and the solar system will be more active, and the dangers and unforeseen events facing the Earth's human beings will intensify. In a sense, the survival of the earth is not groundless. The misconception that the destruction of the universe by the earth is only a matter of millions of years, and it is actually a kind of rational suicide and suicide. The evolution of the earth, the evolution of the solar system, and the evolution of the Milky Way are just moments. For humans, it seems to be very far away. For the universe, it is not a special case, very common, normalized, and timed. Despite the rapid development of science and technology, science and technology also have many unpredictability and unpredictability and unknownness. Any subtle changes in the Earth, the solar system, and the Milky Way will directly affect humans and even humanity. This is by no means an alarmist. The so-called super earthquake, super tsunami, and so on, are not to be said. The change of the earth, the change of the solar system, and the change of the structure of the universe are more decisively related to the evolution of human beings. Not only do asteroids hit the Earth, meteorites, interstellar matter metamorphosis, etc., but more importantly, the tremendous changes in the structure of the universe, especially the solar system, directly affect the survival and destruction of human beings on Earth. Moreover, the time span is not tens of millions of years, tens of billions of years, but hundreds of thousands of years and thousands of years.

7. Human beings are not alone in the space of the earth, because he has a huge biological group that is always accompanied, so he is not alone. Outside the Earth, in the solar system, in the Milky Way, in the vast universe, the existence of living organisms and living active substances is not denied; however, living human species with highly evolved thinking are extremely rare or even just sporadic orphans. . It is not a paradox that material species, including all extreme life macromolecules, are prevalent in the universe, but animals such as highly intelligent animals are not regular. Life is an insurmountable natural process of natural history, no matter the beginning or the end, it does not matter to the universe and nature, even material.

8. New major technological inventions are constantly emerging. Such as high-speed heavy-duty composite nuclear-powered rocket spacecraft, space tunnel, lunar tunnel, Mars tunnel, earth tunnel, highly intelligent biological robot, composite safety nuclear power aircraft, new trait materials, large-scale intelligent machinery manufacturing technology, large-scale Excellent crop cultivation techniques, human high-energy education and training technologies, etc. will support changes and model changes that support the world.

9. World politics, the world economy, world culture, world military, world religion, etc. will have a chain reaction. With the advent of the planetary world of planets, the world's traditional models and traditional structures will also produce a series of changes and changes. The traditional concept of the world, the traditional sense of traditional thinking, also mutated. The philosophical philosophy and philosophical thinking structure of the planetary society far exceeds people's general imagination and understanding.

10. The world is broadened, integrated, combined, coupled, blended, complemented, divided, and gradually deepened.

L'histoire du monde futur centenaire et 10 événements majeurs (Fangruida)

15 septembre 2018

 

1. Dans le monde à venir, la population mondiale atteindra plus de 10 milliards de personnes d'ici 100 ans et les ressources de la Terre seront presque épuisées. La contradiction entre population et ressources devient de plus en plus aiguë. Bien que la science et la technologie, la haute technologie et l'intelligence à grande échelle laisseront aux gens une grande marge de développement, et trop de population rendra le monde plus peuplé. Si la population continue de croître, la population de la planète atteindra 20-30 milliards d’après des siècles. La contradiction entre les ressources et la population est plus aiguë et compliquée et il est difficile de faire face.

2. Dans 100 ans, l'humanité commencera à pénétrer dans la Lune-Mars et d'autres planètes habitables, ouvrant une nouvelle ère de l'histoire humaine, et le monde des planètes émergera progressivement. Il est hautement probable que les humains se déplaceront sur la Lune, des planètes telles que Mars, et deviendront une réalité.

3. Les sciences sociales et la technologie humaines dans le monde à venir sont très développées: une technologie de pointe et une intelligence élevée provoqueront des changements structurels majeurs dans la société ainsi qu'une série de changements et de transformations dans la société humaine.

4. Le monde futur subira de profonds changements, la concurrence et la coopération deviendront de plus en plus complexes, le monde évoluera de manière désordonnée et ordonnée, et diverses modalités et structures en feront partie.

5. Au cours des 100 années du monde à venir, les guerres et divers conflits difficiles mèneront à la guerre et les contradictions dans le monde vont s'intensifier: politique, économie, armée, culture, religion, race, territoire, ressources, population, etc. . Diverses compétitions sont plus intenses.

6. Dans les 100 prochaines années ou des milliers d'années, il n'y aura pas de catastrophe de "la fin de la terre" ou "de la fin du monde". Cependant, le développement de l'univers et du système solaire sera plus actif et les dangers et événements imprévus auxquels les êtres humains seront confrontés s'intensifieront. En un sens, la survie de la terre n’est pas sans fondement. L'idée fausse que la destruction de l'univers par la terre n'est qu'une affaire de millions d'années et qu'il s'agit en fait d'une sorte de suicide rationnel et de suicide. L'évolution de la Terre, du système solaire et de la Voie Lactée ne sont que des moments. Pour l'homme, cela semble très éloigné. Pour l'univers, ce n'est pas un cas particulier, très courant, normalisé et chronométré. En dépit du développement rapide de la science et de la technologie, celles-ci ont également de nombreuses imprévisibilité et imprévisibilité et incertitude. Toute modification subtile de la Terre, du système solaire et de la Voie lactée affectera directement les êtres humains et même l’humanité, ce qui n’est nullement alarmiste. Le soi-disant super tremblement de terre, super tsunami, etc., ne doit pas être dit. Le changement de la Terre, le changement du système solaire et le changement de la structure de l'univers sont liés de manière plus décisive à l'évolution des êtres humains. Non seulement les astéroïdes frappent la Terre, les météorites, la métamorphose de la matière interstellaire, etc., mais plus important encore, les énormes changements dans la structure de l'univers, en particulier le système solaire, affectent directement la survie et la destruction des êtres humains sur Terre. De plus, la période ne correspond pas à des dizaines de millions d’années, mais à des centaines de milliers et des milliers d’années.

7. Les êtres humains ne sont pas seuls dans l'espace terrestre, car ils possèdent un groupe biologique énorme toujours accompagné, de sorte qu'ils ne sont pas seuls. En dehors de la Terre, dans le système solaire, dans la Voie lactée, dans le vaste univers, l'existence d'organismes vivants et de substances actives vivantes n'est pas niée, mais les espèces humaines vivantes à la pensée très évoluée sont des orphelins extrêmement rares ou même simplement sporadiques. . Il n’est pas paradoxal que les espèces matérielles, y compris toutes les macromolécules de vie extrême, soient répandues dans l’univers, mais que des animaux tels que les animaux très intelligents ne sont pas réguliers. La vie est un processus naturel insurmontable de l'histoire naturelle, peu importe le début ou la fin, peu importe l'univers et la nature, même la moindre chose.

8. De nouvelles inventions technologiques majeures apparaissent constamment. Tels que les engins spatiaux de fusée à propulsion nucléaire à haute vitesse, tunnel spatial, tunnel lunaire, tunnel de Mars, tunnel terrestre, robot biologique extrêmement intelligent, avion à énergie nucléaire de sécurité composite, nouveaux matériaux de trait, technologie de fabrication de machines intelligentes à grande échelle, à grande échelle D'excellentes techniques culturales, les technologies d'éducation et de formation à haute énergie humaine, etc. soutiendront les changements et modéliseront les changements qui soutiennent le monde.

9. La politique mondiale, l'économie mondiale, la culture mondiale, l'armée mondiale, la religion mondiale, etc. auront une réaction en chaîne. Avec l'avènement du monde planétaire des planètes, les modèles et les structures traditionnels du monde produiront également une série de changements et de changements. Le concept traditionnel du monde, le sens traditionnel de la pensée traditionnelle, ont également muté. La philosophie philosophique et la structure de pensée philosophique de la société planétaire dépassent de loin l'imagination et la compréhension générales des gens.

10. Le monde est élargi, intégré, combiné, couplé, fondu, complété, divisé et approfondi progressivement.

100-летняя история будущего мира и 10 крупных событий (Фангруида)

15 сентября 2018 г.

 

1. В будущем мире население планеты достигнет более 10 миллиардов за 100 лет, а земные ресурсы будут почти исчерпаны. Противоречие между населением и ресурсами становится все более острым. Несмотря на то, что наука и технология, масштабные высокотехнологичные технологии и высокий интеллект предоставят людям большие возможности для развития, а слишком большое население сделает мир более тесным. Если население продолжит расти, население планеты через столетия достигнет 20-30 миллиардов. Противоречие между ресурсами и населением является более острым и сложным, и с ним трудно справиться.

2. В течение 100 лет будущего мира человечество начнет входить на Луну-Марс и другие пригодные для жизни планеты, открывая новую эру человеческой истории, и мир планет в планетарной эре будет постепенно возникать. Весьма вероятно, что люди переместятся на Луну, планеты, такие как Марс, и станут реальностью.

3. Социальная наука и технологии будущего человека высоко развиты: высокие технологии и высокий интеллект вызовут серьезные структурные изменения в обществе и вызовут серию изменений и изменений в человеческом обществе.

4. Будущий мир претерпит серьезные изменения, конкуренция и сотрудничество будут становиться все более сложными, мир будет беспорядочным и упорядоченным, и среди них будут различные формы и структуры.

5. В течение 100 лет будущего мира войны и различные сложные споры приводят к войнам, и в мире усиливаются различные противоречия: политика, экономика, военные, культура, религия, раса, земля, ресурсы, население и т. Д. Являются стимулами. , Различные соревнования являются более интенсивными.

6. В следующие 100 или тысячи лет не будет катастрофы «конца земли» или «конца света». Однако развитие Вселенной и Солнечной системы будет более активным, а опасности и непредвиденные события, с которыми сталкиваются люди Земли, будут усиливаться. В некотором смысле, выживание земли не является беспочвенным. Неправильное представление о том, что разрушение Вселенной Землей - это дело миллионов лет, и на самом деле это своего рода рациональное самоубийство и самоубийство. Эволюция Земли, эволюция Солнечной системы и эволюция Млечного Пути - всего лишь моменты. Для людей это, кажется, очень далеко. Для вселенной это не особый случай, очень распространенный, нормализованный и рассчитанный по времени. Несмотря на быстрое развитие науки и техники, у науки и техники также много непредсказуемости, непредсказуемости и неизвестности. Любые тонкие изменения на Земле, в Солнечной системе и Млечном Пути будут напрямую влиять на людей и даже человечество. Это ни в коем случае не паникер. О так называемом супер землетрясении, супер цунами и т. Д. Говорить не приходится. Изменение Земли, изменение Солнечной системы и изменение структуры Вселенной более решительно связаны с эволюцией людей. Мало того, что астероиды поражают Землю, метеориты, метаморфозы межзвездной материи и т. Д., Но, что более важно, огромные изменения в структуре Вселенной, особенно в Солнечной системе, напрямую влияют на выживание и разрушение людей на Земле. Более того, промежуток времени составляет не десятки миллионов лет, десятки миллиардов лет, а сотни тысяч лет и тысячи лет.

7. Человеческие существа не одиноки в космическом пространстве, потому что у него огромная биологическая группа, которая всегда сопровождается, поэтому он не одинок. За пределами Земли, в Солнечной системе, в Млечном Пути, в огромной вселенной существование живых организмов и живых активных веществ не отрицается, однако живые человеческие существа с высокоразвитым мышлением являются чрезвычайно редкими или даже спорадическими сиротами. , Не парадоксально, что материальные виды, включая все экстремальные макромолекулы жизни, распространены во вселенной, но животные, такие как очень умные животные, не являются регулярными. Жизнь - непреодолимый естественный процесс естественной истории, независимо от начала или конца, она не имеет значения для вселенной и природы, даже материальных.

8. Новые крупные технологические изобретения постоянно появляются. Такие как высокоскоростной сверхмощный композитный ракетный космический корабль с ядерной установкой, космический туннель, лунный туннель, туннель Марс, земляной туннель, высокоинтеллектуальный биологический робот, композитный безопасный ядерный энергетический летательный аппарат, новые материалы с характеристиками, технология производства крупномасштабных интеллектуальных машин, крупномасштабные Отличные методы выращивания сельскохозяйственных культур, высокоэнергетические технологии обучения и подготовки человека и т. Д. Будут поддерживать изменения и моделировать изменения, которые поддерживают мир.

9. Мировая политика, мировая экономика, мировая культура, мировая армия, мировая религия и т. Д. Будут иметь цепную реакцию. С появлением планетарного мира планет, традиционные модели мира и традиционные структуры также произведут ряд изменений и изменений. Традиционная концепция мира, традиционное чувство традиционного мышления также мутировали. Философская философия и структура философского мышления планетарного общества намного превосходят общее воображение и понимание людей.

10. Мир расширяется, интегрируется, объединяется, соединяется, смешивается, дополняется, разделяется и постепенно углубляется.

 

Los 100 años de historia del mundo futuro y 10 eventos importantes (Fangruida)

15 de septiembre de 2018

 

1. En el mundo futuro, la población mundial alcanzará más de 10 mil millones en los 100 años, y los recursos de la Tierra estarán casi agotados. La contradicción entre población y recursos es cada vez más aguda. Si bien la ciencia y la tecnología, la alta tecnología a gran escala y la alta inteligencia darán a las personas un gran espacio para el desarrollo, y demasiada población hará que el mundo esté más abarrotado. Si la población continúa creciendo, la población del planeta alcanzará los 20-30 mil millones después de siglos. La contradicción entre recursos y población es más aguda y complicada, y es difícil de manejar.

2. Dentro de los 100 años del mundo futuro, la humanidad comenzará a entrar en la Luna-Marte y otros planetas habitables, abriendo una nueva era de la historia humana, y el mundo de los planetas en la era planetaria emergerá gradualmente. Es muy probable que los humanos se muevan a la luna, planetas como Marte, y se conviertan en una realidad.

3. La ciencia y tecnología humanas humanas del mundo futuro están altamente desarrolladas. La alta tecnología y la alta inteligencia desencadenarán grandes cambios estructurales en la sociedad y desencadenarán una serie de cambios y cambios en la sociedad humana.

4. El mundo mundial futuro sufrirá cambios importantes, la competencia y la cooperación se volverán cada vez más complejas, el mundo cambiará de manera desordenada y ordenada, y varias modalidades y estructuras estarán entre ellas.

5. En los 100 años del mundo futuro, guerras y varias disputas difíciles, los conflictos conducirán a la guerra y se intensificarán varias contradicciones en el mundo. Todos los incentivos son política, economía, militar, cultura, religión, raza, tierra, recursos, población, etc. . Varias competiciones son más intensas.

