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.

[To forward this meme and essay to a friend, click the Curved Arrow in the lower right corner. You will have an easy choice between email, Facebook, etc.]

 

November 2018:

 

The Best and possibly the ONLY Way we can beat the Leftist Cult Democrat party and all their legions of collaborators [Media, Hollywood, Newspapers, Magazines, your children's teachers, TV programs, Leftist Organizations funded by Leftist Billionaires, and/or US Gov't funding, etc] is to begin and continue to influence your friends and family, and have the most energetic of these people do the same with their friends and family.

 

Trying to play 'catch up' in the few weeks prior to an election is futile, when the forces of the Leftist Cult control almost the entire Media, schools, some churches, etc. One would think that the nonstop Leftist Propaganda Narrative is so obvious that it is ignored by most....but, advertising works, otherwise companies wouldn't bother spending billions advertising.

 

And, the Leftist Cult gets all this 24/7/365 nonstop advertising for FREE!!! They don't have to pay a dime!!

 

In the 2018 election, we saw one group, suburban college educated [leftist indoctrinated] women succumb to the anti-Trump, anti-Republican, anti-common sense bludgeoning narrative coming from every outlet. Yet, blue collar areas, such as the mining and forestry area in Northern Minnesota, a previously hugely dominated area by the Leftist Democrat party, is turning decisively Trumplican...as in the New BIG Tent America First party, which working Americans are realizing is the movement which is ACTUALLY FOR Them, rather than the Open Border, Leftist Cult Democrat party that wants to shut down mining, forestry, manufacturing, etc., and bankrupt all those industries, like coal, or offshore all those 'dirty' jobs to the third world.

 

The Left is a Cult. Their ideas are not based in any science or common sense. They can't prove man made Global Warming by REAL scientific method, yet they promote the narrative of a world on the verge of ecosystem collapse - why?.....to scare the children into believing in the Leftist Cult.

 

Transgenderism is the latest 'hero' issue group for the CULT. Now that they have destroyed the ageless concept of marriage being between a man and a woman, with ZERO study as to what the long term implications of such policies will be [try building a new gas station with ZERO studies of what the environmental impact will be], they are on to indoctrinating children that there is a question as to what sex you are, and maybe your child should think about the notion of whether they really are a boy or a girl. Never mind that transgenders have 20 TIMES the suicide rate of the general population! Was there any thought given to what the long term implications of this drive towrds normalizing Transgenderism? Oh gee, where did the scientific method go?.....oh...not needed for Leftist Cult latest fad agendas, now to become ensconced firmly into the NEW TRANSFORMED American society run by the Leftist Cult under their monoploy over ALL power, both governmental and Cultural Institutions, such as TV and Hollywood.

 

We are fighting a behemoth, and the BEST weapon we have to fight the beast is to use our OWN personal influence.

 

Some of us are naturally influential. We have that type of personality. But, we ALL have influence.

 

The best way to mobilize your influence is to do it consistently, over time.

 

We can wait until the few weeks before an election, and go knock on doors and make telephone calls to strangers, but, that is only somewhat effective, and it works mainly on people already in your camp.

 

How much better to actually use your influence over time to 'Wake People UP!' to the truth.

 

What's really happening is simply NOT reported in the Media. Who among your friends understand that The Leftist Elites in Sweden allowed huge numbers of Middle Eastern young male migrants into Sweden, without consulting the people of Sweden, and that Sweden has then become one of the Rape Capitals of the World? Was this reported or even mentioned in the Leftist Media?.....NO.

 

The Swedish Leftist Gov't. has taken this even further, telling the Swedish People that they have NO say in the matter, and that they must accept the fact that the native Swedish People will be a minority in their own country in a few decades.

 

Understand that the Swedes have inhabited Sweden for 10,000 years, ever since the glaciers retreated at the end of the Ice Age. Yet, the Leftist Ruling Elite of Sweden deem that Sweden has NO real culture, and they, the elites have deemed that Sweden will become a Multi-Culti Society, and that the Swedish People will have NO say in the matter.

