Deets Carroll calls out, "Got company!"

Jaina Lefevre glances back. "Frank...thanks for stoppin' by. Means a lot." She swallows. "Just..be safe..." she watches behind her and her face pales, fingers twining around Rai's leg.

Debra Charron relaxes again, and once again begins softly whistling to pass the time

Deets Carroll continues to look around. Speaks softly. "Kids. If there's any trouble, just in case, I want you to keep low, and run between the hills to the gas station, and then to the church, if you have to. Got that?"

Tres Asbrink just taps his foot as he looks over the small crowd"Where is this whore who thinks she can make threats and call me out of my bunker." he shakes his head for a moment.

Jaina Lefevre nods. "Got it Mom." she whispers and looks at the others.

Remamian Takashi looks up at deets as she says that and turns back to deb "That shall be my leave, i will be just a few steps away Ma'am" she turns and starts to walk up the steep hill, slightly loosing her footing a few times as some of the rocks and rubble skip down to the flat land bellow

Phoebe Scribe cut a wide swath around the UAC people, scowling at the pair of them while she headed for the bridge. Once she past them, she took off on a jog for it. She caught Deets' words before she left, but this kid wouldn't stick around this close. The other side? Perhaps.

Rai Pawpad nods. "Yeah, got it."

Kimani Silvercloud turns whan Deet speaks and the color drains from her face she scoots closer to rai stills reaching for Jais back, she looks up at Deets "yeah"

Deets Carroll nods tersely to Tres. "On the beach."

Debra Charron nods to Taiyou - her face calm, "I appreciate you being here. If I don't see you again here, I'll see you elsewhere."

Tres Asbrink just snaps his finger for the guard at his heels to follow him.

Kimani Silvercloud her eyes narrow when Tres walks down the hill, she growls, but its barely audible

Rai Pawpad growls softly, his fingers tightening on Jaina's.

Debra Charron observes the figures descending the hill and smiles - her green eyes sparkling, "Evening Gentlemen, ready for the event?"

Jaina Lefevre whispers. "Snaps fingers like a puppy. Looks like he got better from where we cut him."

Deets Carroll gives the nearby rooftops a final glance, and follows Tres down,

Nellie Meads's tail twitches. She takes a jar out of her pocket and holds it up in front of her eyes, and then lifts it over her head to show the people on the beach.

Tres Asbrink just lets out a small laugh"Ohh yes the event ohh lovely. I was just thinking of not comeing but i fidgured... Time to collect UAC property in the end."

Nellie Meads looks at Jaina. "Just off hand, I'd say he did get called out of his bunker. "

Debra Charron chuckles in obvious amusement, "No need to worry about them getting their property - I'd always planned to allow them to collect your body after we're done. To do less would be unseemly"

Jaina Lefevre nods to Nellie. "And you got his ear..." She's so nervous, she actually giggles at the jar. "Pee in his ear."

res Asbrink just smiles"Ohh yes seems you think your going to fight me." he snaps his fingers."Ohh no you don;t get that honor.. As i see it i'm a noble in this world. AS such you will fight a proxy in my place i'm to important to get my hands covered in your non-human blood."

Nellie Meads: "I wonder if I pinch this, will his clown ear feel it?"

Jaina Lefevre calls out. "You're a piece of shit, Ass-Brink!"

Remamian Takashi watches on, she rolls her eyes whispering to herself "come on ladies, just kill eachother already so i can go get something to drink" she smirks and her eyes widen as her pants begin to vibrate, she pats around and pulls out a small pda from her back pocket and reads whats on the screen. She quirks her brow and sends back a responce.

Rai Pawpad snarls. "He's a ratbastard chicken, that's why."

Nellie Meads rolls her eyes. "Don't call names, get even, people."

Kimani Silvercloud watches the beach, feeling on edge, if she had fur it would all be on end, her back is raised, the low growl continuing, she looks around, wondering if anyother kids would be comming

Deets Carroll growls, and pull her shotgun. "Then I shoot you down."

INSTALAÇÕES | INSTALLATIONS

Ali Miharbi - Movie Mirrors - Estados Unidos | United States

Anne Save de Beaurecueil + Franklin Lee / Equipe SUBdV (Victor Sardenberg, André Romitelli, Lucas de Sardi & Fabrício G. de Oliveira) - High Low - Brasil | Brazil

Annica Cuppetelli & Cristobal Mendoza - Nervous Structure - Estados Unidos | United States

Ben Jack - Elucidating Feedback - Nova Zelândia | New Zealand

Eric Siu - in collaboration with the member of Ishikawa Komuro Laboratory, University of Tokyo, Yoshihiro Watanabe, Ohno Hiroaki & Takeoka Hideki - Body Hack 1.0 - Japão | Japan

Hye Yeon Nam - Please Smile - Estados Unidos | United States

Joon Y. Moon - Augmented Shadow - Coréia do Sul | South Korea

Julian Palacz - algorithmic search for Love - Áustria | Austria

Juliana Mori - timeLandscape - wool rhythms - Brasil | Brazil

Karina Smigla-Bobinski - ADA - analoge interactive kinetic sculpture - Polônia e Alemanha | Poland and Germany

Kimchi & Chips - Link - Reino Unido | United Kingdom

Kimchi & Chips - Journey: Seoul - Reino Unido | United Kingdom

Lars Lundehave Hansen - Spiderbytes - Alemanha | Germany

Lawrence Malstaf - Nemo Observatorium 02002 - Bélgica | Belgium

Matt Roberts - Waves - Estados Unidos | United States

Ryoichi Kurokawa - rheo: 5 horizons - Bélgica | Belgium

Yujiro Kabutoya & Kazushi Mukaiyama - IJIROS - Japão | Japan

HIPERSÔNICA | HYPERSONICA PERFORMANCE

Alfredo Ciannameo - Ionesis - sonic plasma - Holanda | Netherlands

André Rangel, Anne-Kathrin Siegel & Fernando Alçada - SynDyn - Portugal | Portugal

Eduardo Nespoli, Projeto Aquarpa (Thiago Salas Gomes, Lucas Almeida, Flavio Jacon de Vasconcelos & Leandro Pereira Souza) - Mnemorfoses - Brasil | Brazil

Eduardo Patrício - Zin - Brasil | Brazil

Euphorie - França | France

Giuliano Obici - Concerto para Lanhouse - Brasil | Brazil

Nicolas Maigret - Pure Data read as pure data - França | France

HIPERSÔNICA | HYPERSONICA SCREENING

Alison Clifford & Graeme Truslove - Substratum - Reino Unido | United Kingdom

Fernando Velázquez - auto-retrato - Brasil | Brazil

Fernando Velázquez - the mindscapes suite - Brasil | Brazil

Jaap: Harriet Payer & Jorge Esquivelzeta - Cyberspace Photsynthesis - México | Mexico

Jaap: Harriet Payer & Jorge Esquivelzeta - Dog's Eye View - México | Mexico

Paul O Donoghue aka Ocusonic - Phasing Waves - Irlanda | Ireland

Warsaw Electronic Festival 2010: Przemyslaw Moskal - Digital Sculptures for Analog Sounds - Estados Unidos | United States

HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS

Alvaro X - Dead in DUMP - Brasil | Brazil

Bernhard Loibner - Unidentified Musical Subject - Áustria | Austria

Claudio Parodi - The things that are missing - Itália | Italy

CLEBER GAZANA | SIMPLE.NORMAL - F. WILL I DREAM? - Brasil | Brazil

DANIEL GAZANA - NOSOCÔMIO - Brasil | Brazil

Joaquin Cofreces - Hamoni Lapude Anan ( "we used to make canoes" in yaghan language) - Argentina | Argentina

The Tiny Orchestra - Time Wounds All Heels - Canadá | Canada

Juan Pablo Amato - Duo Encaprichado en alisar rugosidades mentales - Argentina | Argentina

Mauro Ceolin - Spore's Ytubesoundscape and his wildlife - Itália | Italy

Panayiotis KOKORAS - Magic - Grécia | Greece

FaoBeat - Beat'nTime / Lift'nBeat - Brasil | Brazil

Philip Mantione - Fabrics - Estados Unidos | United States

Music For Installations - Braindamage - Bélgica | Belgium

RINALDO SANTOS - MUSICONTOS - Brasil | Brazil

Sergio Cajado - Constatações Urbanas - Passado, Presente e Futuro - Brasil | Brazil

Sergio Granada Moreno - Digital Rainbow (2009) - Colombia | Colombia

Sol Rezza - Preguntas - Questions - México | Mexico

MÍDIA ARTE | MEDIA ART

A. Bill Miller - gridSol-precomps - Estados Unidos | United States

A. Bill Miller - gridSol-altar1 - Estados Unidos | United States

Aaron Oldenburg - After - Estados Unidos | United States

Agam (A.) Andreas - La Resocialista Internacional - Holanda | Netherlands

alan bigelow - This Is Not A Poem - Estados Unidos | United States

Alcione Godoy, Camillo Louvise, Bruno Azzolini, Rafael Araujo, Rodolfo Rossi, Marina Maia & Vinicius Nakamura - Hipercepção - Brasil | Brazil