6. En los próximos 100 años o miles de años, no habrá una catástrofe del "fin de la tierra" o "el fin del mundo". Sin embargo, el desarrollo del universo y el sistema solar será más activo, y los peligros y eventos imprevistos que enfrentan los seres humanos de la Tierra se intensificarán. En cierto sentido, la supervivencia de la tierra no es infundada. La idea errónea de que la destrucción del universo por la Tierra es solo una cuestión de millones de años, y en realidad es una especie de suicidio racional y suicidio. La evolución de la Tierra, la evolución del sistema solar y la evolución de la Vía Láctea son solo momentos. Para los humanos, parece estar muy lejos. Para el universo, no es un caso especial, muy común, normalizado y cronometrado. A pesar del rápido desarrollo de la ciencia y la tecnología, la ciencia y la tecnología también tienen muchas imprevisibilidad, imprevisibilidad y desconocimiento. Cualquier cambio sutil en la Tierra, el sistema solar y la Vía Láctea afectará directamente a los humanos e incluso a la humanidad. Esto no es de ninguna manera un alarmista. El llamado súper terremoto, el súper tsunami, etc., no se puede decir. El cambio de la tierra, el cambio del sistema solar y el cambio de la estructura del universo están relacionados más decisivamente con la evolución de los seres humanos. Los asteroides no solo golpean la Tierra, los meteoritos, la metamorfosis de la materia interestelar, etc., sino que lo más importante es que los tremendos cambios en la estructura del universo, especialmente el sistema solar, afectan directamente la supervivencia y la destrucción de los seres humanos en la Tierra. Además, el lapso de tiempo no es de decenas de millones de años, decenas de miles de millones de años, sino cientos de miles de años y miles de años.

7. Los seres humanos no están solos en el espacio de la tierra, porque tiene un grupo biológico enorme que siempre está acompañado, por lo que no está solo. Fuera de la Tierra, en el sistema solar, en la Vía Láctea, en el vasto universo, no se niega la existencia de organismos vivos y sustancias activas vivas, sin embargo, las especies humanas vivas con pensamiento altamente evolucionado son extremadamente raras o incluso huérfanas esporádicas. . No es una paradoja que las especies materiales, incluidas todas las macromoléculas de vida extrema, prevalecen en el universo, pero los animales como los animales altamente inteligentes no son regulares. La vida es un proceso natural insuperable de la historia natural, sin importar el principio o el final, no importa para el universo y la naturaleza, incluso lo material.

8. Nuevos inventos tecnológicos importantes están emergiendo constantemente. Tales como vehículos espaciales de cohetes de propulsión nuclear compuesta de alta velocidad, túnel espacial, túnel lunar, túnel de Marte, túnel de tierra, robot biológico altamente inteligente, avión de energía nuclear de seguridad compuesto, nuevos materiales de rasgo, tecnología de fabricación de maquinaria inteligente a gran escala, tecnología a gran escala Las excelentes técnicas de cultivo de cultivos, la educación humana de alta energía y las tecnologías de capacitación, etc., apoyarán los cambios y los cambios modelo que apoyan al mundo.

9. La política mundial, la economía mundial, la cultura mundial, el ejército mundial, la religión mundial, etc. tendrán una reacción en cadena. Con el advenimiento del mundo planetario de los planetas, los modelos tradicionales y las estructuras tradicionales del mundo también producirán una serie de cambios y modificaciones. El concepto tradicional del mundo, el sentido tradicional del pensamiento tradicional, también mutó. La filosofía filosófica y la estructura de pensamiento filosófico de la sociedad planetaria excede con mucho la imaginación y la comprensión general de las personas.

10. El mundo se amplía, se integra, se combina, se acopla, se mezcla, se complementa, se divide y se profundiza gradualmente.

تاريخ 100 عام لعالم المستقبل و 10 أحداث كبرى (Fangruida)

15 سبتمبر 2018

 

1. في العالم المستقبلي ، سيصل عدد سكان العالم إلى أكثر من 10 مليارات في المائة عام ، وستكون موارد الأرض قد استنفدت تقريبًا. أصبح التناقض بين السكان والموارد حادًا بشكل متزايد. على الرغم من أن العلم والتكنولوجيا ، فإن التكنولوجيا الفائقة والذكاء العالي على نطاق واسع سوف يمنحان الناس مساحة كبيرة للتنمية ، وسيجعل عدد كبير من السكان العالم أكثر ازدحاما. إذا استمر عدد السكان في النمو ، فسوف يصل عدد سكان الكوكب إلى 20-30 مليار بعد قرون. التناقض بين الموارد والسكان أكثر حدة وتعقيدًا ، ومن الصعب مواجهته.

2. في غضون 100 عام من عالم المستقبل ، ستبدأ البشرية في دخول القمر إلى المريخ وغيره من الكواكب الصالحة للعيش ، مما يفتح حقبة جديدة من تاريخ البشرية ، وسيظهر عالم الكواكب في عصر الكواكب تدريجياً. من المحتمل جدًا أن ينتقل البشر إلى القمر والكواكب مثل المريخ ويصبح حقيقة.

3. العلوم والتكنولوجيا البشرية في العالم في المستقبل متطورة للغاية ، التكنولوجيا العالية والذكاء العالي سوف تؤدي إلى تغييرات هيكلية كبيرة في المجتمع وتؤدي إلى سلسلة من التغييرات والتغيرات في المجتمع البشري.

4 - سيخضع العالم المستقبلي لتغييرات كبيرة ، وستصبح المنافسة والتعاون أكثر تعقيداً ، وسيصبح العالم غير منظم ومنظم ، وستكون الطرائق والهياكل المختلفة من بينها.

5. خلال 100 عام من العالم المستقبلي ، ستؤدي الحروب والنزاعات الصعبة المختلفة إلى نشوب الحروب ، وستزداد حدة التناقضات في العالم ، فالسياسات والاقتصاد والجيش والثقافة والدين والعرق والأراضي والموارد والسكان ، إلخ ، كلها حوافز. . المسابقات المختلفة هي أكثر كثافة.

6. في المائة عام أو آلاف السنين القادمة ، لن تكون هناك كارثة "نهاية الأرض" أو "نهاية العالم". ومع ذلك ، سيكون تطور الكون والنظام الشمسي أكثر نشاطًا ، وستزداد المخاطر والأحداث غير المتوقعة التي تواجه البشر على الأرض. بمعنى ما ، بقاء الأرض لا أساس له من الصحة. الاعتقاد الخاطئ بأن تدمير الكون من قبل الأرض هو فقط مسألة ملايين السنين ، بل هو في الواقع نوع من الانتحار والانتحار العقلاني. إن تطور الأرض ، وتطور النظام الشمسي ، وتطور درب التبانة ليست سوى لحظات ، وبالنسبة للبشر ، يبدو أنها بعيدة جدًا ، وبالنسبة للكون ، فهي ليست حالة خاصة ، شائعة جدًا ، وطبيعية ، وموقوتة. على الرغم من التطور السريع للعلوم والتكنولوجيا ، فإن العلم والتكنولوجيا لديها أيضًا العديد من عدم القدرة على التنبؤ وعدم القدرة على التنبؤ وعدم الكشف عن هويته. أي تغييرات طفيفة في الأرض ، والنظام الشمسي ، ودرب التبانة ستؤثر مباشرة على البشر وحتى البشرية ، وهذا ليس بأي حال من الأحوال مثيرا للقلق. لا ينبغي قول ما يسمى بالزلزال السوبر ومادة تسونامي الفائقة وما إلى ذلك. إن تغير الأرض ، وتغير النظام الشمسي ، وتغيير بنية الكون يرتبطان بشكل حاسم أكثر بتطور البشر. لا يقتصر الأمر على إصابة الكويكبات بالأرض والنيازك وتحول المادة بين النجوم وما إلى ذلك ، ولكن الأهم من ذلك أن التغييرات الهائلة في بنية الكون ، خاصة النظام الشمسي ، تؤثر بشكل مباشر على بقاء البشر وتدميرهم على الأرض. علاوة على ذلك ، فإن الفترة الزمنية ليست عشرات الملايين من السنين ، عشرات المليارات من السنين ، بل مئات الآلاف من السنين وآلاف السنين.

7. البشر ليسوا وحدهم في فضاء الأرض ، لأنه يمتلك مجموعة بيولوجية ضخمة مصاحبة دائمًا ، لذلك فهو ليس وحيدًا. خارج الأرض ، في النظام الشمسي ، في درب التبانة ، في الكون الشاسع ، لا ينكر وجود الكائنات الحية والمواد النشطة الحية ؛ ومع ذلك ، فإن الأنواع البشرية الحية ذات التفكير المتطور للغاية نادرة للغاية أو حتى مجرد أيتام متفرقة. . ليس من المفارقات أن الأنواع المادية ، بما في ذلك جميع الجزيئات الكبيرة الحياة ، منتشرة في الكون ، ولكن الحيوانات مثل الحيوانات شديدة الذكاء ليست منتظمة. الحياة هي عملية طبيعية لا يمكن التغلب عليها للتاريخ الطبيعي ، بغض النظر عن البداية أو النهاية ، ولا يهم الكون والطبيعة ، بل حتى المادية.

8. الاختراعات التكنولوجية الرئيسية الجديدة آخذة في الظهور باستمرار. مثل مركبة الصواريخ الصاروخية ذات القدرة العالية للخدمة الشاقة عالية السرعة ، النفق الفضائي ، النفق القمري ، نفق المريخ ، النفق الأرضي ، روبوت بيولوجي شديد الذكاء ، طائرات الطاقة النووية للأمان المركب ، مواد جديدة للسمات ، تكنولوجيا تصنيع الآلات الذكية على نطاق واسع تقنيات زراعة المحاصيل الممتازة ، تقنيات التعليم والتدريب البشرية عالية الطاقة ، إلخ. سوف تدعم التغييرات والتغييرات النموذجية التي تدعم العالم.

9. سيكون للسياسة العالمية والاقتصاد العالمي والثقافة العالمية والجيش العالمي والدين العالمي وما إلى ذلك سلسلة من ردود الفعل. مع ظهور عالم الكواكب من الكواكب ، سوف النماذج التقليدية في العالم والهياكل التقليدية أيضا إنتاج سلسلة من التغييرات والتغييرات. المفهوم التقليدي للعالم ، بالمعنى التقليدي للتفكير التقليدي ، تحور أيضا. إن الفلسفة الفلسفية وهيكل التفكير الفلسفي للمجتمع الكوكبي يتجاوز بكثير خيال الناس وتفهمهم.

10. العالم واسع ، متكامل ، مدمج ، مزدوج ، مختلط ، مكمل ، مقسم ، ومعمق بشكل تدريجي.

 

Image from stacking

36x300s 3h

 

-Pre Processing-

Image Calibration

Cosmetic Correction

Debayer

Subframe Selector

Star Alignement

Local Normalization

Drizzle x2

Crop the black bands from the stacking

SIMPLE = T / file does conform to FITS standard

BITPIX = -32 / number of bits per data pixel

NAXIS = 3 / number of data axes

NAXIS1 = 2946 / length of data axis 1

NAXIS2 = 2922 / length of data axis 2

NAXIS3 = 3 / length of data axis 3

EXTEND = T / FITS dataset may contain extensions

COMMENT FITS (Flexible Image Transport System) format is defined in 'Astronomy

COMMENT and Astrophysics', volume 376, page 359; bibcode: 2001A&A...376..359H

BZERO = 0 / offset data range to that of unsigned short

BSCALE = 1 / default scaling factor

DATE = '2023-06-10T08:32:47' / UTC date that FITS file was created

DATE-OBS= '2023-06-09T21:18:54.655975' / YYYY-MM-DDThh🇲🇲ss observation start,

INSTRUME= 'ZWO ASI533MC Pro' / instrument name

OBSERVER= ' ' / observer name

TELESCOP= 'EQMod Mount' / telescope used to acquire this image

XPIXSZ = 3.76 / X pixel size microns

YPIXSZ = 3.76 / Y pixel size microns

XBINNING= 1 / Camera binning mode

YBINNING= 1 / Camera binning mode

FOCALLEN= 418.01 / Camera focal length

CCD-TEMP= -10 / CCD temp in C

EXPTIME = 300 / Exposure time [s]

STACKCNT= 30 / Stack frames

LIVETIME= 9000 / Exposure time after deadtime correction

EXPSTART= 2.46011e+06 / Exposure start time (standard Julian date)

EXPEND = 2.46011e+06 / Exposure end time (standard Julian date)

IMAGETYP= 'Light ' / Type of image

CVF = 1.0056 / Conversion factor (e-/adu)

GAIN = 100 / Camera gain

OFFSET = 70 / Camera offset

CTYPE1 = 'RA---TAN' / Coordinate type for the first axis

CTYPE2 = 'DEC--TAN' / Coordinate type for the second axis

CUNIT1 = 'deg ' / Unit of coordinates

CUNIT2 = 'deg ' / Unit of coordinates

EQUINOX = 2000 / Equatorial equinox

OBJCTRA = '11 14 8.604' / Image center Right Ascension (hms)

OBJCTDEC= '+55 14 2.140' / Image center Declination (dms)

RA = 168.536 / Image center Right Ascension (deg)

DEC = 55.2339 / Image center Declination (deg)

CRPIX1 = 1478 / Axis1 reference pixel

CRPIX2 = 1474 / Axis2 reference pixel

CRVAL1 = 168.536 / Axis1 reference value (deg)

CRVAL2 = 55.2339 / Axis2 reference value (deg)

CDELT1 = -0.000515346 / X pixel size (deg)

CDELT2 = 0.000515394 / Y pixel size (deg)

PC1_1 = 0.0696414 / Linear transformation matrix (1, 1)

PC1_2 = 0.997669 / Linear transformation matrix (1, 2)

PC2_1 = -0.997479 / Linear transformation matrix (2, 1)

PC2_2 = 0.0695879 / Linear transformation matrix (2, 2)

PLTSOLVD= T / Siril internal solve

HISTORY mean stacking with winsorized sigma clipping rejection (low=3.000 high=3

HISTORY .000), additive+scaling normalized input, normalized output, no image we

HISTORY ighting, unequalized RGB

HISTORY Sättigungsverbesserung (Menge=0.36)

HISTORY SCNR (Typ=Durchschnittlich neutral, Stärke=1.00, Erhaltung=true)

HISTORY Photometrie CC

HISTORY Beschneiden (x=26, y=56, w=2946, h=2922)

HISTORY Hintergrundextraktion (Korrektur: Subtraction)

HISTORY GHS Pivot: 0.003, Stärke: 10.50, Lokal: 15.00 [0.00 1.00]

HISTORY GHS Pivot: 0.110, Stärke: 1.81, Lokal: 15.00 [0.00 1.00]

HISTORY Histogramm-Übertragungen. (Mitte=0.500, lo=0.081, hi=1.000)

END

A large image of sliced up animal parts on the side of a building for all to see. I cannot understand how many can see such a thing and think of it as not only "normal", but EDIBLE.

 

One of the many ways we normalize unnecessary harm to non-humans...