 

None of this is known by your neighbors, your friends. It is simply NOT reported. Nor are any other key issues to America, such as the Left's intention to have an Open Border policy, where the poor of the Third World will pour into America and receive massive welfare benefits, paid for by your children and grandchildren, right up until the time that the entire house of cards collapses.

 

One half of the people in the third world say they would like to emigrate to the Western welfare Nations. How could this even be possible, as there are billions of people in the Third World. Africa alone will have four billion people in a few decades. [See the essays I have on the Mass Immigration in a number of memes, and the excellent videos linked on this subject. These videos explain the utter impossibility of mass immigration from the third world being sustainable].

 

Even the Dali Lama, the religious leader of Buddism, a hero of the Hippies and the Left [previously] has said that Europe should be for the Europeans. What a concept....he points out, as I do, in my memes, that mass immigration from the third world only guarantees that the third world countries will remain mired in Kleptocracy. As the Dali Lama says, people need to stay in their own countries, and make them good places to live.

 

These memes are intended for YOU to forward to the people in YOUR Sphere of Influence, along with other articles outlining issues the Leftist Media will NEVER report.

 

We need to develop ways to fight the Leftist Cult Behemoth, and I can't think of a more effective way to do it than to begin to become your own disseminator of this hidden information to your friends and family.

 

Yes, you may feel like you are imposing upon your friends, but, that will probably pass as a feeling. Your friends may come to respect your efforts and you will have more to talk about than just the ordinary day to day.

 

Becoming an influential person in your own circle, AND persuading some of your friends to do the same with their circle of friends, is the BEST way to fight the Leftist Cult Behemoth.......it may be the ONLY way.

 

Think of yourself as a Patriot soldier in the 2nd American Revolution. It is certainly easier than what the Ist American Revolution soldiers endured at Valley Forge, freezing in the winter, waiting to fight the most formidable military machine in existence at that time...the British Army and Navy.

 

================

 

Nov 11th, 2016:

 

Trump may possibly have won the popular vote, as well as easily winning the Electoral College, when you subtract the MILLIONS of illegal alien votes in California and elsewhere, plus voter fraud operations of the democrats.

 

ALL illegal aliens are given drivers licenses in California.

 

All people in California who are issued drivers licenses are registered to vote automatically, in California.

 

There are NO data bases in California allowed to query whether someone is a citizen or not.

 

Thus, illegal aliens vote in California, and there are MILLIONS of them.

 

Obama was interviewed by a 'Hispanic' American 'journalist', and she asked him if the federal government would be tracking 'undocumented Americans' who voted. Obama said all Americans can vote, and, NO, the government would not be tracking people who were not citizens who voted...he said they would not be tracked or punished for voting.

 

I know this is hard to believe that an American president would be ENCOURAGING non-citizens to vote, but it is true.

 

www.youtube.com/embed/AQKAz7l5Es4

 

So, it is OBVIOUS that MILLIONS of ILLEGAL ALIENS voted.

 

It is simply unreal that this MASSIVE VOTER FRAUD is going on CONDONED and IMPLEMENTED by states like California.

 

There MUST be action taken by the Federal gov't to stop this fraud perpetrated by the democrat controlled mega states, because the illegal votes they allow cancel out the votes of honest people in honest states, like North Dakota, say.

 

We NEED total revision of our voting laws and everyone MUST prove their citizenship, and we can no longer allow the massive voter fraud by whatever means the democrats use.

 

This is SPITTING in the face of all honest Americans.

 

=====================

Oct 20th, 2016:

 

The American People know that there is surely massive voter fraud being committed by the Leftist Democrat party across the nation.

 

The Leftist democrat party vehemently opposes any sort of voters presenting identification papers to vote, or to receive absentee ballots. The Leftist Democrats also oppose the gleaning of voter rolls for people who have moved, died, or are felons.....Why, if not for purposes of using these obsolete voter registrations for voter fraud?