Alex Hetherington - Linda Fratianne - Reino Unido | United Kingdom

Anders Weberg - P2P ART - The aesthetics of ephemerality - Suécia | Sweden

Anders Weberg - JE SUIS PÈRE ET MON PÈRE EST PÈRE I'm a Father and my Father is a Father - Suécia | Sweden

Anders Weberg - Expose Yourself - Suécia | Sweden

Anstey/Pape: Josephine Anstey & Dave Pape - Mrs. Squandertime - Estados Unidos | United States

Balam Soto - Self Portrait Videos - Estados Unidos | United States

Bárbara de Azevedo - VIDEO ESTADO SIMULACRO CINEMATOGRÁFICO - Brasil | Brazil

Ben Baker-Smith - Infinite Glitch - Estados Unidos | United States

Brit Bunkley - Pardox of Plenty - Nova Zelândia | New Zealand

Brit Bunkley - Up River Blues - Nova Zelândia | New Zealand

Brit Bunkley - Springfield Paradox - Nova Zelândia | New Zealand

Bruno Xavier, Fabiane Zambon, Felipe van Deursen, Frederico Di Giacomo & Kleyson Barbosa (Equipe principal) | Ana Freitas, Ana Prado, André Sirangelo, Alisson Lima, André Maciel, Alexandre Versignassi, Dalton Soares, Daniel Apolinario, Douglas Kawazu, Emiliano Urbim, Érica Georgino, Leandro Spett, Gil Beyruth, Gustavo Frota, Marina Motomura, Maurício Horta, Rafael Kenski, Renata Aguiar & Simone Yamamoto (Parceiros e colaboradores) - Newsgames da Superinteressante - Brasil | Brazil

charly.gr - peronismo (spam) - Argentina | Argentina

charly.gr - Joan - Argentina | Argentina

Chen, I-Chun - Measuring Distance Between the Self and Others - Taiwan | Taiwan

chiara passa - the virtual prigione - Itália | Italy

Christopher Otto - PXLPNT - Estados Unidos | United States

Cleber Gazana / Daniel Gazana - UNTITLED - Brasil | Brazil

Daniel Duda - Araucaria angustifolia - Brasil | Brazil

David Muth - 1 C A a 01x - Reino Unido | United Kingdom

David Sullivan - Fugitive Emissions - Estados Unidos | United States

Doron Golan - Waking Quad - Israel | Israel

Douglas de Paula - Interfaces Predatórias / Plundering Interfaces - Brasil | Brazil

Elétrico: Ludmila Pimentel, Carolina Frinhani & Bruna Spoladore - Experimento de Corpo - Brasil | Brazil

Grupo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Downtown 2.0 - Brasil | Brazil

Jarbas Agnelli - Birds on the Wires - Brasil | Brazil

Jason Nelson - Sydney's Sibera - Austrália | Australia

Jessica Barness - Common Sounds: Positive Elements, Negative Spaces - Estados Unidos | United States

Joana Moll & Heliodoro Santos - THE TEXAS BORDER - Espanha | Spain

jody zellen - Lines of Life - Estados Unidos | United States

Jorn Ebner - (L'ultimo turista) - Alemanha | Germany

jtwine - ONSPEED - Estados Unidos | United States

Kenji Kojima - RGB Music News - Estados Unidos | United States

kinema ikon: calin man - kinema ikon - Romênia | Romania

Leyla Rodriguez & Cristian Straub - Isle Of Lox "The face" - Alemanha | Germany

Luca Holland - rain.html - Reino Unido | United Kingdom

Luis Henrique Rodrigues - Internet Series - Brasil | Brazil

Luiz Gustavo Ferreira Zanotello - N.A.V.E - Brasil | Brazil

MALYSSE - THE BIOPERVERSITY PROJECT #1 - Brasil | Brazil

Matt Frieburghaus - Song - Estados Unidos | United States

mchrbn - Afghan War Diary - Suíça | Switzerland

Members: Aymeric Mansoux, Dave Griffiths and Marloes de Valk - Naked on Pluto - Holanda | Netherlands

Michael Takeo Magruder - Data Flower (Prototype I) - Reino Unido | United Kingdom

Nagasaki Archive Committee: Hidenori Watanave, Tomoyuki Torisu, Ryo Osera & others - Nagasaki Archive - Japão | Japan

Nanette Wylde - MettaVerse - Estados Unidos | United States

Nicholas Economos - Apophenia - Estados Unidos | United States

Nicholas Knouf - Journal of Journal Performance Studies (JJPS) - Estados Unidos | United States

Nurit Bar-Shai - FUJI spaces and other places - Estados Unidos | United States

Osvaldo cibils- everything breathes - Itália | Italy

Owen Eric Wood - Return - Canadá | Canada

Paolo Cirio - Drowning NYC - Reino Unido | United Kingdom

Quayola - Strata Series - Bélgica | Belgium

rachelmauricio - [[o]] - Brasil | Brazil

rachelmauricio - 3Y - Brasil | Brazil

rachelmauricio - ldj8jbl - Brasil | Brazil

Rayelle Niemann & Erik Dettwiler - www.citysharing.ch - Suíça | Switzerland

Remco Roes - Everything in between - Bélgica | Belgium

rage - Impermanência Formal - Brasil | Brazil

Representa Corisco: Vj Eletroman - Representa Corisco - Espanha | Spain

Richard J O'Callaghan - 'thechildrenswar' - Reino Unido | United Kingdom

Rodrigo Mello - Faces - Brasil | Brazil

Rosa Menkman - Collapse of PAL - Holanda | Netherlands

Santiago Ortiz - Impure - Espanha | Spain

seryozha kOtsun - Synesthesiograph - Rússia | Russia

Stuart Pound - Green Water Dragon - Reino Unido | United Kingdom

Stuart Pound - Time Code - Reino Unido | United Kingdom

TAMURA YUICHIRO - NIGHTLESS - Japão | Japan

TOMMY PALLOTTA: Submarine Channel - Collapsus: The Energy Risk Conspiracy - Holanda | Netherlands

Vladimir Todorovic - The Snail on the Slope - Singapura | Singapore

Vladimir Todorovic - Silica-esc - Singapura | Singapore

MAQUINEMA | MACHINIMA

André Lopes aka spyvspy aeon - Clockwork - Brasil e Portugal | Brazil and Portugal

André Lopes aka spyvspy aeon & slimgirlfat - MooN - Brasil e Portugal | Brazil and Portugal

Bernard Capitaine aka Iono Allen - Fears - França | France

Bernard Capitaine aka Iono Allen - Fusion - França | France

BobE Schism - Love Is Sometimes Colder Than Ice - Reino Unido | United Kingdom

C.-D. Schulz aka Rohan Fermi - 9 - Alemanha | Germany

C.-D. Schulz aka Rohan Fermi - Order in chaos - Alemanha | Germany

Chat Noir Studios: Sherwin Liu & Kate Lee - Death in Venice - Estados Unidos | United States

Chat Noir Studios: Sherwin Liu & Kate Lee - Incubus - Estados Unidos | United States

David Griffiths aka nebogeo - Missile Command - Finlândia | Finland

Evan Meaney - The Well of Representation - Estados Unidos | United States

Gottfried Haider - Hidden in plain sight - Áustria | Austria

Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Clockwise: Part 1 - Estados Unidos | United States

Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Stop, Rewind - Estados Unidos | United States

Henry Gwiazda - history - Estados Unidos | United States

Henry Gwiazda - infectious - Estados Unidos | United States

Iain Friar aka IceAxe - Trichophagia - Reino Unido | United Kingdom

Jun Falkenstein, Ben Covi, Brad Mitchell & Pete Terrill - The Lake - Estados Unidos | United States

Kerria Seabrooke & Paul Jannicola - Tiny Nation - Estados Unidos | United States

LES RICHES DOUANIERS: Gilles RICHARD & Fabrice ZOLL - The Lonely Migrant - França | France

Nonsense Studio: Drozhzhin, TimaGoofy, ultraviolet, ElGrandeBigB, Radiated & Takuhatsu - Johnny Cash - God's gonna cut you down - Finlândia | Finland

Pierre Gaudillere, Thomas Van Lissum, Oliver Delbos, Audrey Le Roy & Jonnathan Mutton - Unheimliche - França | France

Piotr Kopik - Psychosomatic rebuilders animation #002 - Polônia | Polland

Piotr Kopik - Psychosomatic rebuilders emoticons machinima - Polônia | Polland

Pooky Amsterdam, Draxtor Despres & Samuel's Dream - I'm Too Busy To Date Your Avatar! - Estados Unidos | United States

Saskia Boddeke aka Rose Borchovski - Lost in counting - Holanda | Netherlands

Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 5: Greek Myth, The Battle of the Gods - Holanda | Netherlands

Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 6: Israel Myth, The punishment - Holanda | Netherlands