 

~~~~~~~~~~~~~~~

Why Veganism:

www.vegankit.com

This image is a combination of 16 240 second images using an SBIG ST-10XME on an AT-10RC scope starting at 2020-10-21 02:41:32 UT. The only processing was a bias and dark subtraction and a flat field normalization. It was combined using Maxim DL Version 6.21.

   

Thanks,

   

Mark

It’s a question of principle, whether a group of people should be allowed to occupy a large part of government property in central Copenhagen. There’s no question that what they’ve been doing is illegal… they seized government property and have been living on it and that’s worth a lot of money now. Freetown Christiania, also known as Christiania (Danish: Fristaden Christiania[needs IPA] or Staden), is a self-proclaimed autonomous anarchist district of about 850 to 1,000 residents, covering 34 hectares (84 acres) in the borough of Christianshavn in the Danish capital city of Copenhagen.[1] It was temporarily closed by residents in April 2011 by the Danish government, but later re-opened. Christiania has been a source of controversy since its creation in a squatted military area in 1971. Its cannabis trade was tolerated by authorities until 2004. In the years following 2004, measures for normalizing the legal status of the community led to conflicts, police raids .The area of Christiania consists of the former military barracks of Bådsmandsstræde and parts of the city ramparts. The ramparts and the borough of Christianshavn (then a separate city) were established in 1617 by King Christian IV by reclaiming the low beaches and islets between Copenhagen and Amager. After the siege of Copenhagen during the Second Northern War, the ramparts were reinforced during 1682 to 1692 under Christian V to form a complete defence ring. The western ramparts of Copenhagen were demolished during the 19th century, but those of Christianshavn were allowed to remain. They are today considered among the finest surviving 17th century defence works in the world. The barracks of Bådsmandsstræde (Bådsmandsstrædes Kaserne) housed the Royal Artillery Regiment, the Army Materiel Command and ammunition laboratories and depots. Less used after World War II, the barracks were abandoned between 1967 and 1971. The adjacent area to the north, Holmen, was Denmark's main naval base until the 1990s. It is an area in development, home to the new Copenhagen Opera House (not to be confused with the first and still existing venue called "Operaen", a concert venue in Christiania) and schools. An area further north is still used by the navy, but open to the public during daytime. The outermost defence line, Enveloppen, has been renamed Dyssen in Christiania language (except for the southernmost tip of it which was not annexed by Christiania). It is connected to central Christiania by a bridge across the main moat or can be reached by the path beginning at Christmas Møllers Plads. Four gunpowder storehouses line the redans. They were built 1779-80 to replace a storage in central Copenhagen, at Østerport, which exploded infamously in 1770, killing 50 people. The buildings are renamed Aircondition, Autogena, Fakirskolen (The Fakir School) and Kosmiske Blomst (Cosmic Flower) and have, although protected, been slightly altered from their historical state.The last Danish execution site, active from 1946 to 1950, can still be seen on the Second Redan close to the building called Aircondition.[5] The wooden execution shed is gone, but the concrete foundation and a drain for the blood remain just next to the path. In total, 29 World War II criminals were executed on the site. The last was Ib Birkedal, a high-level Danish Gestapo collaborator, on 20 July 1950.After the military moved out, the area was only guarded by a few watchmen and there was sporadic trespassing of homeless people using the empty buildings. On 4 September 1971, inhabitants of the surrounding neighborhood broke down the fence to take over parts of the unused area as a playground for their children. Although the takeover was not necessarily organized in the beginning, some claim this happened as a protest against the Danish government. At the time there was a lack of affordable housing in Copenhagen. On 26 September 1971, Christiania was declared open by Jacob Ludvigsen, a well-known provo and journalist who published a magazine called Hovedbladet ('The main paper'), which was intended for and successfully distributed to mostly young people. In the paper, Ludvigsen wrote an article in which he and five others went on exploration into what he termed 'The Forbidden City of the Military'. The article widely announced the proclamation of the free town, and among other things he wrote the following under the headline Civilians conquered the 'forbidden city' of the military: Christiania is the land of the settlers. It is the so far biggest opportunity to build up a society from scratch - while nevertheless still incorporating the remaining constructions. Own electricity plant, a bath-house, a giant athletics building, where all the seekers of peace could have their grand meditation - and yoga center. Halls where theater groups can feel at home. Buildings for the stoners who are too paranoid and weak to participate in the race...Yes for those who feel the beating of the pioneer heart there can be no doubt as to the purpose of Christiania. It is the part of the city which has been kept secret to us - but no more Ludvigsen was co-author of Christiania's mission statement, dating from 1971, which offers the following: The objective of Christiania is to create a self-governing society whereby each and every individual holds themselves responsible over the wellbeing of the entire community. Our society is to be economically self-sustaining and, as such, our aspiration is to be steadfast in our conviction that psychological and physical destitution can be averted. The spirit of Christiania quickly developed into one of the hippie movement, the squatter movement, collectivism and anarchism, in contrast to the site's previous military use.

The 1976 protest song I kan ikke slå os ihjel (translated: "You cannot kill us"), written by Tom Lunden of flower power rock group Bifrost, became the unofficial anthem of Christiania.Meditation and yoga have always been popular among the Christianites, and for many years Christiania had a theatrical group Solvognen, who, beyond their theatre performances, also staged many happenings in Copenhagen and throughout Sweden. Ludvigsen had always talked of the acceptance of drug-addicts who could no longer cope with regular society, and the spirit of that belief has still not diminished, even though many problems sprouted due to drug traffic and use (mostly of 'hard drugs', however, which are not tolerated in Christiania). These addicts enter and remain in Christiania and are considered just as integral to the Freetown ethics as the entrepreneurs. For this reason many Danes have seen Christiania as a successful social experiment. However, for years the legal status of the region has been in a limbo due to different Danish governments attempting to remove the Christianites. Such attempts at removal have all been unsuccessful so far. Christiania is considered to be the fourth largest tourist attraction in Copenhagen (and it has half a million visitors annually) and abroad it is a well-known "brand" for the supposedly progressive and liberated Danish lifestyle. Many Danish businesses and organizations also use Christiania as a show place for their foreign friends and guests.[citation needed] The purpose is to show something Danish that cannot be found anywhere else in the world. The people in Christiania have developed their own set of rules, independent of the Danish government. The rules forbid stealing, violence, guns, knives, bulletproof vests, hard drugs and bikers' colors.[10][self-published source] Famous for its main drag, known as Pusher Street, where hash and skunk weed were sold openly from permanent stands until 2004, it nevertheless does have rules forbidding 'hard drugs', such as cocaine, amphetamine, ecstasy and heroin. The hash commerce is controversial, but since the rules require a consensus they cannot be removed unless everybody agrees. Legalization of cannabis is one of the ideas of many of the citizens in Christiania. The region negotiated an arrangement with the Danish defense ministry (which still owns the land) in 1995. Since 1994, residents have paid taxes and fees for water, electricity, trash disposal, etc.

After bitter negotiations that temporarily resulted in the area being sealed off to the public, in June 2011, the residents of Christiania agreed to collectively set up a fund to formally purchase the land at below market prices. The community made its first payment in July 2012, officially .On 14 May 2007, workers from the governmental Forest and Nature Agency, accompanied by police, entered Christiania to demolish leftovers of the small, abandoned building of Cigarkassen ('the cigar box'). They were met by angry and frightened Christianites, fearing that the police also intended to demolish other houses. The residents built roadblocks, but the police eventually entered the Freetown en masse and were met by resistance. Residents threw stones and shot fireworks at police vehicles. They also built barricades in the street outside Christiania's gate. The police used tear gas on the residents and a number of arrests were made.[13] One activist sneaked behind the police commander and poured a bucket of urine and feces upon him before being immediately arrested.[14] The trouble continued into the early morning hours. In all, over 50 activists from both Christiania and outside were arrested. Prosecutors demanded they be imprisoned on the basis that they might otherwise participate in further disturbances in Copenhagen (which prosecutors claimed was "in a state of rebellion").On 24 April 2005, a 26-year-old Christiania resident was killed and three other residents injured in a violent gang assault on Pusher Street. The reason for this was a feud over the cannabis market of Copenhagen. After the open cannabis trade was ended in Christiania the year before, criminal circles outside Christiania were eager to take over the market. Those responsible for the shooting were one such gang residing in Nørrebro, a northwestern borough of the city. They had repeatedly asked the Christiania pushers to allow them on their market and had repeatedly been turned down. On 23 April 2005, this stalemate escalated violently. The pushers of Christiania discovered that a member of the outside gang had infiltrated their organisation by dating a female pusher. He was exposed and just barely escaped; two shots were fired at him. The next day two cars pulled up outside Christiania and 6–8 masked men with automatic weapons got out and headed for Pusher Street. When they arrived they fired at least 35 rounds indiscriminately toward the crowd, killing one Christianite and injuring three others. Some saw this tragic incident as a sign that the future survival of the community was dubious due to the risk of violence stemming from the cannabis market. Others blamed the incident on the fragmentation of the Copenhagen cannabis market and its expansion to the rest of the city, brought about by the measures of the Anders Fogh Rasmussen government.Within Christiania itself no private cars are allowed. However, a total of 132 cars are owned by residents and need to be parked on the streets surrounding the Freetown.[17] After negotiating with city authorities, Christiania has agreed to establish parking areas for residents' own cars on its territory. As of 2005, parking space for only 14 cars had been established within the area. Before the city council elections of November 2001, residents in one of Christiania's sections proposed a municipal kindergarten just outside Christiania should be torn down and moved some hundred meters away, the area being turned into a parking lot. The proposal was criticized by other Christiania residents and citizens in the borough, but proponents claimed the wooden kindergarten buildings were outdated anyway and the parking space issue needed to be solved before Christiania itself would turn into an area where cars were widely parked. It has also been claimed that taxis and police vehicles add to the traffic problems. As of 2008 Christiania established a road block robot in the vehicle entrance of Christiania next to The Gray Hall (Grå Hal) to prevent cannabis customers and other visitors from driving into Christiania and parking their cars in its narrow streets. Only cargo transport is allowed through these gates. A downside to this was that it moved the problem to another part of Christiania further up the road where the residents now have blocked this entrance entirely until another road block robot will be installed. There are very few entrances to Christiania. With the two entrances blocked by road block robots the Christianites believe they can rid themselves from the problem of harassing traffic.Since the 1970s, the Gay House (Bøssehuset), one of Christiania's autonomous institutions, had been a center for gay activism, parties, and theatre. The humorous and artistically high-ranking variety-style shows still have fame among Copenhagen homosexuals. In 2002, a group of young gay performers and activists, Dunst, were invited to take over the house so it could remain a center for gay activity. Dunst introduced democratic management and established open workshops for photography, art, music, dance, video etc. They also arranged three 'Save Christiania' nights, a cabaret show and three support parties in order to be able to pay down some of the Gay House's debt to Christiania. According to Dunst, however, neighbours would never readily accept them and the newcomers were accused of not understanding "the Christiania lifestyle". Dunst claimed they received verbal abuse, threatening letters, and even in one instance, had a baseball bat brandished against them. Some disliked Dunst's loud parties and their contemporary electro-punk style music being described as techno. After nine months, they were asked to leave Christiania. In 2004, Dunst participated in 'Christiania Distortion', an event supportive of Christiania. As they could not make use of the Gay House, Dunst's part of the event took place in a bus circling around Christiania.Since its opening, Christiania has been famous for its open cannabis trade, taking place in the aptly named and centrally located Pusher Street, although named Green Light District by the Christianian council. Although the hash trade is illegal, authorities were for many years reluctant to forcibly stop it. Proponents thought that concentrating the hash trade at one place would limit its dispersion in society, and that it could prevent users from switching to 'harder drugs'. Some wanted to legalize hash altogether. Opponents thought the ban should be enforced, in Christiania as elsewhere, and that there should be no differentiation between 'soft' and 'hard' drugs. It has also been claimed that the open cannabis trade was one of Copenhagen's major tourist attractions, while some said it scared other potential tourists away. Even though the police have attempted to stop the drug trade, the cannabis market has generally thrived in Christiania. Following the 2016 shooting where local residents removed the Pusher Street stalls, it was estimated that the cannabis sale dropped by about 75%..Around 1984 a Copenhagen-resident biker gang called Bullshit arrived in Christiania and took control of a part of the cannabis market. Violence in the neighborhood increased and many Christianites felt unsafe and unhappy with the new residents. This resulted in sabotage acts directed towards the bikers as well as the publication of several provocative manuscripts urging the Christianites to throw out the powerful and armed bikers. This tension culminated when the police found a murdered individual who had been sliced to pieces and buried beneath the floor of a building. Christiania reacted with two colossal community meetings—one outside the building—where it was agreed that the bikers had to leave. The Hells Angels recently had established themselves in Copenhagen and the leaders of Bullshit were murdered in a war over the drug trade in Copenhagen including Christiania. A biker war between the Hells Angels and rival gangs over the drug trade continued in Copenhagen until 1996 from the murder of the leader of Bullshit, 'Makrellen', who controlled the cannabis trade in Christiania.Since its opening in 1971, the open drug trade of Christiania was a thorn in the side of Danish authorities, a constant source of public discussion, and led to protests from neighboring countries as well (especially Sweden with its no-tolerance drug policy). When the centre-right cabinet of Anders Fogh Rasmussen took office in 2001, one of its promises was to end illegal activities at Christiania. These were, including the obvious cannabis market, a long list of alleged criminal activities. People demanded the end of 'hard drugs' sales, such as cocaine and amphetamines, weapons trade, dealing with contraband etc. The Christiania residents claimed them to be purely speculative accusations. In 2002, the government began aiming to make the cannabis trade less visible. In response, the cannabis sellers covered their stands in military camouflage nets as a humorous reply.[38] On 4 January 2004, the stands were demolished by the cannabis dealers the day before a large scale police operation. They knew about this operation, and decided to take the stands down themselves. The police made more than 20 arrests in the following weeks, and a large part of the organized dealer network of Pusher Street was then eliminated. Before they were demolished, the National Museum of Denmark was able to get one of the more colorful stands, which is now part of an exhibit. On 16 March 2004, police raided the area. Allegedly, many dealers started to move huge amounts of cannabis out into Copenhagen and the rest of the country instead. This was done in order to avoid the heavy police-presence in Christiania and to meet the demand for cannabis by clients. The open cannabis trade returned to Pusher Street after the 2004 raids, but the stalls were again torn down by Christiania's residents after the 2016 shooting.[36] The hiatus on the open cannabis trade was short-lived; by May 2017, the stalls on Pusher Street were restored.It is a political priority that there be built new houses as suggested, to ensure a development of the Christiania-area with varied ownership-models.