 

We see precincts in Pennsylvania and Ohio which have not given a single vote to a republican presidential candidate over multiple elections.

 

In Wisconsin, in Dane county, the home of the Leftist University of Wisconsin, and in the city of Milwaukee, we see more votes being cast than there are registered voters.

 

On a Native American reservation in South Dakota, we see more votes being cast than there are people who live on the reservation.

 

In California, the leftist democrat party has enacted a law that everyone who receives a drivers license is also registered to vote. And, they then passed a law that all illegal aliens are given a driver's license when they come of age to drive. Thus, all illegal aliens in California are able to vote.

 

We see instances of people bragging of how they have voted multiple times by going from polling place to polling place on election day.

 

In Minnesota, long renowned for the honesty of their humble, Northern European origin citizens, a former comedian, was elected as the new democrat senator, when a previously uncounted box of votes turned up in the trunk of someones car....It had been a close election.

 

There was a study done which showed that of all close elections (thousands of close elections) which showed that the democrat candidate won 75% of these close elections. Statistically, this should break approximately 50/50.

 

In Iraq, after our soldiers had liberated that country from Saddam Hussein's dictatorship, people were required to ink their thumbs and be fingerprinted in order to ensure that they only voted once...YET, In America, we don't even require people to show identification papers, and to have proof that they are, indeed America citizens?

The author, Leslie Feinberg, is a lesbian ten years my senior whose physical appearance created a lifetime of harassment and secrecy because she looked like a man. I appreciated that she shares her story generously to make clear to the reader where she is on the gender spectrum as this is a topic that cannot be addressed remotely objectively by anybody, I’ve found. I also identified with her story especially since it was not her desire to be a man. She just wanted a place to be as the gender non-conforming female person she was. Published in 1996 it includes an appendix of resources and copious footnotes.

 

Her working class background demonstrated to her how gender and economics intersected as she could not get any conventionally female jobs because of her perceived presentation as a man so she hid her sex and applied for men’s jobs. She then met members of the communist party who took her under their wing and also interviewed her, each of them, one-on-one, to understand the nature of her oppression as a lesbian and gender outlaw. One of the men mentored her reading of their literature so that she would understand history. This led her to explore the history of cross dressing people prompted by a visit to the Native American Museum in New York where she saw the pictures of Two Spirit people. She also found and interviewed Two Spirit people herself which proved as affirming as the book she and I have both read depicting the shamanic role Two Spirit people were given to play in Native society.

 

Her research led her to discover that such shamanic roles appeared in all the Asian cultures too. I knew of indigenous transgender culture from living in Thailand, but did not know of their spiritual role. Her study of Joan of Arc led her to unearth the transgender spiritualist role of the pre-history earth based goddess religions of Europe. Joan of Arc was burned specifically because she refused to lose the male garb which she said God had instructed her to wear and which her peasant followers regarded as sacred. I’m totally hooked at this point.

 

As a well schooled Marxist the author then traced the oppression of the earth based religions and its transgender aspect to a change in the economic system from a communal based one to a surplus hoarding one controlled by the men because they were in charge of the animal herds and easily made themselves guardians of other surplus. They wanted this wealth shared only with other men and passed down to sons. This led to the need to identity people by gender and laws were written requiring men to cut their hair and women to wear theirs long as well as laws strictly forbidding cross dressing (except in the theatre). Reinforcing the idea that in order for capitalism to thrive both women and trans people must be controlled.

 

She also uncovered stories of rebellions led by cross dressing male peasants against toll roads demanding cash for crossing private lands. Lands made private as part of the enclosure of the commons. I love this vision filling in the gaps of my knowledge regarding response to the enclosure laws.