Tom Jantol - Dear Fairy - Croácia | Croatia

Tom Jantol - Duel (Part) - Croácia | Croatia

Tom Jantol - The Remake - Croácia | Croatia

Tony Bannan aka ammopreviz - Selfish Gene - Austrália | Australia

Trace Sanderson aka Lainy Voom - Ctrl-Alt-Del - Reino Unido | United Kingdom

Trace Sanderson aka Lainy Voom - Dagon - HP Lovecraft - Reino Unido | United Kingdom

Tutsy Navarathna - My familiar dream - Índia | India

DOCUMENTA

Garry Shepherd – Global Shuffle - Austrália | Australia

Jim Haverkamp e Brett Ingram – Armor of God – Estados Unidos | United States

Khaled D. Ramadan – Psychic-Dentity - Dinamarca | Denmark

Lucius C. Kuert – Project 798, New Art In New China – China | China

Teilo Vallacott e J.A. Molinari – Altered_Egos – Reino Unido | United Kingdom

Vincenzo Lombardo – The VEP Project – Itália | Italy

Watch Mojo - A História do Daft Punk – Canadá | Canada

FILE ANIMA+

8-Bits Team: Valere Amirault, Jean Delaunay, Sarah Laufer & Benjamin Mattern - 8-Bits - França | France

Alan Becker - Animator Vs Animation - Estados Unidos | United States

Alessandro Novelli - The Alphabet - Itália | Italy

Alexander Gellner - 1 Minute Puberty - Alemanha | Germany

Andrew Huang - The Gloaming - Estados Unidos | United States

Ben Thomas & Leo Bridle - Train of Thought - Inglaterra | England

Birdo Studio: Luciana Eguti & Paulo Muppet - Bonequinha do Papai - Brasil | Brazil

Birdo Studio: Luciana Eguti & Paulo Muppet - Caixa - Brasil | Brazil

Birdo Studio: Luciana Eguti, Paulo Muppet & Allan Sieber - Animadores - Brasil | Brazil

Birdo Studio: Luciana Eguti, Paulo Muppet & Jimmy Leroy - Pequeno Cidadão - Brasil | Brazil

Brendan Angelides & Cyriak Harris - Eskmo - Estados Unidos | United States

Christopher Alender - Eye of The Storm - Estados Unidos | United States

Coala Filmes: Cesar Cabral - Dossiê Rê Bordosa - Brasil | Brazil

Dante Zaballa & Matias Vigliano - The Head - Argentina | Argentina

David O’Reilly - Please Say Something - Irlanda e Alemanha | Ireland and Germany

David O’Reilly - The External World - Irlanda e Alemanha | Ireland and Germany

David Wilson - Japanese Popstars “Let Go” - Inglaterra | England

Dominik Käser, Martin-Sebastian Senn, Mario Deuss, Niloy J. Mitra & Mark Pauly - Silhouettes of Jazz - Estados Unidos | United States

Esteban Diácono - Ólafur Arnalds - Ljósið - Argentina | Argentina

Fábio Yamagi & Denis Kamioka ‘Cisma’ - Photocopy Romance - Brasil | Brazil

Fernando Sanches - Xixi no Banho - Brasil | Brazil

Gabrielle Lissot, Pierre Lippens, Laurent Jaffier & Nicolas Deprez - Tous Des Monstres (All Monsters) - França | France

Guilherme Marcondes - Tyger - Brasil | Brazil

Guillermo Madoz - Head Honcho - Argentina | Argentina

Hi-Sim - Jump - Inglaterra | England

Home de Caramel - Alone Together - Espanha | Spain

Jasmin Lai - Brave - Estados Unidos e Tailândia | United States and Thailand

Jason Wishnow - Oedipus - Inglaterra | England

Jean-Paul Frenay - Artificial Paradise, Inc - Bélgica e França | Belgium and France

Joanna Lurie - Tree’s Migration - França | France

Joaquin Baldwin - Sebastian's Voodoo - Estados Unidos | United States

Joaquin Baldwin - The Windmill Farmer - Estados Unidos | United States

Ken Turner - TIM - Canadá | Canada

Lee Tao - Seedling - Canadá / Canada

Lemeh42 - Wool & Water - Itália / Italy

Leszek Plichta - Dreammaker - Polônia e Alemanha | Polland and Germany

Malcolm Sutherland - Bout - Canadá | Canada

Malcolm Sutherland - Umbra - Canadá | Canada

Marc Silver - There Are No Others - Inglaterra | England

Marlies van der wel - Protest Flatness - Holanda | Netherlands

Martin Piana - LUMI - Argentina | Argentina

Martin Woutisseth - Stanley Kubrick, a filmography - França | France

Matatoro Team: Mauro Carraro, Raphaël Calamote & Jérémy Pasquet - Matatoro - França | France

Matthias Hoegg - August - Inglaterra | England

Matthias Hoegg - Thrusday - Inglaterra | England

Max Hattler - SPIN - Inglaterra | England

Meindbender Animation Studio - The Pirate - Suécia | Sweden

Michael Paul Young - The Interpretation - Estados Unidos | United States

Michal Socha - Chick - Polônia | Polland

Michal Socha - Koncert - Polônia | Polland

Mr McFly - Baseball - França | France

MUSCLEBEAVER: Tobias Knipf & Andreas Kronbeck - How your money works - Alemanha | Germany

Napatsawan Chirayukool - What makes your day? - Tailândia e Inglaterra | Thailand and England

Pahnl - Nowhere near here - Inglaterra | England

Peppermelon TV - Advanced Beauty - Inglaterra e Estados Unidos | England and Unites States

Peppermelon TV - First - Inglaterra e Estados Unidos | England and Unites States

Peppermelon TV - Target - Friends with you - Inglaterra e Estados Unidos | England and Unites States

Robert Seidel - Vellum - Alemanha | Germany

Rogier van der Zwaag Nobody Beats The Drum - Grindin - Holanda | Netherlands

Ross Phillips - 5 Second Projects ( Ballons) - Inglaterra | England

Ross Phillips - 5 Second Projects ( Reverse) - Inglaterra | England

Sasha Belyaev - The Rite of Youth - Letônia | Latvia

Scott Pagano - Pororoca - Estados Unidos | United States

Scott Pagano - Trust In The 'M' Machine - Estados Unidos | United States

Serene Teh - Parkour - Cingapura | Singapore

Stephen Irwin - Black Dog's Progress - Inglaterra | England

Stephen Irwin - Horse Glue - Inglaterra | England

Sylvain Marc - Cocotte Minute - França | France

Sylvain Marc - Fertilizer Soup - França | France

Tanya Aydostian - L'autre - França | France

Taylor Price - Hunt - Canadá e Estados Unidos | Canada and United States

Treat Studios - E4 - Inglaterra | England

Veronika Obertová - Viliam - Eslováquia | Slovakia

Wesley Rodrigues - Pinga com Saquê - Brasil | Brazil

Zach Cohen - The Chair Not Taken - Itália | Italy

Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia

Animatório - Neomorphus - Brasil | Brazil

Bertrand Bey & Pierre Ducos - La Détente - França | France

Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil

Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil

Fábio Yamaji - O Divino, de repente - Brasil | Brazil

Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France

GAMES

Adam Saltsman & Danny Baranowsky - Canabalt - Estados Unidos | United States

Alex May & Rudolf Kremers - Eufloria - Reino Unido

| United Kingdom

Alexander Bruce - Hazard: The Journey of Life - Austrália | Australia

Binary Tweed - Clover: a Curious Tale - Reino Unido | United Kingdom

Cats in the Sky - Cargo Delivery - Brasil | Brazil

Christoffer Hedborg - Toys - Suécia | Sweden

Colibri Games - The Tiny Bang Story - Rússia | Russia

Edmund McMillen & Tommy Refenes - Super Meat Boy - Estados Unidos | United States

ENJMIN - Paper Plane - França | France

Evan Blaster - Infinite Blank - Estados Unidos | United States

Frictional Games - Amnesia: The Dark Decent - Suécia | Sweden

Gaijin Games - BIT TRIP BEAT - Estados Unidos | United States

Kiaran Ritchie, Jasmine Ritchie & Francisco Furtado - Beep Game - Canadá | Canada

Mark Essen - "Nidhogg" - Estados Unidos | United States

Mediatronic - Monsters Probably Stole My Princess - Reino Unido | United Kingdom

Nicklas Nygren - Saira - Suécia | Sweden

Paolo Pedercini / Molleindustria - "Every Day The Same Dream" - Estados Unidos e Itália | United States and Italy

Richard E Flanagan / Phosfiend Systems - FRACT - Canadá | Canada

Spaces of Play - Spirits - Alemanha | Germany

State of Play Games - Lume - Reino Unido | United Kingdom

Tales of Tales - The Path - Bélgica | Belgium

FILE TABLET

Aircord: Toshiyuki Hashimoto, Masato Tsutsui & Koichiro Mori – REFLECTION – Japão | Japan

Alex Komarov & Sergey Rachok – ACCORDION – Estados Unidos e Rússia | United States and Russia

Cruz-Diez Foundation - CRUZ-DIEZ "INTERACTIVE CHROMATIC RANDOM EXPERIENCE" – Venezuela | Venezuela