en.wikipedia.org/wiki/Freetown_Christiania

Stakeholders Workshop- Normalization WPS BARMM 3-5 Feb 2021.

Photo credit: UN Women/ Louie Pacardo

An optical property comparison made on an APS-C sensored Sony A6000 using a Sigma 19mm f/2.8 EX DN E, Nikon 24mm f/2 Ai, Sigma 30mm f/2.8 EX DN E, Nikon 35mm f/2 Ai, Nikon 50mm f/1.4 pre-Ai, Nikon 55mm f/3.5 Micro pre-Ai, and a Helios 58mm f/2 44M-4.

 

All images shot at ISO100, in RAW (converted using Sony's software with no other processing), and "standard" image style. Each scene shot by the different focal lengths were "normalized" in size so that 600x600 pixel sections shown here are "native" 100percent resolution sections. The exception being the 19mm Sigma f/2.8 EX DN E, where the scene was set up slightly differently to be tested against another wide angle lens.

Captured at 11:30pm using 3X Barlow. Conditions were hot and humid, seeing slightly unstable.

 

Processed with Autostakert 2, best 80%. Normalize stack 80%, Sharpen Image with 25% raw image blend.

Minimal wavelet filtering with Registax 6. Adjustment layers and unsharp mask with Photoshop 7.

 

FireCapture v2.3 Settings

------------------------------------

Scope=Orion XT8-i

Camera=ZWO ASI034MC

Filter=CH4

Profile=Saturn

Diameter=17.14"

Magnitude=0.47

CMI=14.7° CMIII=115.4° (during mid of capture)

FocalLength=4540mm

Resolution=0.27"

Date=260714

Frames captured=831

ROI=288x288

Shutter=428.3ms

Gain=31

 

Allowing knees to rotate inward during movement can contribute to knee pain. You can use your own leg muscles to quickly normalize knee position to neutral and aligned with feet (straight forward) and keep them there for all you do. It becomes habit and gives built-in knee and leg muscle strengthening. Note how the arch of the foot lifts also to more neutral and level position, rather than flattened. Fix rotated knees in easy, comfortable motion that does not hurt or force at any time. Thank you to Steve Kramer for adding symbols indicating good and bad position.

Robin Thicke's video for "Blurred Lines" mean averaged and normalized over the length of the video.

 

See more video amalgams here: www.flickr.com/photos/patdavid/sets/72157635597155264

 

my blog

Why would anyone ever need a 30 round magazine?

 

The reason I am posting this here is because when I scrolled down to it on facebook it was obscured with a note that it depicted graphic violence. I see this as facebook attempting to de-normalize, or thrbottle this meme, or the worldview which it propagates. so I am posting it here to amplify it and normalize it.

 

I am throwing my individual weight against Facebook's for control of the public conversation and the landscape of ideas.

Screen Capture. Titles.

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&amp...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.

  

Shotdate: Aug. 10 2008

Camera: Nikon D300

Optics: Nikkor 60mm f4.0 Micro

ISO: 800

Mount: AstroTrac

 

Older version: www.flickr.com/photos/14721988@N02/3914645359/in/photostr...

 

DeepSkyStacker settings:

 

Stacking mode: Standard

Alignment method: Bicubic

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Method: Kappa-Sigma (Kappa = 2.00, Iterations = 5)

 

Offset: 56 frames exposure: 1/8000 s

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Dark: 27 frames exposure: 2 mn 31 s

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Flat: 20 frames exposure: 1/8 s

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.

 

Postprocessing in PixInsight:

 

I worked a bit with this:

 

www.stelleelettroniche.it/en/2013/01/astrophoto/sword-orion/

 

And I took these steps (it's a bit of a read):

 

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Markings: GROSS KARL W, TUCSON ,Az

Serial Number 1002

 

Specifications (2007 Mooney M20TN Acclaim)

General characteristics

Crew: one pilot

Capacity: 3 passengers

Length: 26 ft 9 in (8.15 m)

Wingspan: 36 ft 5 in (11.1 m)

Height: 8 ft 4 in (2.5 m)

Wing area: 175.7 sq ft (16.3 m²)

Airfoil: NACA 63-215

Empty weight: 2370 lb (1074 kg)

Loaded weight: 3374 lb (1528 kg)

Useful load: 1004 lb (454 kg)

Max takeoff weight: 3374 lb (1528 kg)

Powerplant: 1× Continental Motors TSI0-550-G Turbo-normalized with twin turbo and dual intercoolers air-cooled, 6-cylinder, horizontally-opposed piston engine, 280 hp (171 kW)

Performance

 

Maximum speed: 242 knots (278 mph, 448 km/h)

Cruise speed: 237 knots (272 mph, 438 km/h)

Range: 1445 nm (std tanks) (1662 mi, 2676 km)

Service ceiling: 25,000 ft (7625 m)

Rate of climb: 1240 ft/min (378 m/min)

Wing loading: 19.2 lb/ft² (96 kg/m²)

Power/mass: 12.0 lb/hp (0.11 kW/kg)

 

The Mooney M20 is a family of high performance, piston-powered, propeller-driven general aviation aircraft, all featuring a low-wing and tricycle gear, manufactured by the Mooney Airplane Company.[2][3][4]

 

The "M20" was the twentieth design from Al Mooney, and his most successful. The M20 series was produced in many variations over the last 50 years, from the wooden wing M20 and M20A models of the 1950s,[4] to the M20TN Acclaim that debuted in the 21st century and is currently in production.

 

Variants

M20 and M20A

The original M20 (1955–1958) and the M20A (1958–1960) have wings made of wood and covered with cloth, but are otherwise similar to later all-metal models. With the M20A, the power was increased from the M20's 150 hp (110 kW) to 180 hp (130 kW).[5][4]

Early in the model's history there were several incidents of wooden tails breaking up in flight due to water damage and the resulting rot. Consequently, most tails have now been replaced with all-metal copies, as required by Mooney Service Bulletin M20-170A and the FAA Airworthiness Directive 86-19-10. Without the possibility of metal fatigue, the wooden wing has an indefinite life expectancy and is considered by some pilots provide a smoother ride in turbulence.[6][7]

The M20 received its type certification on 24 August 1955 with the M20A following on 13 February 1958.[8]

M20B

Mooney addressed the dwindling supply of woodworkers by switching to an all metal design in 1961 with the M20B. The all metal design added some weight and cost 5 to 8 knots (9 to 15 km/h) in top end speed versus the wood-wing models. There have been no reported in-flight breakups of all-metal M20s other than as a result of flight directly into a thunderstorm.[citation needed]

The M20B was type certified on 14 December 1960.[8]

M20C

 

An M20C Mark 21In 1962 Mooney made further incremental improvements in the M20C Ranger, produced between 1962–1978.[5][2]

The M20C was the last short body Mooney in production, with more M20Cs produced than any other Mooney model.[citation needed]

The M20C was type certified on 20 October 1961.[8]

M20D

In 1963 Mooney introduced the M20D Master,[5] essentially an M20C with fixed gear and a fixed-pitch propeller.[2][4]

The M20D was type certified on 15 October 1962.[8]

The aircraft was intended primarily for flight training and for owners seeking lower insurance rates.[citation needed]

The M20D lasted in production only until 1966. Most have now been converted to M20Cs for increased cruise speed and climb performance.[citation needed]

M20E

 

A very early production 1964 model Mooney M20E Super 21The first truly high performance Mooney, the M20E, was produced from 1964 to 1975 and marketed as the Chaparral and Super 21.[2][5]

The M20E was essentially an M20C with a more powerful 200 hp (150 kW) fuel-injected engine.[4] It was type certified on 04 September 1963.[8]

This short body Mooney still has the distinction of having the shortest takeoff runway requirement at lower elevations.[citation needed]

Turbocharging, which would maintain this performance at higher elevations, is available as an after-market option.[citation needed]

M20F & M20G

 

A Mooney M20F Executive in Gimli, Manitoba, May 1987

M20F Executive at Centennial AirportMooney stretched the fuselage and added a third fuselage side window for the first time with the M20F Executive 21, which was produced between 1966–1977.[5][2] The M20F is otherwise similar to the M20E.[4]

The M20G Statesman, produced 1968–1970, was a stretched M20C incorporating the carburated 180hp engine.[2] Many M20G owners later converted to the 200hp engine.[citation needed]

In 1969 Mooney made electrically-operated landing gear and flaps standard across all its aircraft. Prior to that, pilots extended and retracted the standard landing gear using a heavy metal Johnson bar. Electrically-extended landing gear was an option.[citation needed]

The M20F was type certified on 25 July 1965 with the M20G following on 13 November 1967.[8]

M20J

 

An M20J in Australia

Mooney M20J (VH-SPN) at Rottnest Island, Western AustraliaMooney hired Roy LoPresti to undertake an aerodynamic cleanup of the M20F, resulting in the 1977 model year debut of the M20J. The M20J was marketed under the name Mooney 201 because of its 201 mph (323 km/h) top speed in level flight. The M20J first flew in September, 1976 and was type certified on 27 September 1976.[5][2][4][8]

The improved aerodynamic shape and updated 200 hp (150 kW) engine made the M20J the second most popular variant of the M20 series, after the M20C. It is often used as a training aircraft for commercial pilots. It was originally designed as a private/commercial touring aircraft because of the high cruising speed and relatively low operational cost. This model was marketed as the Mooney 205. The J model had a long production run, lasting until 1998, thus ending the medium body M20 series.[citation needed]

M20K

Up through the M20J all Mooney M20s had four-cylinder Lycoming engines. After designing the M20J, Mooney modified the basic design to include a variety of more powerful six-cylinder engines, including some models with turbocharged engines. The first such design was the turbocharged M20K, which was produced between 1979–1998.[5][4]

The M20K was marketed as the Mooney 231. This model's Continental TSI0-360-GB engine was challenging to operate at acceptable engine temperatures, so by 1986 it was replaced with an intercooled engine, eliminating the temperature problems and achieving a top speed of 252 mph (406 km/h) in level flight (at FL 280). This variant was marketed as the Mooney 252.[5][2]

The M20K was type certified on 16 November 1978.[8]

M20L

In 1988 Mooney went to even greater lengths, partnering with Porsche to include their geared single-lever Porsche PFM 3200 N03 engine of 217 hp (162 kW) and stretching the fuselage the last time to produce the first long body M20. Most M20Ls no longer use this unique engine. M20L production ended in 1990. This model was marketed as the Mooney PFM.[5]

The M20L achieved type certification on 25 February 1988.[8]

M20M

The M20M (1989–2006) boosted output initially to 270 hp (200 kW) and was also turbocharged. The M20R (1994–) started at 280 hp (210 kW) and was normally aspirated. With minor changes in engine output (e.g. the M20S "Eagle") and various performance tweaks, these two basic models (both high power, both with long bodies, one with turbocharging) remain in production today as the "Bravo" and "Ovation".[5]

The M20M was type certified on 28 June 1989.[8]

M20R

Introduced in 1994, the M20R Ovation mated a long body fuselage to a Continental IO-550-G normally aspirated powerplant of 280 hp (210 kW). This model was named Flying Magazine's single-engine plane of the year in 1994.[5]

The M20R was type certified on 30 June 1994.[8]

M20S

The M20S Eagle was introduced in 199 and was powered by a Continental IO-550-G engine of 244 hp (182 kW). In 2001 the Eagle 2 was introduced. This model included such refinements as a 3-bladed propellor, a 100 lb (45 kg) gross weight increase and standard leather interior.[5]

The M20S was type certified on 07 February 1999.[8]

M20T

 

Mooney M20T Predator prototype, N20XT, on display at Sun 'n Fun 2006The M20T Predator, a canopy-equipped version of the basic M20 design powered by a Lycoming AEIO-540 engine, was Mooney's entrant in the USAF Enhanced Flight Screener competition. The prototype was built in 1991 and displayed in tiger-stripe paint scheme. The contract was won by the ill-fated Slingsby T-67 Firefly and the M20T was not developed or certified. The sole prototype, registered N20XT, was flown in the Experimental - Market Survey category and was still owned by Mooney Aircraft in 2008.[9][10][8]

 

Mooney M20TN AcclaimM20TN

The M20TN Acclaim is latest version of the M20 design, powered by a turbo-normalized Continental Motors TSI0-550-G powerplant with twin turbochargers and dual intercoolers. It was type certified on 15 October 2006.[8]

The Acclaim replaced the Mooney M20M Bravo in the current company product line.[11]

Mooney and Columbia Aircraft (now owned by Cessna) have frequently traded positions as producer of the fastest production single-engine piston aircraft. Currently, the Acclaim's 242 knot cruise speed at FL250[12][13] puts it ahead of the Cessna 400 (formerly known as the Columbia 400) and the turbo-charged version of the Cirrus SR22 GTS. The Cessna 400 is advertised has having a 235 kn (435 km/h) cruise speed, while the Cirrus SR22 GTS has a 220 kn (410 km/h) cruise, both attained at FL250. The Acclaim has retractable landing gear, while the Cessna and Cirrus both have fixed landing gear.

"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."

 

People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.

 

--

 

Erik Carver

 

Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.

 

Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.

 

His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).

  

Marisa Jahn

 

Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.

  

Progesterone cream and PMS has grown to be synonymous currently. It does not take cream that is certainly usually utilized for treating PMS or pre-menopausal symptoms. It can be been applied to the limbs which may have single handed access on the blood capillaries. These areas are recognized by blush. Some areas include the cheeks, neck, buttocks, breasts and palms. In the event the cream is been applied then it can be been absorbed with the fat under the skin which referred to as the fat stored within the skin from the relation to its lay man. The hormone then enters on the blood capillaries from this point thereby it join the blood.

 

Progesterone is been produced naturally by the body processes during the era of reproductive. Within this phase, the progesterone hormone is critical for amount of stuff like money excessive bleeding and normalization of the menstrual cycle. Progesterone is additionally employed in the oral contraceptives and to the hrt. Progesterone cream has become artificially synthesized through the phytoestrogens which might be located in the soy and yam through laboratory manipulations. It becomes an innovative tool which offers one's body with the main level of progesterone hormone without discomfort or pain.

   

The way you use Progesterone Cream

   

The progesterone cream must be used with the moisturizing lotion instead of employing it directly for the reason that lotions incorporate aloe oil that is certainly a breeze to make use of and yes it work adequately. After the usage of it the medicines are directly shipped to the part where it can be required. If you find an overdose of progesterone cream that could cause hyperactive senses if you will find there's less dosage of computer as soon as the body's employed to a percentage that can bring about acute depression. Before applying this cream you should be very cautious. It is usually very important to are aware that this cream have to be applied at a selected use of every day. You should take into account to mix little moisturizer inside before massaging it within a circular motions prior to the cream is been absorbed completely in the skin. The cream should be applied to the places the place that the skin is soft that accommodate easy absorption. The cream should be reproduced twice everyday or as directed with the physician.

 