 

The modern gay and trans movements she traces back to Germany of 1897 and later to Paragraph 175 during the Nazi era before Stonewall birthed the U.S. rebellion in 1969 led by transgender people. Because of their visibility gender variants are a target in a way that passing gays are not, so it’s not surprising they were in the front lines.

 

Her final chapter parses out the intersection of women’s liberation and transgender liberation. Here she presents her case that women’s rights and safety are linked with trans people's rights and safety. Based on her research that both women and transgender people were at the peak of acceptance and social status during the matriarchal society of ancient times, I can see why she would argue this perspective and I appreciate that she has given me this common history.

 

She talks about how she feared for her life countless times because she was a woman who looked like a man thus the need for transgender persons to be able to pass as one sex or another for their physical safety and economic wellbeing. No one she interviews insists that they are biologically their chosen sex. She herself wishes to remain a woman who presents as a man. I admire this desire for transparency. It does not feel as arrogant or dishonest as the insistence that a trans woman or trans man is in every way no different from natal women and men. On the contrary her transgender cosmology is about having more than two genders. At least four or five and preferably a whole spectrum.

 

She touches on the right of transgender people to affordable hormones and to altering their body, but never once mentions gender dysphoria or even the concept of being in the wrong body. Part of the trans bill of rights (included at the end) states that a trans person should have the right to freedom from psychiatric diagnosis or treatment. The wrong body concept would also imply that there are only two genders—those linked to reproductive biological categories. She quotes the feminists on this—that biology is not destiny.

 

She prefers that sex identification be abolished altogether even on a birth certificate and suggests that it would be delightful if children let their parents know what gender they are. I think this is where adult trans people and non gender stereotypical adults are being retroactively idealistic in their desire to heal their own past. Children do not create society. Society creates structure in which children are raised and are offered their place in the world. She says herself how hard it was not to see representation of herself in the world or her place in history. Her push for change would direct the dismantling of the current binary system in favor of wider gender expression to provide role models for children to resonate with and choose from. I think we would all benefit from this. I know that I had a leg up because of the inclusion in the Thai language of a word for cross dressing people who lived their lives in this manner. And the Buddhist premise that the human spirit was certain to experience different genders in their various reincarnations and might carry the unresolved imprint of past gender experiences into the current life.

 

It is too bad that Leslie Feinberg died a decade ago because it would be helpful to have her perspective on how the emerging butch lesbian teens of today are being swept away by the online push to transition as a logical arc of their gender non-conforming status. (The increase in transitioning FtoM teens is so notable a phenomena that the U.K. is undergoing a study on this phenomena of Rapid Onset Gender Dysphoria as possibly being part of a social contagion. (And the detransitioning stories from these young women are increasing too.) She does mention the increase in consumer societies of gender coded clothing and toys where once there was just a white gown for all infants. Not to mention no marketing to children of gender based toys. Or pink handled tools for women. Grrr.

 

In the end Leslie Feinberg sticks to her Marxist teachings urging the women’s community and the LGBT community to see in their oppressions a common thread and stay together to preserve political power. I too long for a unifying political issue of any sort in this country, yet I have never before seen both the women’s community and the LGBT community so divided. Assimilationists have made the greatest gains in social acceptance with heteronormative inclusion under marriage equality. The assimilationist path helped normalize presentable gay and lesbian people and support and stabilize gay and lesbian nuclear families. While the rest have been atomized and compartmentalized under their corresponding letters now leaning into the term Queer. We have convinced the public that gay people look just like straight people while all the non-conforming gender expressions are eclipsed by the transition-centric, medicalized transgender category.

 

In showing the connection between patriarchy and capitalism and the oppression of both women and transgender people, this book illuminates for me a much bigger picture that our society is struggling with on all fronts. I believe the author’s thesis that the ethos of the ancient goddess communal societies were far more just in the treatment of everyone while women and transgender people enjoyed the highest status they have ever had. And that what we are seeing today is the society of a top down elite patriarchy many are attributing to a white supremacy agenda in the U.S. especially given recent efforts to completely control women’s reproductive choices. I would love to see a battalion of men dressed as women led by a female cross dressing chief come to overthrow the patriarchy. Though a shift in politics and voting patterns is hopefully more likely.