Fingerlab: Antoine Lepoutre & Aurélien Potier – MULTIPONG – França | France

Jason Waters – SPIROGROW – Estados Unidos | United States

Jay Silver & Eric Rosenbaum - SINGING FINGERS – Estados Unidos | United States

Nate Murray & TJ Fuller - IPAD GAME FOR CATS - Estados Unidos | United States

Pavel Doichev - ART IN MOTION – Estados Unidos | United States

Pavel Doichev - LINE ART – Estados Unidos | United StatesPavel Doichev – TESLA – Estados Unidos | United States

Rob Fielding – MUGICIAN – Estados Unidos | United States

RunSwimFly - Richard Harrison – GLOOP - Austrália | Australia

Scott Snibbe – ANTOGRAPH (ou MYRMEGRAPH) – Estados Unidos | United States

Scott Snibbe – BUBBLE HARP – Estados Unidos | United States

Scott Snibbe – GRAVILUX – Estados Unidos | United States

Scott Snibbe – OSCILLOSCOOP – Estados Unidos | United States

Scott Snibbe – TRIPOLAR – Estados Unidos | United States

Smule - MAGIC FIDDLE – Estados Unidos | United States

Spaces of Play: Mattias Ljungstrom, Marek Plichta, Andreas Zecher & Martin Strak – SPIRITS – Alemanha | Germany

Ted Davis - TEXT2IMAGE – Estados Unidos | United States

Typotheque / Resolume - DANCE WRITER – Estados Unidos | United States

WORKSHOP

Workshop Fiesp - AA School: Franklin Lee, Robert Stuart Smith (Kokkugia), Anne Save de Beaurecueil (SUBdV), Sandro Tubertini (Environmental Engineering Agency, BDSP), Thiago Mundim, Ernesto Bueno, Arthur Mamou-Mani, Arya Safavi, Yoojin Kim & Victor Sardenberg

Parametric Architecture - Reino Unido | United Kingdom

code geass

kallen

Re-edited Armani Code ad.

Debra Charron snorts and her eyes once again glitter, this time in very frank contempt. Her voice is clear and is intended to reach the onlookers as she states, "Tres, are you really sure you want to pass along your duty to another? It may get you out of a bullet here tonight, but in the long run how will it play for those who have to follow you? Soldiers like to respect their commander after all.......and a commander who hides behind others when presented with physical danger is not one who'll inspire much in the way of respect - and your men deserve better" Deb looks at the person acompanying Tres, "You're here of your own free will?"

Pyros Zenovka nods at the woman"My duty is to sever the UAC and the company i follow my orders to the letter." he taps the gun at his side."So my orders are to kill you what else is there to do."

Deets Carroll sighs and steps sideways, out of Deb's line of fire. It gives her a better line on Tres, which isn't much of a coincidence.

Tres Asbrink just titls his head as he looks at Deb"There are reasons why i have brought commisinars to the city." he just smiles"To carry out my will. Cold ruthless type who do as the uac wills it." he looks to Pyros." Which Pyros is one of them."

Esha Rajal arrived rather fashionably late for the evening's festivities. At least she had a good excuse, having run ragged across Apoc and the southwestern side of Midian. She stood far enough back from the gathered crowd that she could have a good view of the area in general. She was just there in case anything went wrong, as per orders, and she'd follow them. She shifted her wait from side to side as she waited patiently, her eyes roaming over the children in front of her, and off to the little bit of action she could see down on the beach below.

Debra Charron smiles at Tres, "Really? Or have you brought them because you doubt your ability to command the respect of the troops who have served you to this point? For acts just such as this one........" Deb looks at the uniformed man, "I am Debra Charron, and I appreciate your dedication to your duty. I don't think i've had the privilige of your name soldier?""

Tres Asbrink just lets out a small snort"There only job is to do what the company says nothing more.. If not then liquadation is in order i would say." he just lets out a small laugh looking at pyros to see what his reply would be.

Jaina Lefevre watches and listens. She's so proud of her Mom down there. And she so desperately wants to slice that fucker with his own scalpel again.

Pyros Zenovka just looks at the woman for a moment and titls his head"I can care less what a dog of war has to say.... I have my duty i do what i have to do. You do not the curse of mercs like yourself." his hand moves to the large luger at his leg taping it for a moment.

Jaina Lefevre holds Rai's hand tight, watching. She's chewing the crap out of her lip too.

Kimani Silvercloud listens to the conversation below and shakes her head and wispers to the group of kids "He's probaly scared, makin up excuses why he cant fight"

Jaina Lefevre: "Probably because he's a pansy. Rai and I took him. He has to get someone else to fight 'cause he'd pee his pants if he had'ta do it his ownself."

Nellie Meads: "Pixis, come over with us."

Deets Carroll shakes her head. "This is crap. She levels her gun at Tres. Your flunky drops his guns, or I shoot you now."

Kimani Silvercloud looks over and smiles "hey sister, come on over" she pats the ground next to her

Belldandy Ghost looks over to Kimani, at first she wasnt planning on moving, but since Kimi had motioned to a spot she couldnt help but to go over and sit by her, to watch the two fight like gladiators in a colleseum or arena

Debra Charron chuckles, "Commisar, last time I checked - you worked for Union Aerospace Corporation..........not some government. That means I'm not the only mercenary on this beach, i'm just the only *Professional* mercenary here." Deb grins wolfishly at Tres, "If you insist on sacrificing another to save yourself, the consequences be upon your head. No matter who walks away from this, in the eyes of those who serve you - the folks down in the ranks - I win." Deb fixes her gaze on Pyros, "Well Commisar - if you're ready to defend his right to make war on children - find myself suitably attired." Deb cuts her gaze to Deets, "Deets - let him have his fun. if this fellow is Tres' substitute, then i'll trade shots with him. If tres himself or anyone else attempts to fire at me, drop Tres."

Rai Pawpad smiles. "Hey there, Knight."

Belldandy Ghost nods "Good Morning, Your Majesty."

Jaina Lefevre glances over at Pix but is really kinda focused on hoping her Mom doesn't die.

Deets Carroll scowls, "Understood." Begrudgingly. Her shotgun aim never wavers from Tres' back.

Kimani Silvercloud clasps her hands together nevously fidgeting with them she tries to smile at the group reassuringly but it just comes out as a grimace

Pyros Zenovka just smiles as the woman"Just so you know i'm the top in with my group for this kind of work miss." he just smiles as he steps forward>"No worrys there will be no one to bother you... Childeren from this city are just like the adults things that need to be beaten."

Tres Asbrink just steps back from the fight and lets his man do his job.

Jaina Lefevre: "Yeah! But HE was the one that got his ass beat!" She points to Tres. "BY TWO KIDS! PANSY!"

Rai Pawpad growls in his chest, and murmurs, "yeah? bring it assbag."

Deets Carroll glares and keeps Tres in her sights, stepping back slightly to maintain her distance.

Simon Netizen just...watches. Seeing, hearing...watching quietly as he converses in whispers with Esha.

Tea Code Coffee

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background

The Focke Wulf Ta 338 originated as a response of request by the RLM in mid 1943 for an aircraft capable of vertical takeoff and landing (VTOL), optimized for the interceptor and point defense role and without a hazardous liquid rocket engine as means of propulsion. In the course of the year, several German manufacturers responded with a multitude of highly innovative if not unusual design, including Heinkel with the ducted fan project "Lerche", Rheinmetall-Borsig with a jet-powered tailsitter, and Focke Wulf. This company’s engineering teams submitted two designs: the revolutionary "Triebflügel" concept and the more conservative, yet still futuristic "P.03.10338" tail sitter proposal, conceived by Focke Wulf’s leading engineer Kurt Tank and Walter Kappus from BMW, responsible for the engine development.

In mid 1945, in the advent of defeat, further tests of the Ta 338 were stopped. I./EK338 was disbanded in March 1945 and all machines retreated from the Eastern front, while II./EK338 kept defending the Ruhrgebiet industrial complex until the Allied invasion in April 1945. Being circled by Allied forces, it was not possible to evacuate or destroy all remaining Ta 338s, so that at least two more or less intact airframes were captured by the U.S. Army and later brought to the United States for further studies.

General characteristics:

Crew: 1

Length/height on the ground: 10.40 m (34 ft 2 in)

Wingspan: 10.50 m (34 ft 5 in)

Fin span: 4:07 m (13 ft 4 in)

Wing area: 18.30 m² (196.99 ft²)

Empty weight: 11,599 lb (5,261 kg)

Loaded weight: 16,221 lb (7,358 kg)

Max. takeoff weight: 16,221 lb (7,358 kg)

Powerplant:

1× BMW 803 A-2 28-cylinder, liquid-cooled four-row radial engine,

rated at 4.100 hp (2.950 kW) and at 4.500 hp (3.308 kW) with emergency boost.