You should not apply the cream in the menstruation cycle because during now lots of progesterone is manufactured by one's body. The dosage of the cream varies with conditions and time. This cream works extremely well by pregnant women in small quantity to scale back the scars. To stop PMS or depression, progesterone must be used only as directed with the doctor. Quite a few by the girls number of years before menopause to lower the end results of menopause such as depression, fatigue, insomnia and stress. This cream might be curbed into a great extent whether it is applied with expert medical advice for the correct usage.

   

Progesterone Cream and PMS Benefits

It adds to the working in the hormones of thyroid. It may help to modify the increase in the endometrial cells. These cells line the uterus. It may help to increase the numbers of oxygen from the cells. It helps to keep the blood clotting normally. It permit the fat provide to the energy so that it's not stored by the body processes. It may help in order to increase sexual libido. It may help to turn back the fibrocystic breast disease ladies It truely does work in order to avoid cancer of prostate of males. The system functions as being a precursor with hormones. It may help the embryo implant and also be while being pregnant. It helps to keep the numbers of blood glucose levels normal. It may help to protects against each of the female cancers. It may help one's body to avoid bloating. It may help in order to increase the sensitivity in the estrogen receptors during the entire body. It helps to keep the numbers of mineral normal by the body processes. It may help the osteoblasts in the body to develop the modern bone faster. It may help to further improve the tone in the veins during the entire body. The end results of computer last longer by the body processes than other designs. It can be absorbed readily over the skin. No burden the liver as it's carried out in pill form. buynaturalprogesterone.co.uk/natural-progesterone-cream/

University of Chicago Main Quad

Feb 7, 2014 Friday | Asian Markets 10:15am

HSBC's Most Accurate Forecaster for ‪#‎Emerging‬ ‪#‎Markets‬ ‪#‎Philippines‬ on Bloomberg with Rishaad Salamat

 

Central Bank BSP sounds Hawkish

Rate 3.5% target range to 4.2%

Normalization to ease pressure

Food Household Rising

Strong Growth 7.2 with weak peso

Keeps an eye on FX movement

Not a negative event

Weaken export

Create 2.3m jobs Poverty Level to lower

Strong Favorable Growth

Issue is JOBS to absorb labor force

  

Govt focus on Infrastructure ENERGY

Rates will go up for summer Electricity Increase

One of the Stronger Countries on Debt

Strong Fiscal Policy

No effect from QE suffer less from portfolio re balancing

FUTURE BELONG TO THE PHILIPPINES

Above Forecast Strong Story

  

February 7, 2014 Friday | Understanding the Mind of a Fundie

The Next 5 Trading Days Shall Define Your Trade Positions

Over The Weekend Ponder on Which among your holdings

Will have to take a backseat (cut loss)

Will have to take the lead : add on to your winners

MSCI: Morgan Stanley Composite Index:Think Rating Agencies : S&P, Moody's, etc..

MSCI: Decides Drives the Price of Price. How? Placing Power

Placing Power By Black Rock (a Blackstone Company - a KRAKEN)

Placing Power? Think of a Super salesman, commitment of trades

Caution: Reference on DMCI inclusion 2012; 60 pesos Swan Dive to 45.00

On Re-balancing Positioning shall be processed on

Feb 12, 2014 Wed London Time that is 11AM Thur Manila Time (clarify?)

---------------------------------------------------------------

MSCI

read on rules and criteria for inclusion deletion back test

www.businesswire.com/news/home/20140205006611/en/MSCI-Feb...

---------------------------------------------------------------

use this to find out real time of London US Tokyo

www.forexfactory.com/market.php

----------------------------------

WELCOME NEW TAPPERS!! PLEASE READ FIRST: TAP's Mission Statement

www.facebook.com/groups/559132980815544/

 

TAP was formed by investment banker Tony Herbosa with

1.Roy "Senyor" Reyes - Swing Trading, Technical Analysis (TA)

2.Atty. Christian Del Rosario - Wealth preservation, Legal Aspects

3.Kithe Ortiz - Insurance, and

4.yours truly - Position Trading, Speculation, OPM/Leverage

 

Our goal is to reach out to younger Filipinos on HOW to create WEALTH.

 

Our ultimate objective is to kill "chicken joy" WEALTH formulas put out there, propagated by those who never made any serious wealth. There is so much ignorance out there that will only detract you from making any serious progress.

 

For one, there are many financial literacy "gurus" out there, and they supply you the basics of getting "financially fit". You need them and they do a good job. But being "financially fit", is not the same as being wealthy.

 

TAP doesn't believe true Wealth Creation can be learned by simply attending seminars. It's not what you KNOW, it's HOW you UNDERSTAND what you KNOW, after you have applied and experienced what you KNOW, and that leads to WISDOM.

 

Thus, it's best learned through interactions over time with other mentors, peers, buddies in actual "marketplace" conditions. After early wins, you become Bolder & BOLDER! Gradually strengthening both psychology & emotions, which are integral. Nothing wrong with starting small, i.e. "baby steps" until you can RUN.

 

Money and basic stock market seminars are a good 1st step to Basic Fundamentals, but they alone will not deliver actual results in a "chaotic" market place filled with volatility if not traps. Hence, a little fundamental knowledge is dangerous without the right market "instincts" or contextual experience.

 

TAP's approach to Wealth Creation is through distinct Modules and through Mentors. Best way to achieve your wealth GOALS is by being exposed to the right mentors and market PRACTICIONERS, where positive reinforcement in actual, DYNAMIC trading environments, emotional cycles such as "fear & greed", crowd psychology, and various asset classes are discussed.

 

TAP's basic beliefs as espoused by its TAP founders are as follows:

 

1) You cannot be a "one dimensional" wealth creator, just like you cannot be a ONE DIMENSIONAL MMA fighter in a chaotic battlefield. You need to have varied skill sets,- striking, wrestling, kicking & submission, but more importantly the ART of Fighting itself, including that ability to read your opponent. So you cannot overstay in the casino, nor can you "over depend" on stock trading or mere "savings" to become wealthy. But stock trading, when used to surf the PERFECT waves 1 & 3 or even 5 - or a specific stock play, can speed up your capital formation.

 

2) The key to a good fighter or a good trader is BALANCE. You cannot be a wealth creator & not have balance: TA vs. FA, long term vs. short term, swing vs. position, being cool vs. being edgy, financial vs. real assets, safe vs. riskier (but higher return) instruments, incremental plays vs. strategic home runs in Waves 1 and 3, downsizing bets in waves 2 and 4 and strategically "up sizing" for waves 1, 3 and 5.

 

Also everything must be aligned: 1) your Knowledge/Skills, 2) your understanding of Markets and Chaos, 3) the various Asset Classes ( i.e. the Wealth vehicles), and most significantly your 4) understanding of How the Game or POKER is played (i.e. the Art of Betting).

 

On top of these four (4) above, most important of all is your MENTAL GAME, your emotions, your ability to be detached from fear or greed when the time comes, your "Situational Awareness" gravitating from small to bigger bets in face of market chaos and panic, your ability not to brood over losses and move on. Part of this MENTAL GAME is how to lear how to think out-of-the-box, not to be linear and simply "think differently". Because CHAOS and the fruits of chaos is not often linear.

 

3) The key to making wealth is not simply avoiding RISK, it's understanding risk and embracing it. To learn to fight, you have to spar a lot. For instance, if you turn over your money to UITF guys or the banks, your chance of making money short term is greater. But longer term, you will not develop the right 'life or death' instincts. To learn to fly a plane, one cannot be on auto-pilot. You need that learning curve.

 

4) There is no such thing as a 5-year horizon in stocks. It depends on the bull cycle wave. You can be 5-year investor if you came in 2009. Crazy to be 5-year stock investor today when we are on Elliot Wave 5 and QE is about to end.

 

5) You have to embrace CHAOS. Chaos in markets is your friend. It is the one that gives you a chance. Without CHAOS, only the most logical, linear, deep pocket guys will make money. Like billiards, the game is to spot the next 4 shots way ahead,- not the immediate shot at hand which any dude can figure out.

 

TAP is the opposite of GO NEGOSYO. If you want to get rich without making bantay a restaurant 24/7 or running after sales quotas or receivables - TAP is for you. You may not be as wealthy as the founder of Jolibee Foods, but you will have more time for more important things like - family time, ball time, mah jong time, beach time, mall time, coffee or "tsismis" time with your kumare or people you love and cherish. Let me ask you, didn't Manny Pacquiao have a "Go Negosyo" strategy? What if he just invested all those billions in 2009 (start of supercycle Wave 1) in DMC, EEI, ALI or Aboitiz? What would that amount be now if he merely had a Trader's Apprentice strategy?

 

Ultimately, TAP is about FUN and FREEDOM, a journey of kindred spirits who believe that in "BARANGAY TAP" is where it all starts. If you have gym buddies, running buddies, dive buddies, travel buddies, drinking buddies, - then you need wealth creation buddies too.

 

TAP is for you, if you like > 1) REAL Talk, 2) if you believe you cannot grow wealth unless you internalize the right Wealth Strategies & Instincts, and lastly 3) if you believe that losing weight or gaining wealth involves not just silly formulas but a NEW "way of life" and a " way of thinking" that you build slowly on top of each success or milestone. Welcome to TAP!

U.S. Air Force Staff Sgt. Reuben Foster, attached to 35th Civil Engineering Squadron, his child, holds 9-month-old Zaire, prior to his family's voluntary departure to the Continental United States. Foster's wife Diana, and 4 year-old son Malik will accompany Zaire to Vicksburg, Miss. Department of Defense has authorized eligible Misawa Air Base family members to voluntarily depart the northern Japanese-located military installation until conditions normalize in Japan. (U.S. Navy photo by Mass Communication Specialist 1st Class Jose Lopez Jr./Released)

Naval Air Facility Misawa

Date Taken:03.22.2011

Location:MISAWA, 2, JP

Related Photos: dvidshub.net/r/8jrxyw

"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."

 

People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.

 

--

 

Erik Carver

 

Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.

 

Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.

 

His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).

  

Marisa Jahn

 

Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org

8 frame extended RGB (IR3, GRN, UV3 filter) image of Enceladus taken during the Rev 131 (E10) flyby on May 18, 2010. This mosaic is produced at a normalized spacecraft distance of ~19,000 km.

 

The surface of Enceladus is relatively colorless in visible light, but color variations can be seen when including portions of the ultraviolet and infrared. Tectonically active faults appear to be slicked with fresh ice, which appears bright blue in this color combination. These faults are numerous in the moon's heavily tectonized leading hemisphere. Dusty material spiralling in towards Saturn is also swept up onto the surface on this hemisphere, leading to the accumulation of material that is slightly reddish in color, lending a yellowish tinge to the parts of the moon facing forward in its orbit.

 

Image Credit: NASA / JPL / Cassini-ISS / Justin Cowart

Discovery STO - 70 Ton, Single Stage to Orbit Fixed Wing Aircraft - Space Plane - Hypersonic Plane, U-TBCC / Unified Turbine Based Combined Cycle & Aerospike

 

Iteration 1, Mach 8-10 in amtmosphere, 195ft long, Heavy Lift Single Stage To Orbit Fixed Wing Aircraft. 70 TONS, ie 140,000 LBS, 60 ft X 15ft X 15ft payload bay. Up in the Falcon Heavy and Delta IV class, except not $400 million to launch giant payloads into orbit, but below $250 per lbs, or about $28 million to launch giant payloads, and normalized orbital flight, as normal as a 737 commercial flight. Load up, refuel, take off in an afternoon. I estimate this aircraft would cost about $750 million each for space capable. In atmosphere commercial, roughly $300 million each for a 200 passenger M8-10 (not designed yet)

 

--------------

 

www.ioaircraft.com/hypersonic/ranger.php

 

Drew Blair

www.linkedin.com/in/drew-b-25485312/

 

--------------

 

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.

  

-------------

 

tbcc, glide breaker, fighter plane, hyperonic fighter, stealth fighter, boeing phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, office of naval research, defense advanced research project agency, defense science, missile defense agency, aerospike, vtol, vertical take off, air taxi, personal air vehicle, boeing go fly prize, go fly prize,

 

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.

Juno's raw images were transformed, equalized and normalized, then - composed as RGB image. Resulting picture was also insignificantly tuned (contrast, sharping, color correction). Software used: GIMP 2.8.3. Raw image source: www.missionjuno.swri.edu/junocam/processing?id=627

German soldiers during the spring offensive on a rest break. They observe a KIA British soldier

After an unusually long period with cold,dry and sunny weather,we finally get some rain. The farmers and fire dept. are happy,I`d imagine. And even though I prefer sunny,nice weather,I can see the rain was much needed. So I`ve ordered a couple of days with heavy rain,and then a nice,warm spring :-)

"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."

 

People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.

 

--

 

Erik Carver

 

Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.

 

Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.

 

His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).

  

Marisa Jahn

 

Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org

Taken 09 June 12

TMB92SS

CGEM

Mini Borg 50

QSI 583wsg

R,G,B: 6x300sec each, Binned 1x1

Ha 11x600sec Binned 1x1

Acquisition with Nebulosity/PHD

Cal, registered, normalized, data reject, stacking with CCDStack 2

Color combined, final processing with CS5

 

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.

  

English

 

Water puppetry (Vietnamese: Múa rối nước, lit. "puppets that dance on water") is a tradition that dates back as far as the 11th century CE when it originated in the villages of the Red River Delta area of northern Vietnam. Today's Vietnamese water puppetry is a unique variation on the ancient Asian puppet tradition.

 

The puppets are made out of wood and then lacquered. The shows are performed in a waist-deep pool. A large rod supports the puppet under the water and is used by the puppeteers, who are normally hidden behind a screen, to control them. Thus the puppets appear to be moving over the water. When the rice fields would flood, the villagers would entertain each other using this form of puppet play.

 

history

 

Múa rối is sa.o considered to have originated in the delta of the Red river in Vietnam in the 11th century, and the art remains highly developed today in this country. Some of the earliest troupes were found in the Nguyên Xá commune, Đông Hưng district, Thai Binh province.[1]

 

In ancient Vietnam, the rural Vietnamese believed that spirits controlled all aspect of their lives, from the kitchen to the rice paddies. The Vietnamese devised water puppetry as a way to satisfy these spirits, and as a form of entertainment, using what natural medium they could find in their environment. In ancient times, the ponds and flooded rice paddies after harvest were the stage for these impromptu shows. [2]

 

This art form is unique to North Vietnam and only found its way to the world stage in recent years as a result of normalized relations with the West.[3] During the early 1990s the country's three foremost companies, the National Puppet Theatre (Nhà hát Múa rối Trung Ương), the municipal Thăng Long Puppet Company (Nhà hát Múa rối Thăng Long) of Hanoi and the Hồ Chí Minh City Puppet Company (Đoàn Nghệ thuật Múa rối Thành Phố Hố Chí Minh) gained increased international attention. The main venues in Vietnam itself are the Thăng Long Water Puppet Theatre in Hanoi and the Golden Dragon Water Puppet Theatre in Saigon.

  

Performance

 

Modern water puppetry is performed in a pool of water 4 meters square with the water surface being the stage. Performance today occurs on one of three venues—on traditional ponds in villages where a staging area has been set up, on portable tanks built for traveling performers, or in a specialized building where a pool stage has been constructed[4].

 

Up to 8 puppeteers stand behind a split-bamboo screen, decorated to resemble a temple facade, and control the puppets using long bamboo rods and string mechanism hidden beneath the water surface. The puppets are carved out of wood and often weigh up to 15 kg.

 