 

This book allowed me to see myself in the transgender struggle and to uncover the butch lesbian parts of me that I largely keep hidden. The book has photos throughout and concludes with a gallery of photos of trans people and their stories. This is very helpful for it helped me to understand the importance of creating visibility for gender outlaws both for the community and for busting out of the patriarchy. I am grateful to this book for offering the common history of a pre-patriarchal spirit based universe. It gives me some ground to stand on for this journey is far from over.

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.

  

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

University of Chicago Main Quad

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.

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.

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.

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/

President Barack Obama, right, meets with Vietnamese Communist party secretary general Nguyen Phu Trong in the Oval Office of the White House, on Tuesday, July 7, 2015, in Washington. Trong is the de facto leader of Vietnam despite holding no official government post, and is visiting Washington to boost ties 20 years after the U.S. and Vietnam normalized relations following the Vietnam War. (AP Photo/Evan Vucci)

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

 

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

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

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!

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.

"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.

  

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

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.

  

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.

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

Antarctica. Wind! energy problem? no, it is us, the ignorance.

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

The Hague Holland

0031627848115

 

Waterstof is na verbranding, water. De olie kan in principe vervangen worden door waterstof. Het ontbreekt ons, de mensheid, aan de energie (input) 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 windriaan and the spailboat 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

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.

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.

  

For a brief time, I owned Canon PowerShot G9—a compact camera that only satisfied my most modest expectations. As such, I don’t have much of a catalog of photos from the thing, but this portrait is one of them.

 

The date: New Years 2008, when we went with friends to Torrey Pines State Natural Reserve. These two gents converse about their wives, kids, weather—I dunno what, but something. The day was relatively clear and about 21 degrees Celsius (70 F) when I made the portrait, which in post-production is cropped 3:2.

 

Years later, I told the man on the left (yes, a family friend) about changing my diet and how it normalized my blood sugar. He conveyed the information to his wife, who at the time required insulin shots. Six months after she cut carbohydrate consumption, as I had done, her diabetes disappeared.

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.

  

A moderated discussion with David Lipton, First Deputy Managing Director of the IMF, which will cover key new issues facing the global economy, including normalization of monetary policy, digitalization, and other topical issues. How should policy makers be thinking about these new challenges and their potential impact? Come join the discussion.

"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

Except that on friday night it poured buckets of rain in Malate for over an hour. Nothing normalized here.

This is a mean and median average of all of the bOING bOING zine covers posted by Mark Fraunfelder on his Flickr album.

 

Averaged using my normal methods, then normalized.

 

my blog

1. First society condones and makes normal stupid, ignorant, and lazy people who do not want to support themselves. 2. Due to this support and normalization, many of those who are not prone to being stupid, ignorant, and lazy join in - and why not? If one is not taking property, they are giving it up. 3. Stupid, ignorant, and lazy people become arrogant and bored, so they go out and act as if every convenience store clerk, successful individual, and cop owe them something. 4. They are struck with reality when someone, often a cop, protects the property the looter believes is theirs. 5. The city, infested with stupid, ignorant, and lazy people, is shocked when they realize their freedom to take isn't infinite. 6. The cops then rationalize they should be more like the military to protect themselves from the stupid, lazy, and ignorant masses. 7. THIS as well becomes normalized while no one questions the core of the problem (looters and moochers who are allowed to thrive with cell phones, 60" TVs, health care, and a place to live on someone else's dime, as opposed to being forced to work for their keep or at least ask for charity as every stupid, lazy, and ignorant person should). 8. It all ends with a wonderful little country where everyone is owed everything and those who are responsible are rewarded with a "live as we say or else" ultimatum until they can't take it anymore. This is when the war begins.