4x Schmidding SG 34 solid fuel booster rockets, 4.9 kN (1,100 lbf) thrust each, or

2x 9.8 kN (2,203 lbf) solid fuel booster rockets

Performance:

Maximum speed: 860 km/h (534 mph)

Cruise speed: 650 km/h (403 mph)

Range: 750 km (465 ml)

Service ceiling: 43,300 ft (13,100 m)

Rate of climb: 10,820 ft/min (3,300 m/min)

Wing loading: 65.9 lb/ft² (322 kg/m²)

Armament:

No internal armament, any weapons were to be mounted on three hardpoints (one under the fuselage for up to 1.000 kg (2.200 lb) and two under the outer wings, 500 kg (1.100 lb) each. Total ordnance was limited to 1.000 kg (2.200 lb).

Various armament and equipment sets (Rüstsätze) were tested:

R1 with 4× 20 mm (.79 in) MG 151/20 cannons

R2 with 2x 30 mm (1.18 in) MK 213C cannons

R3 with 48x 73 mm (2.874 in) Henschel Hs 297 Föhn rocket shells

R4 with 66x 55 mm (2.165 in) R4M rocket shells

R5 with a single 1.000 kg (2.200 lb) bomb under the fuselage

R6 with an underfuselage pod with one Rb 20/20 and one Rb 75/30 topographic camera

The kit and its assembly:

This purely fictional kitbashing is a hardware tribute to a highly inspiring line drawing of a Fw 190 VTOL tailsitter – actually an idea for an operational RC model! I found the idea, that reminded a lot of the Lockheed XFV-1 ‘Salmon’ prototype, just with Fw 190 components and some adaptations, very sexy, and so I decided on short notice to follow the urge and build a 1:72 version of the so far unnamed concept.

What looks simple (“Heh, it’s just a Fw 190 with a different tail, isn’t it?”) turned out to become a major kitbashing. The basis was a simple Hobby Boss Fw 190 D-9, chose because of the longer tail section, and the engine would be changed, anyway. Lots of work followed, though.

The wings were sliced off and moved upwards on the flanks. The original tail was cut off, and the cruciform fins are two pairs of MiG-21F stabilizers (from an Academy and Hasegawa kit), outfitted with reversed Mk. 84 bombs as aerodynamic fairings that carry four small wheels (from an 1:144 T-22M bomber) on scratched struts (made from wire).

The cockpit was taken OOB, only a pilot figure was cramped into the seat in order to conceal the poor interior detail. The engine is a bash from a Ju 188’s BMW 801 cowling and the original Fw 190 D-9’s annular radiator as well as a part of its Jumo 213 cowling. BMW 801 exhaust stubs were inserted, too, and the propeller comes from a 1:100 VEB Plasticart Tu-20/95 bomber.

Since the BMW 803 had liquid cooling, radiators had to go somewhere. The annular radiator would certainly not have been enough, so I used the space in the wings that became available through the deleted Fw 190 landing gear (the wells were closed) for additional radiators in the wings’ leading edges. Again, these were scratched with styrene profiles, putty and some very fine styrene mesh.

As ordnance I settled for a pair of gun pods – in this case these are slipper tanks from a Hobby Boss MiG-15, blended into the wings and outfitted with hollow steel needles as barrels.

Painting and markings:

Several design options were possible: all NMF with some colorful markings or an overall RLM76 finish with added camouflage. But I definitively went for a semi-finished look, inspired by late WWII Fw 190 fighters.

For instance, the wings’ undersides were partly left in bare metal, but the rudders painted in RLM76 while the leading edges became RLM75. This color was also taken on the wings’ upper sides, with RLM82 thinly painted over. The fuselage is standard RLM76, with RLM82 and 83 on the upper side and speckles on the flanks. The engine cowling became NMF, but with a flashy ‘Hartmann Tulpe’ decoration.

Further highlights are the red fuselage band (from JG300 in early 1945) and the propeller spinner, which received a red tip and segments in black and white on both moving propeller parts. Large red “X”s were used as individual aircraft code – an unusual Luftwaffe practice but taken over from some Me 262s.

After a light black ink wash some panel shading and light weathering (e.g. exhaust soot, leaked oil, leading edges) was done, and the kit sealed under matt acrylic varnish.

Building this “thing” on the basis of a line drawing was real fun, even though challenging and more work than expected. I tried to stay close to the drawing, the biggest difference is the tail – the MiG-21 stabilizers were the best option (and what I had at hand as donation parts), maybe four fins from a Hawker Harrier or an LTV A-7 had been “better”, but now the aircraft looks even faster. ;)

Besides, the Ta 338 is so utterly Luft ’46 – I am curious how many people might take this for real or as a Hydra prop from a contemporary Captain America movie…

Bengamin Imp, the Christ of Code.

sudo get me a sandwich.

58 engine Seagrave, 58 engine Mack CF lime green, 45 engine Mack CF lime green and 26 truck.

Code G

Here are the Moshi Mosnters codes 2014. Visit MoshiMonstersPlanet.com for all the codes!

Unedited.

San Marcos Texas

October 12th, 2014

Strange Matter

Richmond, VA

KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Dassault-Breguet Super Étendard (trans. "battle flag") is a French carrier-borne strike fighter aircraft designed by Dassault-Breguet for service with the French Navy. The aircraft was an advanced development of the Étendard IVM, the first of three prototypes, an IVM modified with the new engine and some of the new avionics, made its maiden flight on 28 October 1974. Original intentions were for 100 Super Étendard aircraft to be ordered for the French Navy, however the order placed was for 60 of the new model with options for a further 20; further budget cuts lead to only 71 Super Étendards being purchased in the end for the Aéronavele, with deliveries starting in June 1978.

No aircraft was lost during the leasing service. All aircraft were, after a major overhaul, integrated into the Aéronavale from 1988 on.

General characteristics

Crew: 1

Length: 14.31 m (45 ft 11½ in)

Wingspan: 9.60 m (31 ft 6 in)

Height: 3.86 m (12 ft 8 in)

Wing area: 28.4 m² (306.7 ft²)

Empty weight: 6,500 kg (14,330 lb)

Max. takeoff weight: 12,000 kg (26,455 lb)

Powerplant: 1 × SNECMA Atar 8K-50 turbojet, 49.0 kN (11,025 lbf)

Performance

Maximum speed: 1,000 km/h (637 knots, 733 mph) at low level

Range: 1,820 km (983 nmi, 1,130 mi)

Service ceiling: 13,700 m (44,900 ft)

Rate of climb: 100 m/s[62] (19,700 ft/min)

Wing loading: 423 kg/m² (86.3 lb/ft²)

Thrust/weight: 0.42

Armament

2× 30 mm (1.18 in) DEFA 552 cannons with 125 RPG

4× underwing and 2× under-fuselage hardpoints with a capacity of 2,100 kg (4,600 lb) maximum

The kit and its assembly:

The idea for this model was inspired by a profile designed by fellow user PantherG at whatifmodelers.com, showing a German Super Étendard in a fictional Marineflieger style paint scheme. I've been fascinated by the Tornado's Norm '87 scheme - but rather not by the Tornado itself. So I was happy to have an "excuse" to build a respective what-if model, taking a virtual idea to hardware.

The model is the standard Academy Super Étendard in 1:72, which is well-detailed - only the cockpit can take some attention, esp. the ejection seat, which I replaced completely, and I also added a Matchbox pilot which had to have its legs cut off, since the cockpit seems to be designed for Asian body measures... pretty tight in there!

Basically the kit was kept OOB. Only changes were made to the ordnance, which was taken from a German Tornado (Italeri). I also drilled open the air brakes' holes under the fuselage, and lowered the flaps for a more lively look. Overall, the Sue is rather clean and not really interesting - so any additional detail helps, I guess.

Painting and markings:

This took some legwork, since I wanted to stay true to reality, despite creating a whif.

The tactical code 42+XX has so far never been allocated to a German aircraft type, but it would perfectly fit in time before the Tornado (which has 43+XX and higher numbers).

The paint scheme is supposed to be experimental - and actually both Luftwaffe and Marineflieger had been testing tactical camouflage schemes for air superiority as well as ground attack purposes on a wide range of aircraft in the 70ies and 80ies, including F-4F, RF-4E, Alpha Jets and later also Tornados. Anyway, I decided to stay close to the "real" Norm 87 scheme, which is a bit different from what PantherG suggested in his drawings.

The colors I used are authentic: RAL 7009 "Grüngrau" is Revell 67, RAL 7012 "Basaltgrau" is Revell 77 and RAL 5008 "Graublau" is available as Xtracolor X264. Consulting real RAL color samples as benchmarks, I muist say that the Revell tones are very good, but the Xtracolor paint is pretty far off. X264 is rather a dark petrol blue, reminiscent of FS35042. Graublau is much more dull and grey-ish, rather a bluish FS36081 - and on real aircraft it almost looks like tar, no blue hue at all to detect.

Anyway, I still used X264, since my 42+15 would sport an experimental paint scheme, so it would not matter much - and X264 would still be the darkest tone of the paint scheme, with good contrast to RAL 7009 and 7012, which are very similar and have almost no contrast. Interesting scheme, though, esp. due to its large color bandages all around the hull instead of smaller patches or stripes.

Best alternative I could find is Humbrol 77, which is still too greenish, though - mixing it 1:1 with Humbrol 32 might yield something that comes close to RAL 5008.