A traditional Vietnamese orchestra provides background music accompaniment. The instrumentation includes vocals, drums, wooden bells, cymbals, horns, Đàn bầu (monochord), gongs, and bamboo flutes. The bamboo flute's clear, simple notes may accompany royalty while the drums and cymbals may loudly announce a fire-breathing dragon's entrance.[5]

 

Singers of chèo (a form of opera originating in north Vietnam) sing songs which tell the story being acted out by the puppets. The musicians and the puppets interact during performance; the musicians may yell a word of warning to a puppet in danger or a word of encouragement to a puppet in need.

 

The puppets enter from either side of the stage, or emerge from the murky depths of the water.

 

Spotlights and colorful flags adorn the stage and create a festive atmosphere.

 

Content

 

The theme of the skits is rural and has a strong reference to Vietnamese folklore. It tells of day-to-day living in rural Vietnam and Vietnamese folk tales that are told by grandparents to their grandchildren. Stories of the harvest, of fishing and of festivals are highlighted.

 

Legends and national history are also told through short skits. Many of the skits, especially those involving the tales of day-to-day living, often have a humorous twist.

 

português

 

O Teatro Aquático de Fantoches (Múa Rối Nước) é uma modalidade de Teatro de Fantoches, uma manifestação cultural característica do Vietnam.

 

Histórico

 

Sua origem é obscura, mas possivelmente já no século XI integrava a vida cultural do país. Era uma arte cujos segredos, mantidos restritos, se transmitiam dos mais velhos aos mais jovens dentro de uma mesma família.

 

Em 1980 foi considerada uma arte extinta, quando uma organização francesa veio proporcionar nova vida a esta tradição. Os grupos atualmente existentes já se apresentaram em outros países, e podem ser vistos em atividade tanto em Hanói como na cidade de Ho Chi Minh.

 

No Thăng Long (Teatro Aquático de Hanói) o ingresso custa 40.000 đ (cerca 2 €, no câmbio de dezembro de 2003), preço que inclui um CD de músicas. Quem deseje fotografar ou filmar deve pagar 1 ou 5 dólares americanos extras, respectivamente. O espectador recebe programas em vários idiomas, além do vietnamita (em inglês, francês, japonês e chinês), o mesmo ocorrendo com os anúncios.

 

Orquestra

O espetáculo é musicado por uma pequena orquestra (que conta, inclusive, com um monocórdio típico vietnamita, chamado Đàn Bầu), que toca durante toda a apresentação. Além disso, os integrantes da orquestra emprestam suas vozes para os bonecos.

 

A orquestra fica posicionada a um lado do "palco", que na verdade é uma espécie de piscina ou tanque.

 

O Palco

Originalmente este tanque era a lagoa da aldeia, ou mesmo um lago próximo. No tanque, os protagonistas são instalados sobre postes feitos de bambu, que ficam submersos enquanto os bonecos ficam sobre a superfície. Ao fundo deste local está uma cortina, também feita de bambu.

 

Protagonistas

Os bonecos, movidos por hastes de bambu, têm seu controle situado atrás da cortina de bambu. São de tamanhos que variam de 30 centímetros a 1 metro de altura, com peso variando de 1 a 5 quilogramas. Sua confecção é feita em madeira de pés de figo nativos, tornadas impermeáveis por uma cobertura de resina e verniz.

 

Assim como outras peças móveis, os bonecos são guiados pela outra extremidade das varas, por vezes com uso de cordas.

  

Personagens e peças

 

As peças têm como personagens, geralmente, pessoas e cenas da vida rural, ou figuras típicas como o flautista montado num búfalo, ou um plantador de fumo. Além desses quadros bucólicos, são encenadas danças místicas de leões e dragões, bem como dos quatro animais sagrados: a Fênix, o kỳ lân (Qilin, o unicórnio chinês), Long ( o Dragão chinês), e a tartaruga.

 

Um outro motivo folclórico também costuma ser encenado, que é a lenda da batalha do rei Le Loi.

Windriaan of, Orbites strai of respectievelijk E_ring zijn de namen voor een nieuw soort windturbine.

 

Windriaan or, Orbite est Strai or, E-rings are the names for a new kind of windmill.

 

Deze genormaliseerde windmolen / turbine kenmerkt zich door de normale krachtenoverdracht en zuivere uitstroming van de wind. Achter de wieken staat namelijk geen mast, waardoor de uitstroom van de wind niet wordt verstoord. Door de zuivere uitstroming van de wind krijgen de wieken niet telkens een "tik" te verwerken.

 

De manier van inklemmen.

 

Daar waar de lift het grootst is, is vlees.

 

The way of holding the blades is new.

 

Conventionele windturbines hebben zwabberende wieken en hebben masten die, achter de wieken, staan opgesteld zodat de uitstroming van de wind wordt verstoord. Verder kenmerkt de Windriaan zich dus doordat de wieken aan de snelle kant worden ingeklemd. Er is echter een type binnen de Orbites Strai familie, type Missy (plaatje 51 www.flickr.com/spailingstrailing), dat de bladen aan de buitenzijde van de ring vasthoudt.

 

Windriaan or, Orbites strai or respectively E_ring are the names for a new kind of wind turbine. This turbine does not blow to pieces in high winds because of the normalized lift transfer and the clean outflow of the wind. Behind the blades is no mast so, that the mentioned outflow is not disturbed. This is why Windriaans do not get tired ( fatique ) and, consequently, do not fail. The wind has no limit any more. E=MW^3 counts for severe winds too, like cyclones. Energy problem solved. Harmony with the planet. Water and food come from Spailboat Formula.

 

Conventional wind turbines, on the other hand, have masts behind the blades so that, the outflow is disturbed. Windriaan and Spailboat can be made ever lasting. Carbon fibers, oil, for building material and hydrogen as fuel. That is Formula Spailboat.

 

Further on, Windriaan characterises itself because the blades are jammed in at the fast side of the blade. There is, however, a type within the Orbites strai family, type Missy (picture 51 in www.flickr.com/spailingstrailing) which holds the blades at the slow side, better known as the origin.

Binnen conventionele windturbines en windmolens ontspruiten de wieken altijd vanuit de as, waar de snelheid nadert tot nul.

 

Within conventional wind turbines the blades always spring out from the centre, where the speed of the blades is almost zero.

 

time for better.

 

Windriaans hebben dus een ringconstructie van waaruit de bladen ontspruiten en hebben geen centrale as.

Windriaan has a ring construction from where the blades originate, respectively spring out.

Met een illustratie ( plaatje 19 www.flickr.com/spailingstrailing ) is getracht uit te duiden hoe de Windriaan tot stand kwam. Hiertoe moeten we terug naar den beginne, naar de Dhows over de rivier Nijl. Het feit doet zich namelijk voor dat de wind altijd haaks over de Nijl blaast zodat de zeilboten “half-wind” de rivier op en neer kunnen bevaren. De eerste zeilboten leken zodoende op kitesurfers. Half wind is heel belangrijk omdat de VMG nul is. De velocity made good is nul. Ofwel, de terreinwinst tegen de wind in is, nul en bovendien gaat de zeilboot het hardst, als er half wind wordt gevaren.

With an illustration (picture 19 www.flickr.com/spailingstrailing) is tried to explain how Windriaan sprung out. Therefor we have to go back to the very beginning, to the Dhows at the river Nile. The fact is the coincidence of the wind blowing always perpendicular over the river Nile so that sailing boats always sail half wind. The first sailing boats looked a lot like windsurfers and kitesurfers. The half wind sailing course is very important because the velocity made good, VMG, is zero. In other words, there is no gaining towards the wind. And on top, the maximum speed of sailing boats is obtained in the half wind sailing course.

Tijd werd geld en ook buiten de rivier Nijl ging men zeilen. Men kwam er successievelijk achter dat langs getuigde zeilboten hoger, respectievelijk scherper tegen de wind in konden zeilen. Echter, langs getuigde zeilschepen zijn instabiel. Na de stoommachine en zeker na de verbrandingsmotor verdwenen zowel de dwars getuigde klippers als de langs getuigde zeilboten van het toneel. Het volk nam na WOII het zeilen onder handen en ging terug naar stabiel zeilen; windsurfen en kitesurfen, in de half windse surfkoers. De half windse koers is de surfkoers omdat de wind de golven opzwiept en dus haaks op de wind lopen. Met surfen wordt er nooit gedwongen een golf gepenetreerd. Dit, doordat het surfen op zich het doel is. Door de stabiliteit, door de afwezigheid van de zogenaamde arm tussen lift en reactiekracht op het water, kan er zelfs ruime wind in stormachtige wind worden gekoerst.

Time became money and also outside the river Nile mankind sailed. Sailing boats got other rigs to gain towards the wind. After the steam machine and the combustion engine sailing disappeared from the scene. After WOII the common people took over sailing and came up with kwindsurfing and kitesurfing. The stable sailing and the along going speed in the half wind racing course was back. Hahlf wind is the urf course because the waves are swept by the wind. Windsurfers want surf and do not need to penetrate waves. No, they fall towards even lower courses than half wind and surf along with waves. This, because the surfing and the speed are the goals. Not to get somewhere. In freedom time and destinations do not exist. Because of stability, caused by the absence of the so called excentricity or arm between the lift and the reaction at the water, the Spailboat is able to sail even lower courses than half wind in high winds.

Het doel van Speelboot of, Spailboat, is, zodoende, snelheid. De kinetische energie is massa maal snelheid in het kwadraat gedeeld door twee, in Joules. Dus, windsurfen, half wind en ruime wind, met stabiele Speelboten levert energie, waterstof.

The goal of Spailboat is therefor, speed. The kinetic energy of the sailing mass is the mass times the square of the velocity, divided by two, in Joules. So, windsurfing half wind and even lower delivers energy, hydrogen.

De snelheid is maximaal en de massa kan belangrijk worden vergroot doordat de boel stabiel is. Stabiliteit is de voorwaarde om groot te gaan. Conventionele zeilboten hebben hun maximum bereikt, Speelboten kunnen wel een kilometer lang worden.

 

The speed is top and the mass can be increased dramatically because the configuration is stable. Stability is the condition to build big. Conventional sailing ships reached maximum size long ago while Spailboats can be a kilometer in length.

Indien men, theoretisch, over de evenaar zou zeilen in de half windse koers dan ontstaat er een ringbaan en de Windriaan was geboren.

When one, theoretically, would sail over the equator in the half wind sailing course then a ring comes up. Windriaan was born.

Windriaan en Speelboot behandelen de krachten normaal en Windriaans trillen niet kapot door de verstoorde wind.

Windriaan and Spailboat handle the forces in a normal way, because of the absence of excentricity or arm in the lift transference and Windriaan does not shake to pieces by the disturberd airflow becasue of the mast.

Nu kan men windrijke gebieden op aarde gaan benutten. En, is het energie probleem opgelost. Maar, het gaat verder. Nu de olie niet meer nodig is voor de verbranding kan deze worden bewaard als bouwmateriaal voor de toekomstige ruimteschepen. Over 400.000.000 jaar is de zon opgebrand en moet de mensheid zijn geëvacueerd naar een zonnestelsel. We moeten het ruim zien.

So, now mankind is able to exploit the high winds on earth. And, the energy problem is solved. The oil is no longer needed for combustion so that the oil can be preserved as building material for future constructions and space crafts. In about 400.000.000 the sun is burned up and mankind has to be evacuated to another solar system.

Tesla was “rood”. Tesla wilde gratis energie voor de hele mensheid en dat wil ik ook. Het is bekend dat het communisme een derde revolutie nodig heeft en bij deze. Elk weldenkend mens zal het leven boven geld kiezen. Met Windriaan, Spailboat en het wrijvingsloze wiel, hetgeen een voorloper is van de vliegende schotel, kan de mensheid met nog eens een factor duizend toenemen zonder dat er roofbouw is. China en Rusland zullen Windriaan, Speelboot en het wrijvingsloze wiel met open armen ontvangen. Uitgedacht door de man van de straat.

Tesla was “red”. Tesla wanted free energy for everyone and so will I. My goal is to save life and to preserve the oil for later purposes, like space crafts and buildings. We are now in a lack of input energy to make hydrogen. Problem solved with Windriaan and Spailboat. The steel can decrease and everyone has enough food. Energy makes food.

Mijn doel is om het leven te redden en de olie te bewaren voor latere ruimteschepen en bouwwerken. De staal kan dan ook afknijpen. Het lijkt me duidelijk dat deze rooftocht ten einde komt. Iedereen voldoende eten. In harmonie, de basis, kan de mens de aarde en het leven preserveren. Diep in het hart wil iedereen dat.

De opgewekte waterstof is na verbranding, water. De olie kan dus vervangen worden door waterstof. Het ontbreekt ons vooralsnog aan de energie om waterstof te maken. Dus maakte ik Spailboat, SB, met als spin off, Windriaan, ofwel Orbite est Strai, of E_rings en het wrijvingsloze wiel.

Hydrogen is water after burning.

SB is een normale zeilboot en Windriaan is een normale windturbine. “Normaal” wil zeggen in de techniek dat, de krachten normaal worden overgedragen zodat, de compositie stabiel en is en louter op sterkte bezwijkt. Dus, we kunnen Windriaan en Spailboaten (SB) sterk genoeg maken. De moderne constructie materialen als, carbonfiber (C, olie), bieden uitkomst.

Er is, binnen de SB-formule, geen kapseizend koppel aanwezig op SB en de wieken van Windriaan worden stevig ingeklemd aan de snelle kant door een ringconstructie. Windriaan en SB zijn stabiele en normaal in de krachtenoverbrengingen en gaan dus niet niet stuk. SB en Windriaan falen niet in cyclonen.

Nu kan Antarctica worden aangeboord door Windriaan en de Stille Zuidzee door Spailboaten.

De hele wereld kan zich voeden met energie, de waterstof, mbv SB en Windriaan. SB en Windriaan zijn windomzetters die, de windkracht omzetten in spinning, respectievelijk draaiing van ronde lichamen tbv de aanmaak van hanteerbare energie als, elektra en daarna waterstof, LH2.

Wind? De Stille Zuidzee en Antarctica. E_kinetisch=1/2 M v^2, met M, massa, in kg en v, snelheid, in m/s en E_kinetisch in Joules. Voor windturbines geldt zelfs een macht drie! E_kin = M W^3. Met W als windsnelheid.

Daarnaast is er nog een wrijvingsloos wiel als spin off, ook te zien op genoemde site. De moeite waard. Holland redden is de wereld Spailboaten en Windriaans geven.

Windriaan is een normale windturbine geschikt voor zelfs de hardste wind ooit gemeten. Binnen Windriaan zijn de bladen aan de snelle kant ingeklemd.

Er staat dan dat Antarctica in beeld komt als waterstofbron voor de hele planeet.

Het waait nu eenmaal op de Stille Zuidzee, vooral zuidelijk.

Windriaan is reeds gemaakt in 2009 en getest in de jaren erna en Spailboat wordt heden gemaakt.

Hoogachtend,

ir Donald HJ Goudriaan

den haag

06-85861800

 

Waterstof is na verbranding, water. De olie kan in principe vervangen worden door waterstof. Het ontbreekt ons, de mensheid, aan de energie om waterstof te maken. Dus maakte ik Spailboat, SB, met als spin off, Windriaan, ofwel Orbite est Strai, www.flickr.com/spailingstrailing.

 

SB is een normale zeilboot en Windriaan is een normale windturbine. “Normaal” wil zeggen, in de techniek, dat, de krachten normaal worden overgedragen zodat, de compositie stabiel en is en louter op sterkte bezwijkt. Dus, we kunnen Windriaan en Spailboaten (SB) sterk genoeg maken. De moderne constructie materialen als, carbonfiber (C, olie), bieden uitkomst.

Er is, binnen de SB-formule, geen kapseizend koppel aanwezig op SB en de wieken van Windriaan worden stevig ingeklemd aan de snelle kant door een ringconstructie. Windriaan en SB zijn stabiel en normaal in de krachtenoverbrengingen en gaan dus niet niet stuk. SB en Windriaan falen niet in cyclonen.

Sinds dertig jaar werk ik aan een uitvinding (normale zeilboot, Spailboat, speelboot) die uitmondde in een tweede en derde: een stabiele windturbine (normale windturbine, Windriaan, E-rings) en een wrijvingsloos wiel.

 

Als windsurfer en als zeiler moest ik eerst de scheiding duidelijk maken tussen de twee. Zeilen is instabiel, en wind- en kitesurfen zijn stabiel. Stabiliteit is de voorwaarde om groter te bouwen. De zeilboten hebben hun maximale grootte wel bereikt; de formule voor windsurfers en kite-surfers impliceert dat de opschaling door kan gaan.

 

De formule voor (kinetische-) energie is namelijk E_kin. = 1/2 M v^2 ( v, is snelheid in m/s en de snelheid werkt in het kwadraat, net als in Einsteins E = M c kwadraat ) in Joules, of Watt, ofwel, in woorden: de kinetische energie is een half maal de massa maal de snelheid ( van de surfer ) in het kwadraat. Stabiliteit impliceert dat de massa belangrijk omhoog kan. In feite lossen Spailboat en Windriaan het wereldwijde energie probleem op want, nu kan het zuidelijk halfrond worden ontgonnen. Ontginnen is een groot woord, want het enige dat we doen is, de wind en de (korte wind-) golven omzetten in waterstof, LH2. De kinetische energie van de aarde (wind en korte windgoven) kan met behulp van Spailboat worden omgezet in LH2. LH2 is vloeibaar waterstofgas.

 