 

Photo by Nocturnales Airlines of flickr

"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

"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

"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

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！

  

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.

Here is the second photo set for the Babes & Boobs project, a pro-public breastfeeding photo essay I wanted to personally start up in hopes of persuading society to normalize and not criticize breast feeding, as well as hoping to change the future for expecting moms.

 

While we went out for ice cream, we had a wonderful chat with the woman working the ice scream parlor! (FYI her name is Portia)

 

Portia: “Are you just out taking pictures?”

Me: “Actually we’re working on a photo project that supports public breast feeding!”

Portia: *face lights up* “Well that’s just wonderful, I don’t see anything wrong with a woman feeding her child. I know that lady that just walked out, she has 5 of her own - all breastfed!”

 

See more at:

www.babesandboobsblog.tumblr.com

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&...

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].

www.flickr.com/photos/imperial_fora_of_rome/51635880647

 

“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...

AIRS radiances and standard retrievals were used to obtain thin cirrus particle size and optical depth over the tropical oceans. (a) Normalized probability distribution of cloud top temperature for a total of 29 days. Histograms are partitioned into 5 bins of (0.0-0.1, 0.1-0.25, 0.25-0.5, 0.5-0.75, and 0.75-1.0). (B) Joint probability distributions of cloud top temperature and particle size for the same time period and intervals as (A). (C) Histograms of particle size for the same bins listed in (B). These results illustrate the usefulness of AIRS to characterize the cloudy atmosphere in the upper tropical troposphere. They also show that particle size tends to increase with optical depth and cloud top temperature, results that are consistent from other studies that use satellite, surface-based, or aircraft observational platforms.

 

Citation

Kahn, B. H., Chahine, M. T., Stephens, G. L., Mace, G. G., Marchand, R. T., Wang, Z., Barnet, C. D., Eldering, A., Holz, R. E., Kuehn, R. E., and Vane, D. G.: Cloud type comparisons of AIRS, CloudSat, and CALIPSO cloud height and amount, Atmos. Chem. Phys., 8, 1231-1248, 2008.

 

______________________________________________________________________

 

About AIRS

The Atmospheric Infrared Sounder, AIRS, in conjunction with the Advanced Microwave Sounding Unit, AMSU, sense emitted infrared and microwave radiation from the Earth to provide a three-dimensional look at Earth's weather and climate. Working in tandem, the two instruments make simultaneous observations all the way down to the Earth's surface, even in the presence of heavy clouds. With more than 2,000 channels sensing different regions of the atmosphere, the system creates a global, 3-dimensional map of atmospheric temperature and humidity, cloud amounts and heights, greenhouse gas concentrations, and many other atmospheric phenomena. The AIRS and AMSU fly onboard NASA's Aqua spacecraft and are managed by the Jet Propulsion Laboratory, Pasadena, California, under contract to NASA. JPL is a division of the California Institute of Technology in Pasadena.

 

Credit

NASA/JPL AIRS Project

 

Download the image

Various sizes of the image are available, and there are two ways to download:

1) Right-click on the image. Click on a size next to "View all sizes".

2) Click on the "Actions" menu located above the image. Select "View all sizes".

 

Resources

Atmospheric Infrared Sounder web site

 

How to get the AIRS data

Data Products

Data Portals

Documentation

 

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.

  

Hebron (Arabic: الخليل al-Ḫalīl; Hebrew: חֶבְרוֹן , Standard Hebrew: Ḥevron ), is located in the southern West Bank, 30 km (19 mi) south of Jerusalem. Nestled in the Judean Mountains, it lies 930 meters (3,050 ft) above sea level. It is the largest city in the West Bank and home to an estimated 175,000 Palestinians, and over 500 Jewish settlers concentrated in and around the old quarter. The city is most notable for containing the traditional burial site of the biblical Patriarchs and Matriarchs and is therefore considered the second-holiest city in Judaism after Jerusalem. The city is also venerated by Muslims for its association with Abraham and was traditionally viewed as one of the "four holy cities of Islam."