With a little shading with lighter tones (including RLM 71 from Testors, Humbrol 79 and 77, as well as some acryllic dark grey as an overall filter), a black ink wash and some dry-brushing the contrast was enhanced and the surface slightly weathered. German aircraft were kept in good shape, but at times the weather and sunlight would take their toll and bleach the colors, esp. on the upper sides - RAL 7012 would quickly deteriorate into a relatively light grey with a slight, purple hue!

Both Cerberus and BOZ-101 pods were painted in different shades of grey, though, as if they'd belong to a differently camouflaged Marineflieger aircraft. The Kormoran missiles were painted according to pics of the real thing, in a dark olive drab color.

National markings and some German stencils were taken from an Xtradecal sheet for German Tornados, as well as from a sheet of an Italeri Tornado with Luftwaffe markings. The tactical codes were created from single digits from a respective TL Modellbau decal sheet.

Cockpit interior was painted in a very dark grey, according to pictures from the real Sue. The air intake interior and the landing gear wells were kept in aluminum (Humbrol 56), while the landing gear struts received a mix of aluminum and white.

In the end, a simple project: only a fantasy paint scheme and some minor changed details to the OOB kit. But the German wraparound scheme suits the Sue well, and its service introduction in France as well as the retirement of the German Starfighters in the early 80ies makes this a potentially convincing and plausible whif. And, honestly, it was actually a relief from some recent major kit conversions and kitbashings - and a tribute to the creative spirit of PantherG at whatifmodelers.com. ^^

Just a normal day at the #envato office

I assembled a small book from test prints, scrap etc of various jobs and projects from the last couple of months.

basic coding

Inspired by the robots from terminator 3, i forgot its name. "Berandal" means thugs or naughty in english

Call box on a loading dock - abandoned industrial park, Linfield, PA.

Retro-style poster advertising a code retreat event at work.

Picture of code from the open source software CodeIgniter (ellislab.com/codeigniter)

Code, orange

+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Gudkov Gu-1 was a Soviet fighter aircraft produced shortly after World War II in small numbers at the start of the jet age, but work on the Gudkov Gu-1 already started in 1944. Towards the end of World War II the Soviet Union saw the need for a strategic bombing capability similar to that of the United States Army Air Forces. The Soviet VVS air arm had the locally designed Petlyakov Pe-8 four-engined heavy bomber in service at the start of the war, but only 93 had been built by the end of the war and the type had become obsolete. By that time the U.S. regularly conducted bombing raids on Japan from distant Pacific forward bases using B-29 Superfortresses, and the Soviet Air Force lacked this capability.

There even was a highly modified mixed powerplant version on the drawing boards in 1952, the Gu-1M. Its standard radial powerplant for cruise flight was enhanced with a new, non-afterburning Mikulin AM-5 axial flow jet engine with 2.270 kgf/5,000 lbf/23 kN additional thrust in the rear fuselage. With this temporary booster, a top speed of up to 850 km/h was expected. But to no avail - the pure jet fighter promised a far better performance and effectiveness, and the Gu-1 remained the only aircraft to exclusively carry the Gudkov name.

General characteristics:

Crew: 1

Length: 12 m (39 ft 4 in)

Wingspan: 14 m (45 ft 11 in)

Height: 4.65 m (15 ft 3 in)

Wing area: 28 m² (301.388 ft²)

Airfoil:

Empty weight: 4,637 kg (10,337 lb)

Loaded weight: 6.450 kg (14.220 lb)

Maximum take-off weight: 7,938 kg (17,500 lb)

Powerplant:

1× Shvetsov ASh-82TKF 18-cylinder air-cooled radial engine, rated at 2,720 hp (2,030 kW)

1x RD-20 axial-flow turbojet with 7.8 kN (1,754 lbf) thrust as temporary booster

Performance

Maximum speed: 676 km/h (420 mph) at 29,000 ft (8,839 m) with the radial only,

800 km/h (497 mph/432 kn,) with additional jet booster

Cruise speed: 440 km/h (237 kn, 273 mph)

Combat radius: 820 nmi (945 mi, 1,520 km)

Maximum range: 3.000 km (1.860 mi, 1.612 nmi) with drop tanks

Service ceiling: 14,680 m (48,170 ft)

Wing loading: 230.4 kg/m² (47.2 lb/ft²)

Power/mass: 0.28 kW/kg (0.17 hp/lb)

Climb to 5,000 m (16,400 ft): 5 min 9 sec;

Climb to 10,000 m (32,800 ft): 17 min 38 sec;

Climb to 13,000 m (42,640 ft): 21 min 03 sec

Armament

4× 23 mm Nudelman-Suranov NS-23 cannons with 100 RPG in the outer wings

Five hardpoints for an external ordnance of 1.500 kg (3.300 lb)

The kit and its assembly:

This whif is the incarnation of a very effective kitbashing combo that already spawned my fictional Japanese Ki-104 fighter, and it is another submission to the 2018 “Cold War” group build at whatifmodelers.com. This purely fictional Soviet escort fighter makes use of my experiences from the first build of this kind, yet with some differences.

The kit is a bashing of various parts and pieces:

· Fuselage, wing roots, landing gear and propeller from an Academy P-47D

· Wings from an Ark Model Supermarine Attacker (ex Novo)

· Tail fin comes from a Heller F-84G

· The stabilizers were taken from an Airfix Ki-46

· Cowling from a Matchbox F6F, mounted and blended onto the P-47 front

· Jet exhaust is the intake of a Matchbox Me 262 engine pod

My choice fell onto the Academy Thunderbolt because it has engraved panel lines, offers the bubble canopy as well as good fit, detail and solid material. The belly duct had simply been sliced off, and the opening later faired over with styrene sheet and putty, so that the P-47’s deep belly would not disappear.

The F6F cowling was chosen because it looks a lot like the ASh-73TK from the Tu-4. But this came at a price: the P-47 cowling is higher, tighter and has a totally different shape. It took serious body sculpting with putty to blend the parts into each other. Inside of the engine, a styrene tube was added for a metal axis that holds the uncuffed OOB P-47 four blade propeller. The P-47’s OOB cockpit tub was retained, too, just the seat received scratched armrests for a more luxurious look.

The Attacker wings were chosen because of their "modern" laminar profile. The Novo kit itself is horrible and primitive, but acceptable for donations. OOB, the Attacker wings had too little span for the big P-47, so I decided to mount the Thunderbolt's OOB wings and cut them at a suitable point: maybe 0.5", just outside of the large main wheel wells. The intersection with the Attacker wings is almost perfect in depth and width, relatively little putty work was necessary in order to blend the parts into each other. I just had to cut out new landing gear wells from the lower halves of the Attacker wings, and with new attachment points the P-47’s complete OOB landing gear could be used.

With the new wing shape, the tail surfaces had to be changed accordingly. The trapezoid stabilizers come from an Airfix Mitsubishi Ki-46, and their shape is a good match. The P-47 fin had to go, since I wanted something bigger and a different silhouette. The fuselage below was modified with a jet exhaust, too. I actually found a leftover F-84G (Heller) tail, complete with the jet pipe and the benefit that it has plausible attachment points for the stabilizers far above the jet engine in the Gu-1’s tail.

However, the F-84 jet pipe’s diameter turned out to be too large, so I went for a smaller but practical alternative, a Junkers Jumo 004 nacelle from a Me 262 (the ancestor of the Soviet RD-20!). Its intake section was cut off, flipped upside down, the fin was glued on top of it and then the new tail was glued to the P-47 fuselage. Some (more serious) body sculpting was necessary to create a more or less harmonious transition between the parts, but it worked.

The plausible placement of the air intakes and their shape was a bit of a challenge. I wanted them to be obvious, but still keep an aerodynamic look. An initial idea had been to keep the P-47’s deep belly and widen the central oil cooler intake under the nose, but I found the idea wacky and a bit pointless, since such a long air duct would not make much sense since it would waste internal space and the long duct’s additional weight would not offer any benefit?

Another idea were air intakes in the wing roots, but these were also turned down since the landing gear wells would be in the way, and placing the ducts above or below the wings would also make no sense. A single ventral scoop (looking like a P-51 radiator bath) or two smaller, dorsal intakes (XP-81 style) behind the cockpit were other serious candidates – but these were both rejected because I wanted to keep a clean side profile.

I eventually settled for very simple, fixed side intakes, level with the jet exhaust, somewhat inspired by the Lavochkin La-200B heavy fighter prototype. The air scoops are simply parts from an Italeri Saab 39 Gripen centerline drop tank (which has a flat, oval diameter), and their shape is IMHO a perfect match.

Painting and markings:

While the model itself is a wild mix of parts with lots of improvisation involved, I wanted to keep the livery rather simple. The most plausible choice would have been an NMF finish, but I rather wanted some paint – so I used Soviet La-9 and -11 as a benchmark and settled for a simple two-tone livery: uniform light grey upper and light blue lower surfaces.

I used RAF Medium Sea Grey (Humbrol 165) and Soviet Underside Blue (Humbrol 114) as basic tones, and, after a black ink wash, these were lightened up through dry-brushed post-shading. The yellow spinner and fin tip are based on typical (subtle) squadron markings of the late 40ies era.