Zijsprong: in 1973 wilden de VS een windsurfboot. Dit, naar aanleiding van de oliecrisis. Het lukte ze niet, maar, mij wel. Ze trokken het, de tekeningen, daar gewoon uit mijn handen, en ik zei: neem het maar, Nederland slaapt. Dit is twintig jaar geleden. De VS namen het aanbod niet aan omdat het een nationale schande zou betekenen. Hollands glorie is dus Speelbooot, Windriaan en het wrijvingsloze wiel; te vinden www.flickr/spailingstrailing

 

Natuurlijk moet de mens, als bediener van de windsurfzeilen en kites, vervangen worden door een mechanisme. De mens kan niet worden opgeschaald maar, een mechanisme wel.

 

Energie loopt, dus, op twee parameters, te weten, massa en snelheid. Nu kan de massa belangrijk worden vergroot en opent zich de stille zuidzee. Spin off van de Spailboat is Windriaan ( E-rings) en die zijn geschikt voor land. Antarctica en de Stille Zuidzee, bronnen van wind ( en, hoge korte windgolven), zijn de doelen.

  

Nu kan Antarctica worden aangeboord door Windriaan en de Stille Zuidzee door Spailboaten.

De hele wereld kan zich voeden met energie, de waterstof, mbv SB en Windriaan. SB en Windriaan zijn windomzetters die, de windkracht omzetten in spinning, respectievelijk draaiing van ronde lichamen tbv de aanmaak van hanteerbare energie als, elektra en daarna waterstof, LH2.

Wind? De Stille Zuidzee en Antarctica. E_kinetisch=1/2 M v^2, met M, massa, in kg en v, snelheid, in m/s en E_kinetisch in Joules. Voor windturbines geldt zelfs een macht drie! E_kin = M W^3. Met W als windsnelheid.

Daarnaast is er nog een wrijvingsloos wiel als spin off, ook te zien op genoemde site. De moeite waard. Holland redden is de wereld Spailboaten en Windriaans, dus watetstof geven.

 

This shown turbo windmill is spin off from the Spailboat.

   

A mantling ring around the blades holds the blades firmly in position. The ends of the blades are clipped in by this ring and the only freedom this ring has, is to turn. Above that, due to mantling around the blades with supporting construction, no mast is placed behind the blades. The blades do never pass a mast, so that the wind that leaves the blades is not disturbed anymore.

   

Conventional wind turbines use long masts to catch the wind at the highest possible vertical blade covering area as possible, because the conventional wind turbines are operating near living ground and over here is little wind -our ancestors could choose, and they chose to live here, instead of living at places with a lot of wind-. Long masts cause no particular problems in low wind speeds, however, in high winds, the masts tend to flip over and start to vibrate. To be exact, the vibrations in/at the masts do enforce the vibrations in the blades. Conventional wind turbines can not use high winds, because:

 

1: vibrations in the mast and tendency to flip over

 

2: vibrations in the blades, because of loose ends

 

3: vibrations of the blades, caused by passing the masts at the lowest point of the circular motion of the blades. It sounds like this: zzzzzzzzzzzzzzzzzzz , flope, zzzzzzzzzzzzzzzzzzzz, flope... et cetera, in where zzzzzzzzzzzz is the sound without passing the masts and flope is the sound while passing the mast.

   

The masts in old Dutch windmills are even wider, in order to house the big wooden cog wheels for the transmission, axles and specific industries in the "mast". The sails, or fabric, spread out over the rate construction at the beams of the blades, make an even bigger floping sound and a closer look learns that, during passing the mast, the sails are even coming loose from this rate construction. So, every time a blade passes the mast, the blade is loosing lift force. In the early days this constantly changing of the lift force in the wind mill beams was not a problem, because the mill making was done with wood and wood never tires.

 

Until 1800 A.D. we needed the windmills for powering our industries. Today, we need the wind again for, for instance, countering the raise of nuclear power, coal -, and gas, burning / using power plants for electricity, and to make an alternative for combustion engines.

   

Since the windsurfers, and later, the kite surfers, introduced a stable way of holding up sails, by holding the sails in such a way that the capsizing is no longer flipping the sailing composition over, even high winds can be used.

   

In a way it is trivial that exactly James Watt's steam machine triggered the industrial revolution, which resulted in global warming that increased the wind. So, we have more wind here and there [close to where we live and close to the arctic zones] and we can now use most of it.

   

The low wind speed regime can be used by conventional modern wind turbines and conventional modern sailing boats and high winds by turbo windmills and Spailboats. By using any kind of wind, until 12bft, any where on earth, we can say that the wind is to be used on demand, and his is exactly the reason of why the industrial revolution took off.

   

In 1773, when James improved the steam machine, we did not have carbon fibers, steel, composites and the windsurf formula, so that the steam machine did not have a competition.

   

En fin, by means of windsurfing high winds at oceans with spaiboats and using high winds by turbo windmills, the combination with conventional modern wind users for the low wind regime leads to new a competition for nuclear power plants et cetera. So the comparison of today is the combination of all wind converters, for making axles spin, with for instance the steam machine and his brothers -nuclear power plants, coal -, and gas, burning power plants-, which all still boil water in a big kettle, and combustion engines which are also still burning fossil fuels. Once again, we are on a certain track since the steammachine, which track provided us also combustion engines. Look: a cylinder in a combustion engine is a kind of kettle and the high pressure is caused by burning fuel in it to make axles spin. It is therefore, that the steam machine, nucluar power, combustion engines and powerplants are all brothers of eachother. I will fight these brothers now with the windsurf formula.

   

The windsurf formula implies that lift from the blades lines up with the reaction force and that the blades are hold steady and firm, so that high winds can be used.

   

The blades -rotors- in a turbo windmill are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant occurance of vibrating at the ends of the blades. The blade ends can not move with respect to the ring and the ring not with respect to the housing and housing not with respect to foundations. A blade end in a turbo windmill can not vibrate. I mean, I dare you, universities around the world, to give me some, because off course there are always vibrations. However, I want to speak in human langue and that means that wind mill blades do not vibrate to pieces in high winds.

   

In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades and the value of vector, S. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.

   

High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers' speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with in the direction flat to the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, and the speed flat to wind is 300 m/s, then we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed -in the line of its plane, perpendicular on the original wind's direction-, then the actual wind speed that hits the blades, comes almost from the front, parallel with the plane of the blade. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat to the wind. The same counts for windsurf sails. Although the sails are hold almost flat to the wind, the actual wind flow that hits the sails is coming, more or less, from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.

   

I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.

   

Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.

   

The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.

   

And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.

   

By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula. Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively safe ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.

 

I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.

   

Just go on the Internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once told me in person that no matter what kind of sailing boat, or windsurfer, it could never over top the 100km/hr barrier, because of cavitation around the swords. I came to him, at one of those appointments, to inform him about the new rigging, so that spailboats are almost flying above the water and to inform him about the reason -to overcome cavitation around the water cutting profile of the sword wheels- for using circle shaped spinning swords. So, I walked through his door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holland's main newspapers, the Saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was apparently wrong, because he worked at the aircraft and space department. Pyramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the university they boycotted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jesus Christ. No rank and bare footed, and closer to God as him.

   

I am closer to the wind, that is the point.

 

It is therefore that these two new inventions fall under: the environmental revolution.

   

We, the hard working people, can easily see that windsurfers go faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.

   

If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.

   

In the past seven years I really tried endlessly to talk with professors around the world. They are just not at home. On the phone it goes like this. Who are you? What did you study, and I say, civil engineering. Oh, that has nothing to do with planes and/or mills, we are not interested.

   

Off course, I do not talk like them, every error in the conversation means the final cut of the conversation and once such a door is closed, it never opens again.

   

So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.

   

I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?

   

Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.

   

Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

   

Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.

   

We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.

   

The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, America, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.

   

If you want be a sponsor for the building of the prototype for a turbo wind mill, please deposit your gift to

 

Rabobank account number 374138354 from ACJ Goudriaan in Zaandam, Holland.

   

Als u een geldbedrag wilt doneren voor de, nu reeds gestarte, bouw van het prototype van de turbo windmolen, svp maak geld over naar Rabobank nummer RABO 374138354 tnv ACJ Goudriaan te Zaandam

 

Until now, windturbines used a mast. A mast vibrates. And, above that vibrating, the tips of the blades are also loose ends, also resulting in vibrating. Vibrations of the blades and the masts were leading to a restricted operational wind window.

   

From now on, with the blades hold firmly in the around the blades mantling ring, the blades are to be considered as transversely moving blades. Transversely moving steady in position hold blades can go through air with 700km/hr.

   

The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.

   

In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.

   

High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers' speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with for instance 300 m/s in the direction flat on the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, than we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind's direction, then the actual wind speed that hits the blades, comes almost from the front. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat on the wind. The same counts for windsurf sails, although the sails are hold almost flat on the wind, the actual wind flow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.

   

I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.

   

Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.

   

The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.

   

And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.

   

By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula. Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively save ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.

   

I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.

   

Just go on the Internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once told me in person that no matter what kind of sailing boat, or windsurfer, it could never over top the 100km/hr barrier, because of cavitation around the swords. I came to him, at one of those appointments, to inform him about the new rigging, so that spailboats are almost flying above the water and to inform him about the reason -to overcome cavitation around the water cutting profile of the sword wheels- for using circle shaped spinning swords. So, I walked through his door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holland's main newspapers, the Saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was apparently wrong, because he worked at the aircraft and space department. Pyramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the university they boycotted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jesus Christ. No rank and bare footed, and closer to God as him.

   

It is therefore that these two new inventions fall under: the environmental revolution.

   

We, the hard working people, can easily see that windsurfers go faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.

   

If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.

    

So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.

   

I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. Zaandam is oldest industrial cluster in Europe.

 

I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?

   

Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.

  

Windriaan, E_ring, Orbite est Strai is spin off from the normalized Spailboat, the stable sailing Speed Sailing Craft.

  

Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.

  

We need energy, hydrogen, LH2 for making fresh water out of marine water, for irrigation ( for food ).

 

Via Spailboat and Windriaan comes the wind.

  

Until now the wind does not exist above ten Beaufort.

 

Tot nu toe bestaat de wind boven tien Beaufort niet.

  

The windsurf formula, p 18.

 

Just have a look and run this show a few times. Be aware that SB 2016 is almost ready and you can figure it out via p 001 - 007. It is normal, revolutionary and will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the Windriaan is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.

 

Spailboat and Windriaan bring the wind and so, life. Energy.

"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."

 

People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.

 

--

 

Erik Carver

 

Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.

 

Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.

 

His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).

  

Marisa Jahn

 

Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org

The 2020 EPI pollution emissions issue category includes the following indicators: sulfur dioxide (SO2) emission growth rate and nitrogen oxides (NOx) emission growth rate. All indicators and composite indices in the EPI are normalized as a 0–100 proximity-to-target score, with 100 representing "at target" and 0 being furthest from the target.

America and China just celebrated 30 years of normalized diplomatic relations, so I looked through some old pix to mark the occasion and found this one, which I think captures the natural warmth that usually develops when Chinese and Americans meet.

 

It was taken alongside the Guilin-Yangshuo road in December, 1985. My seven American classmates from Berkeley and I booked a minivan to take us from the Guilin airport to Yangshuo and these two local ladies were our guides, along with a driver. Pictured here with them is my classmate Kathy.

 

Let's hope the next thirty years will continue to have scenes like this!!! 中美友谊关系万岁！

  

2021-03-13 Hambidge Second Saturday STUDIO TOUR at the Cross-Pollination Art Lab Lindbergh Center

 

SCHEDULE

• In the Cube Gallery (noon-4pm) you will find "The Space Between," a new project from Dr. Fahamu Pecou that works to dispel the pervasive myth of violence and discord within the Black male community, and seeks to both normalize expressions of care, concern, and compassion while challenging the pervasive image of Black violence and trauma.

• Jessica Brooke Anderson will be offering visitors (one at a time) an opportunity to select a gift from her collection of family objects. She recently inherited 3 houses worth of heirlooms, and is using this opportunity to redistribute these items to the community. In exchange for "adopting" a piece of her family history, she is asking to photograph each object with its new owner, in hopes of creating a new family tree, made up of strangers, all interconnected through the lives and objects that came before.