 

Hebron is a busy hub of West Bank trade, responsible for roughly a third of the area's gross domestic product, largely due to the sale of marble from quarries. It is locally well known for its grapes, figs, limestone, pottery workshops and glassblowing factories, and is the location of the major dairy product manufacturer, al-Junaidi. The old city of Hebron is characterized by narrow, winding streets, flat-roofed stone houses, and old bazaars. The city is home to Hebron University and the Palestine Polytechnic University.

 

Jewish settlement after the Six-Day War

 

After the Six-Day War in June 1967, Israel, according to the Allon Plan, was to exchange parts of the West Bank with Jordan in a proposal for trading land for peace, with Israel annexing 45% of the West Bank and Jordan the remainder.

 

Allon thought settlement would determine the country's borders, and submitted to the cabinet a proposal building a Jewish settlement near Hebron. David Ben-Gurion also considered that Hebron was the one sector of the conquered territories that should remain under Jewish control, and have a large Jewish settlement. Apart from its symbolic message to the international community, settling Hebron had a theological significance of cosmic dimensions in some quarters, in that:-

  

'David's kingdom was a model for the messianic kingdom. David began in Hebron, so settling Hebron would lead to final redemption.'

 

Much of the ensuing settlement was planned and financed by the Movement for Greater Israel. Failing to obtain a green light from the government, though with Allon's consent, on Passover in 1968, a group led by Rabbi Moshe Levinger rented the main hotel in Hebron as Swiss tourists, with Haim Drukman presiding over seder, and then refused to leave. A Druze border policeman who had assisted Levinger was shot the next day. The Labor government's survival depended on the National Religious Party, and was reluctant to evacuate the settlers, given the massacre that occurred decades earlier. After heavy lobbying by Levinger, the settlement gained the tacit support of Levi Eshkol and Yigal Allon, while it was opposed by Abba Eban and Pinhas Sapir.After more than a year and a half of agitation, and a bloody attack during Sukkot (October 9, 1968), in which a grenade was thrown, apparently by a Hebron boy, onto the mosque stairs wounding 47 Israeli and foreign visitors, the government agreed to legitimize Levinger's wildcat settlement by establishing a town on the outskirts of the city. in an abandoned military base, which was named Kiryat Arba, 'as if to make the place instantly ancient.' In 1979, a group of settlers led by Miriam Levinger moved into the Dabouia, or former Hadassah Hospital, now Beit Hadassah, in central Hebron, and founded the Committee of The Jewish Community of Hebron near the Abraham Avinu Synagogue. The take-over created severe conflict with Arab shopkeepers in the same area, who appealed twice to the Israeli Supreme Court, without success. With this precedent, in February of the following year, the Government legitimized residency in the city of Hebron proper.The pattern of settlement followed by an outbreak of hostilities with local Palestinians was repeated later at Tel Rumeida. The most violent episode occurred on the 2 May 1980 when 6 yeshiva students died, on the way home from Sabbath prayer at the Tomb of the Patriarchs, in a grenade and firearm attack. The event provided a major motivation for settlers near Hebron to join the Jewish Underground.

 

Supporters of Jewish resettlement within Hebron see their program as the reclamation of an important heritage dating back to Biblical times, which was dispersed or, it is argued, stolen by Arabs after the massacre of 1929.The purpose of settlement is to return to the 'land of our forefathers', and the Hebron model of reclaiming sacred sites in Palestinian territories has pioneered a pattern for settlers in Bethlehem and Nablus. Many reports, foreign and Israeli, are sharply critical of the settlers

 