The cockpit as well the engine and landing gear interior became blue-grey (Revell 57), similar to the typical La-9/11’s colors. The green wheel discs and the deep blue propeller blades are not 100% in the aircraft's time frame, but I added these details in order to enhance the Soviet touch and some color accents.

Tactical markings were kept simple, too. The "38" and the Red Stars come form a Mastercraft MiG-15, the Guards badge from a Begemoth MiG-25 sheet and most of the stencils were taken from a Yak-38 sheet, also from Begemoth.

Finally, the kit was sealed with matt acrylic varnish (Italeri) and it received some mild soot stains and chipped paint around the cockpit and on the leading edges. Some oil stains were added around the engine (with Tamiya Smoke), too.

A massive aircraft, and this new use of the P-47/Attacker combo results again in a plausible solution. The added jet engine might appear a bit exotic, but the mixed powerplant concept was en vogue after WWII, but only a few aircraft made it beyond the prototype stage.

While painting the model I also wondered if an all dark blue livery and some USN markings could also have made this creation the Grumman JetCat? With the tall fin, the Gu-1 could also be an F8F Bearcat on steroids? Hmmm...

The handmade QR code of the painting Palermo by Fabrice de Nola. QR code size: cm 120 x 120.

To see the full painting go to: flic.kr/p/8WxM1o

Cite as: Fabrice de Nola, 2010. Palermo, detail on painted QR code.

This work is part or the Palermu Project.

There's a Flickr group about the Genius of Palermo, please feel welcome to join! flic.kr/g/qJgY7

I have been doing the Kent church project for 11 years now, so I thought I knew most churches in Kent and all in East Kent, but just before Christmas a contact posted shots of a church I had not heard of before, St Peter-in-Thanet.

Once life settled down, I tried to arrange a visit before Christmas, that was impossible, but the church will be open every days from 2nd January I was told.

And as I had one more day off, why not start the year with a crawl?

I programmed the sat nav with the post code, and let it guide me to Sandwich then to Ramsgate and across the island via Westwood Cross, with the urban sprawl of Ramsgate and Broadstairs merging into one large town all around.

I saw the tower of St Peter from a mile away, surprisingly large. Nearer, I see that the area declares itself a village, also called St Peter, and there is a traditional village pub opposite.

I point out again at this point, the towns of Ramsgate and Broadstairs merge into one, St Peter is now part of Broadstairs. And indeed was the ancient centre of the town before the resort took off.

I park next to the church, present myself in the large and friendly parish offices next door, and told the church is open.

I just have to find which one of the half dozen doors into the church and vestry is actually unlocked.

I introduce myself, again, and they are happy to let me go around taking shots, whilst they water the multitude of plants. But they do stop to point out interesting details.

Nothing more fabulous that the highly decorated chancel; painted panels on the roof, painted beams, tiles and mosaics.

Even at first glance it is stunning.

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

The medieval church of Broadstairs, St Peter's stands well inland to serve the original farming community that showed little interest in the coast that was to change the later life of this part of Kent. The tower, however, is easily visible from the sea and was long used as a landmark to shipping, which is why it still flies the White Ensign. Although the church was restored in the nineteenth century by Joseph Clarke and is stamped with the atmosphere he usually managed to create, there is some fine Norman architecture in the five bay aisle arcades (although the central arch in the south arcade is a later insertion into an inexplicable break in the Norman work). The chancel arch is of the thirteenth century and there is a good cut-down sedilia in the sanctuary. The delicate marble font is of eighteenth century date and there are some fine hanging wall tablets of the same period. The stained glass presents a good cross-section of the nineteenth century art, much of it by Heaton, Butler and Bayne.

www.kentchurches.info/church.asp?p=St+Peters

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ST. PETER'S

LIES the next parish south-eastward from St. John's, being so called from the dedication of the church of it to St. Peter. This parish is within the liberty and jurisdiction of the cinque ports, and is an antient member of the town and port of Dover, and though united to it ever since king Edward I.'s reign, yet so late as in that of king Henry VI. it became a dispute, whether this parish was not in the county at large; to take away therefore all doubt of it, that king, by his letters patent, united it to Dover, to which place, in like manner as St. John's above-mentioned, it is subsect in all matters of civil jurisdiction. The mayor of Dover here too appoints one of the inhabitants to be his deputy, who is chosen either yearly, or once in two or three years, at the mayor's pleasure; and to the charges of the sessions formerly held at Margate, this parish and Birchington used to contribute their proportion.

THE PARISH OF ST. PETER is as pleasant and healthy a situation as any in this island, the lands open and uninclosed, the soil a dry chalk, with frequent hill and dale interspersed throughout it. At Sowell hill, in the northern part of the parish, the land is reckoned to be the highest in the island. The village stands on a pleasing eminence, surrounded with trees, which is rather uncommon in these parts, having the church on the north-west side of it; at a little distance southward from which, is a small neat chapel, built by the sect of Methodists. Several genteel families reside in this village, situated about the middle of the parish, which is about two miles and a half across each way, and is bounded by the high chalk cliffs on the sea shore towards the north and east. It seems formerly to have been more populous than it is at present, for there were in the year 1563, as appeared by archbishop Parker's return to the orders of the privy council, one hundred and eighty-six housholds within this parish. Besides the village above mentioned, there are several other small hamlets and houses interspersed throughout it, viz. towards the south, Upton, Brompston, which is now the joint property of Henry Jessard, esq. and Mr. John Grey; Dumpton, great part of which extends into St. Laurence, it belongs to the earl of Hardwick; and Norwood. On the north-west side of the parish is Sacket's-hill, so called from its being the estate of an antient yeomanry family of this name, several of whom lie buried in this church, one of whom, John Sackett, as appears by his will, resided here and died possessed of his estate in this parish in 1444; on it there has been lately built a handsome house by Mr. King, for his summer residence, whose children are now possessed of it. In the northern part of the parish is the hamlet of Reading-street, southward of which is a small forstall, and then Sowell-street. In the eastern part of the parish, close to the cliffs, is Hackendon downe, or banks, where several antiquities have been dug up, as will be further mentioned hereafter; and the hamlet of Stone, formerly the residence of the Pawlyns, and then of the Huggets, where a few years ago Sir Charles Raymond, bart. built a small pleasant seat for his summer residence; Sir Harry Harper, bart. is the present owner of it. Not far from hence there formerly stood a beacon, which used to be fired to alarm the country in case of an invasion; a few years since some remains of the timber of it was dug up on the top of the Beacon-hill, about fifty five rods nearer to Stone than the present light-house.

¶About a mile and an half north-eastward from the church, at the extremity of the chalk cliff, is a point of land called the NORTH FORELAND, (suppofed by most to be the Cantium of Ptolemy) so called to distinguish it from the other Foreland, betwixt Deal and Dover, usually called the South Foreland; it is a promontory, or cape of land, that reaches further into the sea, and is somewhat higher than most of the land herebouts. On the top of it was formerly a house, built of timber, lath, and plaister work, with a large glass lanthorn on the top of it, in which a light was kept to direct ships in the night in their course, that they might keep clear of the Goodwin Sands, which lie off this point, and on which ships are apt to strike before they are aware, on account of their endeavouring to keep clear of this land, which extends so far into the sea. This house being by some accident burnt down in 1683, there was for some time a sort of beacon made use of, on which a light was hoisted; but about the latter end of the last century there was built here a strong house of flint, an octagon, on the top of which was an iron greate, quite open to the air, in which was made a blazing fire of coals. But about the year 1732, the top of this light-house was covered with a sort of lanthorn, with large sash lights, and the fire was kept burning by the help of bellows, which the light-men kept blowing all night. This invention was to save coals, but the sailors complained of it, as being very much to the prejudice of the navigation, many vessels being lost on the Goodwin Sands for want of seeing it, and indeed it was so little seen at sea, that some of the sailors asserted, they had in hazy weather seen the Foreland before they saw the light; whereas, before the lanthorn was placed here, when the fire was kept in the open air, as the wind kept the coals constantly alight, the blaze of it was seen in the air far above the light-house; complaint being made of this, the governors of Greenwich hospital ordered Sir John Thomson to view it, who ordered the lanthorn to be taken away, and the light-house to be made nearly the same as it was before, the light to continue burning all night and till day-light; since which, a few years ago, it was again repaired, and two stories of brick were raised on the former building. The height of it at present, including the small room in which the lights are kept, is somewhat more than one hundred feet; this room, which may be perhaps best described as a done raised on a decagon, is about ten feet in diameter, and twelve feet high; it is coated with copper, as is the gallery round it, to prevent fires. From the gallery there is a very extensive view, of which a conception may be formed from these lights being visible in clear weather at the Nore, which is ten leagues distant; in each of the sides of the decagon, towards the sea, is a patent lamp, kept burning all night, with a reflector and magnifier, the latter being very large. The whole building is white-washed, except the light room on the top; and all the rooms in it are used by the man and his family, who take care of it. (fn. 1) To the repair and maintenance of this light-house, every ship belonging to Great Britain, which sails by this Foreland, is obliged to pay two-pence for each ton; and every foreigner four-pence. It is under the direction of the governors of Greenwich hospital, in whom it is vested. There is a signal house between the North Foreland and Stonehouse, erected in 1795, the establishment of it is a lieutenant and midshipman of the navy, and two men.