• Participate in a self-led writing exercise / creativity booster in the space outside of Arvin Temkar’s studio. Arvin is a writer and photographer whose work examines complexity, tension, and hope in a multiracial, multiethnic America, and has been published in major publications across the country. He will also be displaying some of his photography in the windows of his studio.

• Visit the Teller Productions Workshop to observe artist Scottie Rowell’s shadow puppet play time and experience Push. Press. Pull., an ever-changing art installation exploring human’s love of buttons. Only one family/group/pod allowed in the space at time.

• Jasmine Williams and Sierra King are excited to share with the public in progress works across both of their disciplines of printmaking and archiving. The public at large is welcomed into their space, limited to 2 at time, to view THROUGHLINE - where the lives of Black Women Artists intersect. Additionally there will be limited edition "I AM WOMAN" tote bags that were hand printed in the art lab and older edition prints available to purchase by Jasmine Nicole Williams.

• FRANK/ie CONSENT will present ‘Love Shrines,’ their first installation of shared things, in which their new album (collaborated with The Cradle) will play with casual, non-demanding events happening and video documentation of their recent love baptism. After the installation, there will be a live music performance by FRANK/ie CONSENT and the generosities of people they love. The performance will begin around 5:30.

• Floyd Hall will be presenting Seeing + Sounds, featuring a series of streaming recorded audio content in addition to visual projections.

• From 2-3:30, Matriarc Society will be providing a photo shoot session with a local femme music maker at no cost. Guests may observe the process from the windows on the corner of Magnolia Lane and Morosgo Drive.

• Dance Hub ATL residents are approaching this event as an open process with space to have conversations if visitors are interested in learning more. Four artists - Porter Grubbs, Catherine Messina, Frankie Mulinix and Nadya Zeitlin - will share glimpses of their current creations. In addition to performances, we will introduce a new addition to our Hub - installations by Dima Alekseyev. For more details and updates, check their Instagram page @dance_hub_atl. Donations are greatly appreciated and will support artists' further process.

Dance Hub ATL Performance Schedule - IN-PERSON and VIRTUAL

2:00 - Studio is open to live visitors (up to 16 people at the same time, 10 chairs in the seating area. Masks are required).

2:30 - Catherine Messina's process is a peek into the creation of phrasework for a large scale piece, and how to restage that work after a year away due to the Covid-19 pandemic. Two of the original cast of eight will share some of the prompts in creating duets, unison work, formations, and more. Online via Instagram Live and in-person.

3:00 - Nadya Zeitlin will show Alice, study #1 - the beginning stage of a new work that Bautanzt Here is designing inside Dance Hub ATL. Online via Instagram Live and in-person.

3:30 - The butoh piece performed by Frankie Mulinix is exploring memory, changing identity, and brain injury. Online via Instagram Live and in-person.

4:30 - Porter Grubbs will share some improvisation scores that they've been working on for Medium Collective’s summer series. Plus they will set up a layout with some of their Demon Body portraits and narratives that they've drafted. Online via Instagram Live and in-person.

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.

  

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&amp...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.

  

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. “La Roma di Mussolini” - The strange backdrop to the G-20: A Roman neighborhood built as a fascist showpiece. The Washington Post (27/10/2021). Anche: Il G20 nel quartiere d’epoca fascista: "Il Washington Post" ora la cancel culture prenderà di mira l’Eur? Corriere Della Sera (28/10/2021). S.v., “Architettura fascista non fascista" (1991/2017); in: Dr. Arch. Rossana Vinci (2017); Dr. Arch. Flavia Marcello (2007); Prof. Arch. Rossana Bossoglia & Prof. Arch. Giorgio Muratore (2003) & Dr. Arch. Elisabetta Terragni (1991). wp.me/pbMWvy-287

 

Foto: Mauro Pagliai, “Son of the Century.” SKYPIXEL (29 Jan. 2020); in: RARA 2021 [21/08/2021].

www.flickr.com/photos/imperial_fora_of_rome/51637355274

 

1). ROME - The strange backdrop to the G-20: A Roman neighborhood built as a fascist showpiece. The Washington Post (27/10/2021).

 

In the Roman neighborhood known as EUR, all the classic telltales of Rome drop away. Gone are the cobblestone roads, the antiquities, the worn palazzi dappled like watercolors. What you get instead are broad boulevards and imposing white buildings, plus a man-made lake. Everything is orderly, planned. Look in the right direction, and you’ll even see a sculpture heroically depicting the planner: Benito Mussolini.

 

Conceived as a fascist showpiece for an event that never happened — war canceled the 1942 World’s Fair — EUR is getting a chance eight decades later to serve as a backdrop for a global gathering: this time, the Group of 20 summit.

 

Reminders of what EUR (pronounced Ay-oor) was supposed to represent are still vivid. Mussolini had hoped it would stand as an example of an ideal city, with gardens and open spaces, and he commissioned some of the most acclaimed Italian architects and artists to remake a land used previously only by farmers and an abbey of cloistered monks. EUR’s boundaries were marked off in a near-perfect pentagon. Mussolini planted a tree at the 1938 groundbreaking.

 

But today, EUR also has lanyard-wearing office workers eating $12 salmon wraps. It has monuments designed to glorify the fascist ideal that now house global companies, like Fendi. It has a couple of eerie blocks almost resembling Pyongyang — empty, colossal and colonnaded — but it also has dentist’s office and chain restaurants, energy company headquarters and upper-middle-class apartments.

 

“What I’ve often heard is that a neighborhood like this could only be built by a dictator,” said Lorenzo Volpato, 49, a self-described leftist who lives and works in EUR and called the neighborhood pleasant regardless of the fascist markers. “It’s got metro stations. It’s modern. It’s more livable than Rome.”

 

The neighborhood has managed to grow — and normalize — in large part because of a Roman willingness to rebuild, move on and coexist with even the worst parts of the past. It’s especially striking at a time when monuments to enslavers, Confederate generals, kings and colonial leaders have come toppling down across the United States and other parts of Europe. In EUR, such monuments have become just a part of the low-slung skyline.

 

“It was to be a place where you wouldn’t be bound by antiquity,” Luca Ribichini, a professor of architecture at Rome’s Sapienza University. “It was supposed to personify the new modernity.”

 

The plans, at least initially, fell into chaos. By 1945, the fascist regime had been toppled, Mussolini had been executed — his body hung upside down in public — and EUR was only half-completed, sealed off and all but abandoned.

 

But over the next decade, the postwar Italian government moved ministries to the area. Ahead of the 1960 Olympics, construction firms built roads and apartment buildings and finished what the fascists had started. Eventually, it became a sort of alternative Rome — while showing what more of Italy might have looked like had Mussolini retained power.

 

Foto: Mrsimone7, “Rome – Foro Italico / Stadium at Night,” Skypixel (20 Dec. 2016); in: RARA 2020 [04/08/2020].

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“It’s this relic of a megalomaniacal project that has been turned into a business district,” said Agnes Crawford, a 20-year resident of Rome who leads private tours, including, occasionally, in EUR, where she said the museums are high-quality and crowd-free.

 

“But,” Crawford said, “it still retains some menacing overtones.”

 

Some of the fascist markers have been removed over the years. But other reminders remain. One of the most noteworthy markers is a large inscription at the top level of the Fendi building. The quote, without context, is fairly innocuous, paying tribute to Italians as a people of “poets, artists, heroes, saints, thinkers, scientists, navigators, migrants.” But that quote echoes a part of Mussolini’s 1935 speech announcing the invasion of Ethiopia, a campaign that later led to charges of war crimes.

 

Just a few blocks away, there is an even more overt Mussolini homage. It comes in the form of a towering bas-relief sculpture, selectively narrating the long history of Rome. The sculpture moves through time from top to bottom, starting with the mythological founding of the city by Romulus and Remus, continuing through the centuries with Roman conquerors returning with spoils from Jerusalem, and with the construction of St. Peter’s Square. At the bottom of the sculpture there is one dominant image: Mussolini on horseback, surrounded by soldiers, as children and women lift their hands.

 

Sculpted in 1939, it stands at the entrance of a building housing EUR S.p.A., the company that owns many of the properties in the neighborhood. Inside, there’s also a courtyard fountain inlaid with fascist eagles. In one of the conference rooms, sitting without fanfare in the corner, is a metal head of Mussolini.

 

“The debate about art and beauty goes far beyond the history of the most ferocious regimes,” said Antonio Rosati, the chief of EUR S.p.A., who said his politics lean left and he isn’t bothered by the remnants of Mussolini’s era.

 

There are numerous theories about why Italians have felt less of a need to fully remove the propaganda of a terrible time. One idea is that Romans have so much history, they didn’t feel compelled to single out the most recent horror. Some have noted that the fascist icons — unlike the Confederate monuments — were built contemporaneously, and don’t reflect some after-the-fact nostalgia for an earlier period.

 

For David Hannuna, a Jewish lawyer who was born and raised in EUR, the icons have never been a source of anger — instead, he said, they provide a reminder about progress.

 

“There was pride in being able to freely live, freely and openly practicing our religion, in a place where in another time that would’ve been a problem,” Hannuna said.

 

Standing on a street corner, awaiting a tire change, Claudio Foglia, 69, said he, too, never saw a problem with the propaganda-infused art and architecture in his 40 years of working in the neighborhood, at the Italian energy firm Eni. But he is retired now. He has started reading more, including about fascism. He said he now worries that Italy “metabolized” fascism too quickly, and without fully addressing the sentiments that made it vulnerable. Just the previous weekend, a rally in Rome against the coronavirus Green Pass had turned violent, spurned in part by leaders of Forza Nuova, a neofascist group.

 

“It’s painful for an Italian to read these things and realize we haven’t dealt with them,” Foglia said. “We are acting as if nothing happened.”

 

One thing is clear about Mussolini’s aesthetic: He liked his buildings to be seen. He signed off on the demolition of entire neighborhoods around the Vatican and the Colosseum, clearing the way for broad, showy thoroughfares that created sightlines for the most famous spots in the city. He used the same idea in EUR, where the most celebrated buildings are set off at wide distances from one another, connected by straight, flat roads.

 

One such road connects the Piazza della Civiltà Italiana — the arched and statue-lined Fendi headquarters — with the Palazzo dei Congressi, a travertine-clad hall designed for conferences and events.

 

To some observers over time, the palazzo has felt intimidating in its geometric vastness. When TV travel documentarian Anthony Bourdain visited the facility for a 2016 episode, his film crews trained their cameras on a single custodian, cleaning a hall that Bourdain said had been designed to “dwarf the individual.”

 

For the G-20, the palazzo is serving as a media center. Large banners with the slogan “People, Planet, Prosperity” are draped outside, and on a recent afternoon, work crews were spread out in all areas, putting up prefabricated walls, building temporary meeting spaces or interview rooms.

 

An official from Eur S.p.A., which manages the building, led a tour to the heart of the palazzo: a vaulted space with ample lighting, adorned in perforated material the color of gold.

 

“It’s a perfect cube,” said one of the officials on the tour. It’s 124 feet high, wide and long. And for now it houses 72 white media work desks.

 

The tour continued up to the roof deck — an area of rectangular benches, all cold marble — that was depicted as a mental institution in a classic 1970 movie, “The Conformist.” During the shooting for that film, the sky was nearly the same gray as the marble. The monochrome conveyed an eerie vibe.

 

But if you visit now on a gorgeous day, the marble benches glow. The severity is softened by olive trees growing from spots of soil interspersed along the roof. From way up here, you can see all of EUR — the apartments, the offices, the people ending their workdays.

 

The neighborhood has at least one thing in common with the rest of Rome: The view at sunset is lovely.

 

Fonte / source:

--- The Washington Post (27/10/2021).

www.washingtonpost.com/world/2021/10/27/g20-rome-eur/

 

Fonte / source, foto:

--- Mauro Pagliai, “Son of the Century.” SKYPIXEL (29 Jan. 2020); in: RARA 2021 [21/08/2021].

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. “Via dell’Impero? È ancora in fondo a destra.” La Repubblica (21/08/2021). S.v., Mayor Virginia Raggi, NYT (22/03/2017); Francesco Rutelli, NYT (29/06/2001) & Benito Mussolini, NYT (22/04/1924). Dr. Ruth Ben Ghiat & Vera Fisogni (07/2017); Dr. Arch. Rossana Vinci (2017); Dr. Arch. Flavia Marcello (2007); Prof. Arch. Rossana Bossoglia & Prof. Arch. Giorgio Muratore (2003); Dr. Arch. Elisabetta Terragni (1991) & Prof. Arch. William L. MacDonald (1983).

 

Fonte / source, foto:

--- Mrsimone7, “Rome – Foro Italico / Stadium at Night,” Skypixel (20 Dec. 2016); in:

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. The World Is Tearing Down Racist [or Fascist] Monuments but Not in Italy. The Daily Beast (15 August 2020). S.v., Finestre sull’Arte (04/08/2020) & La Repubblica (03/08/2020); anche: THE NEW YORKER (5 October 2017); Il giornale dell architettura (27/10/2017) & Il Sole 24 Ore (08/10/2017). wp.me/pbMWvy-uw

 

Foto: Riccardo, “Fendi’s palace, other side of Rome – This is the Fendi palace in Rome, also known as the “Square Colosseum.” Skypixel.com. (22/03/2019).

www.flickr.com/photos/imperial_fora_of_rome/51635880387

 

2). ROMA - Il G20 nel quartiere d’epoca fascista: "Il Washington Post" ora la cancel culture prenderà di mira l’Eur? Corriere Della Sera (28/10/2021).

 

Il Washington Post colpito dallo «strano sfondo» del summit: mentre i monumenti di schiavisti e e colonizzatori negli Usa sono stati eliminati a Roma sono entrati a far parte del panorama.

 

La scelta dell’Eur come sede del G20 romano stuzzica i guardiani Usa del politically correct. E qualcuno vorrebbe spingere la cancel culture americana attraverso l’Atlantico. Presentando l’evento con un articolo pubblicato da decine di quotidiani statunitensi e di molti altri Paesi del mondo, dall’India al Brasile, l’Associated Press si limita a menzionare che, come sede del vertice, è stata scelta un’area edificata nell’era fascista, ma il Washington Post va molto più in là: in un servizio intitolato «Lo strano sfondo del G20: un quartiere romano che doveva essere il fiore all’occhiello del fascismo» analizza storia e architettura di un luogo progettato come sede dell’Esposizione Universale di Roma del 1942 (da qui l’acronimo Eur), mai tenuta a causa della Guerra mondiale.

 

Il Post ripercorre il desiderio di Mussolini di celebrare con l’Expo del ’42 il ventennio fascista, la scelta dei governi antifa-scisti del Dopoguerra di «normalizzare» il quartiere, oggi zona di uffici, e il modo in cui la città ha metabolizzato l’Eur. Ma dà anche voce a chi lo considera «la reliquia di un progetto megalomane trasformata in distretto d’affari». Soprattutto, il quotidiano critica il fatto che in alcuni luoghi siano rimaste sculture dell’era fascista come il bassorilievo all’ingresso dell’edifico dell’Ente Eur che descrive varie ere storiche: da Romolo e Remo alla costruzione della basilica di San Pietro, per poi finire con un Mussolini a cavallo. Il giornale trova «scioccante che, mentre i monumenti di schiavisti, generali confederati, re e colonizzatori sono stati eliminati negli Stati Uniti e in gran parte d’Europa, a Roma sono entrati a far parte del panorama». Conclusione sconsolata: a Roma c’è talmente tanta storia che la gente non fa troppo caso a certe cose.

 

Fonte / source, foto:

--- Riccardo, "Fendi's palace, other side of Rome - This is the Fendi palace in Rome, also known as the "Square Colosseum." Skypixel.com. (22/03/2019).

www.skypixel.com/photos/other-side-of-rome

 

Fonte / source:

--- Corriere Della Sera (28/10/2021).

www.corriere.it/esteri/21_ottobre_28/g20-quartiere-d-epoc...