Hebron was the one city excluded from the interim agreement of September 1995 to restore rule over all Palestinian West Bank cities to the Palestinian Authority Since The Oslo Agreement, violent episodes have recurred in the city. The Cave of the Patriarchs massacre took place on February 25, 1994 when Baruch Goldstein, an Israeli physician and resident of Kiryat Arba, opened fire on Muslims at prayer in the Ibrahimi Mosque, killing 29, and wounding 125 before the survivors overcame and killed him This event was condemned by the Israeli Government, and the extreme right-wing Kach party was banned as a result] The Israeli government also tightened restrictions on the movement of Palestinians in H2, closed their vegetable and meat markets, and banned Palestinian cars on Shuhada Street

 

The Jewish community has been subject to attacks by Palestinian militants, especially during the periods of the Intifadas; which saw 3 fatal stabbings and 9 fatal shootings in between the first and second Intifada (0.9% of all fatalities in Israel and the West Bank) and 17 fatal shootings (9 soldiers and 8 settlers) and 2 fatalities from a bombing during the second Intifada and thousands of rounds fired on it from the hills above the Abu-Sneina and Harat al-Sheikh neighbourhoods. 12 Israeli soldiers were killed (Hebron Brigade commander Colonel Dror Weinberg and two other officers, 6 soldiers and 3 members of the security unit of Kiryat Arba) in an ambush Two Temporary International Presence in Hebron observers were killed by Palestinian gunmen in a shooting attack on the road to Hebron

 

Israeli organization B'Tselem states that there have been "grave violations" of Palestinian human rights in Hebron because of the "presence of the settlers within the city." The organization cites regular incidents of "almost daily physical violence and property damage by settlers in the city", curfews and restrictions of movement that are "among the harshest in the Occupied Territories", and violence and by Israeli border policemen and the IDF against Palestinians who live in the city's H2 sector According to Human Rights Watch, Palestinian areas of Hebron are frequently subject to indiscriminate firing by the IDF, leading to many casualties. One former IDF soldier, with experience in policing Hebron, has testified to Breaking the Silence, that on the briefing wall of his unit a sign des ribing their mission aim was hung that read:"To disrupt the routine of the inhabitants of the neighbourhood." Hebron mayor Mustafa Abdel Nabi invited the Christian Peacemaker Teams to assist the local Palestinian community in opposition to what they describe as Israeli military occupation, collective punishment, settler harassment, home demolitions and land confiscation.

 

An international unarmed observer force—the Temporary International Presence in Hebron (TIPH) was subsequently established to help the normalization of the situation and to maintain a buffer between the Palestinian Arab population of the city and the Jews residing in their enclave in the old city. On February 8, 2006, TIPH temporarily left Hebron after attacks on their headquarters by some Palestinians angered by the Jyllands-Posten Muhammad cartoons controversy. TIPH came back to Hebron a few months later. On May 15, 2006, a member of a group who is a direct descendant of the 1929 refugees, urged the government to continue its support of Jewish settlement, and allow the return of eight families evacuated the previous January from homes they set up in emptied shops near the Avraham Avinu neighborhood. Beit HaShalom, established in 2007 under disputed circumstances, was under court orders permitting its forced evacuation All the Jews were expelled on December 3, 2008

 

Since early 1997, following the Hebron Agreement, the city has been divided into two sectors: H1 and H2. The H1 sector, home to around 120,000 Palestinians, came under the control of the Palestinian Authority. H2, which was inhabited by around 30,000 Palestinians, remained under Israeli military control to protect several hundred Jewish residents in the old Jewish quarter. A large drop has since taken place in the Palestinian population in H2, identified with the impact of extended curfews, strict restrictions on movement with 16 check-points in place, the closure of Palestinian commercial activities near settler areas, and settler harassment Survivors and descendants of that prior community are mixed. Some support the project of Jewish redevelopment, others commend living in peace with Hebronite Arabs, while a third group recommend a full pullout. Descendants supporting the latter views have met with Palestinian leaders in Hebron. In 1997 one group of descendants dissociated themselves from the settlers by calling them an obstacle to peace.

 

A total of 86 Jewish families now live in Hebron.