Here were two fairs formerly kept every year, one on June 29, being St. Peter's day; and the other on March 25, being Lady-day; but they have for several years past been changed to the 10th of july, and the 5th of April.

The manor of Minster claims paramount over the greatest part of this parish; the landholders holding of it, by a certain rent called Pennygavel. Subordinate to this manor is that of

Near this place, in 1574, a monstrous fish shot himself on shore on a little sand, now called Fishness, where, for want of water it died the next day; before which his roaring was heard above a mile; his length, says Kilburne, was twenty-two yards; the nether jaw opening twelve feet; one of his eyes was more than a cart and six horses could draw; a man stood upright in the place from whence his eye was taken; the thickness from his back to the top of his belly (which lay upwards) was fourteen feet; his tail of the same breadth; the distance between his eyes was twelve feet; three men stood upright in his mouth; some of his ribs were fourteen feet long; his tongue was fifteen feet long; his liver was two cart loads, and a man might creep into his nostril. (fn. 7) There were four whales, or monstrous large fish, towed ashore by the fishermen on this island a few years ago, one of which had been found floating on the sea dead, and was brought to Broadstairs, and measured about sixty feet long, and thirty-eight feet round the middle; its forked tail was fifteen feet wide, its lower jaw nine feet long; it had two rows of teeth, twenty-two in each row, about two inches long; the upper jaw had no teeth, only holes for the lower ones to shut in. It had only one nostril. It had two gills, and the lower jaw shut in about three feet from the end of the nose. It is said this fish sold at Deal for twenty-two guineas.

MANY BRASS COINS of the Roman emperors have been found near Broadstairs, on a fall of the adjoining cliff, after much rain and frost at different times; but they have been so much worn and defaced, as not to be distinguished what they were.

Near the cliffs, about midway between the lighthouse and Kingsgate, are two large barrows, or banks of earth, called by the country people Hackendon, or Hackingdown banks, already noticed before. The tradition is, that these banks are the graves of those English and Danes, which were killed in a fight here; and that as one bank is greater than the other, the former is the place where the Danes were buried, who are said to have been defeated. It is not improbable that this battle referred to in history, was that fought A. D. 853, when the Danes having invaded this island with a considerable force, were attacked by earl Alcher with the Kentish men, and earl Huda with those of Surry, and an obstinate battle was fought, in which the English at first got some advantage, yet were at last deseated; great numbers were killed, among which were the two English generals; and the battle being fought so near the sea, a great many on both sides were pushed into it and drowned.

One of these barrows was opened in 1743, in the presence of many hundred people; a little below the surface of the ground several graves were discovered, cut out of the solid chalk and covered with flat stones; they were not more than three feet long, in an oblong oval form, and the bodies seem to have been thrust into them almost double; a deep trench was dug in the middle, and the bodies laid on each side of it; two of the skulls were covered with wood-coals and ashes. The skeletons seem to have been of men, women, and children, and by the smallness of the latter, these were conjectured to have been unborn.

¶Three urns made of very coarse black earth, not half burnt, one of them holding near half a bushel, were found with them, which crambled into dust on being exposed to the air. The bones were rather of a large size, and for the most part perfectly found. In 1765, the smaller barrow was opened, the appearances were similar to the former, but no urns were found. In memory of this battle, lord Holland erected a fantastic house, or monument, with an inscription, on the larger of the two banks.

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Westbere.

The church, which is dedicated to St. Peter, stands on a rising ground. It is a small structure which has something pleasing in the appearance of it. It is built, as the rest of the churches are hereabouts, of flints, covered with rough-cast, and the quoins, windows and doors cased with ashlar stone, only the porch has more workmanship used about it; above are stone battlements; the roof is covered with lead, and the portal or door way has a mitred arch of wrought stone. It consists of a nave with a small isle on each side of it, a large middle chancel, and a smaller one on the north side of it, part of which is now made into a vestry. The middle chancel, which is beautiful, is ceiled in compartments, the framing of which is enriched with carved work, as is the cornice round it. The church is elegantly pewed with wainscot, and has a very handsome desk and pulpit. In the middle isle are two handsome brass chandeliers, which were purchased by subscription, and there is a neat gallery at the west end, well contrived for the convenience of the inhabitants, and the whole is kept in excellent order, and more than usual neatness. At the west end of the middle isle, under the gallery, is a handsome font, of white marble, the gift of John Dekewer, esq. as appears by the inscription, erected in 1746; below the inscription are the arms of Dekewer. At the west end of the north isle stands the tower, which is a sea mark. There were antiently five bells in it, which some years ago were cast into six, the great bell being made into two. The high or middle chancel was beautified about the year 1730, at the expence of Mrs. Elizabeth Lovejoy, lessee of Callis grange; who, out of the profits of that estate, ordered this chancel as well as hers and her husband's monuments in it, to be repaired as often as should be needful; and the sum of twenty shillings to be paid yearly to the clerk, on the day of the anniversary of her death, March 29, as an encouragement for him to take due care of the monuments.

At the west end of the south isle is a room taken off for the school house. In this church were antiently, besides the high altar in the middle chancel, three other altars dedicated to St. James the Apostle, St. Mary of Pity, and St. Margaret. Before these altars, on which were the images of these saints, were wax-lights constantly burning, for the maintenance of which there were several fraternities and legacies left. Several antient monuments and inscriptions are in the body and chancels of this church, the principal ones of which are in the middle or high chancel: Among others, a monument for James Shipton, vicar, obt. 1665; another, for George Lovejoy, first school-master at Islington, then of the king's school at Canterbury, obt. 1685. He lies buried within the altar-rails; arms, Azure, three bars, dancette, or, impaling chequy, azure and or, on a fess, three leopards faces of the second. On a marble against the north wall is an account of the charities given by Mrs. Elizabeth Lovejoy, as follows: By her will and testament, to the mayor and commonalty of the city of Canterbury, her lease of Callis grange, upon trust, to pay yearly to the vicar of this parish, forty pounds; to a school master, to teach twenty poor children gratis in the parish, twenty pounds; to Jesus hospital, Canterbury, five pounds; to St. John's hospital, in Canterbury, ten pounds; to Kingsbridge hospital, in Canterbury, five pounds; to Cogan's hospital, in Canterbury, four pounds; to St. Stephens's hospital, five pounds; to Harbledown hospital, five pounds per annum; and she gave by her will to the school and hospital at Islington, 200l. and to the school at Wicomb, in Buckinghamshire, 100l.

She wainscotted and adorned this chancel, and gave plate for the communion table in her life time, and two silver flagons by her will, A. D. 1694. She died of an apoplexy before she had sealed or finished her will, so that it took no effect as to her real estate, but after many suits and controversies was adjudged good as to her personal estate; and twenty shillings she left yearly to be paid to this parish clerk to keep both monuments clean. A memorial for Mr. Leonard Rowntree, minister, obt. 1624. In the north chancel, on an altar tomb, an inscription for Manasses Norwoode, of Dane court, and Norwoode, esq. obt. 1636; arms, Ermine, a cross, engrailed, impaling six coats. There are several brass plates and inscriptions for Culmer and Elmstone. In the north isle an altar tomb for Michael Webb, obt. 1587. A brass plate for Philip Smith, obt. 1451. Another for John Sacket, of this parish, obt. 1623. A memorial for Alexander, son of Alexander Nor woode, esq. of Dane-court. A black marble for Cornelius Willes, A. M. nineteen years vicar of this parish, and prebendary of Wells, obt. 1776. A like stone for the Rev. John Deane, A. M. forty-one years vicar, obt. 1757. A memorial for Daniel Pamflet, gent. and Mary his wife. He died 1719. An antient tomb for Mrs Elizabeth Omer, obt. 1709. A mural monument and inscription for the Rev. Roger Huggett, M. A. late vicar of the king's free chapel of St. George, in Windsor, and rector of Hartley Waspaill, in Southampton, eldest son of Roger Huggett, of Stone, in this parish, who was sole heir of the Pawlyns, an antient and respectable family of that place. He died at Hartley, in 1769, where he was buried; on it are inscriptions for others of the same name; arms, Gules, a chevron, between three stags heads, or, impaling parted per pale, sable and gules, a griffin passant, counterchanged. A tomb for Mr. Henry Huggett, gent. sole heir of the Pawlins, of Stone; he died in 1751; and for others of this family. A mural monument, shewing that in a vault underneath, lies Mary, wife of John Dekewer, esq. of Hackney, who died without surviving issue, one son and one daughter lying interred with her, obt. 1748. In the same vault lies the abovementioned John Dekewer, esq. an especial benefactor to this parish, obt. 1762, æt 76; arms, Vert, on a cross, or, five fleurs de lis, sable, between two caltrops, and two lions, rampant, impaling argent, parted per fess, three escallops, two and one, in chief, gules, in base three piles waved, sable. A tomb for John Dekewer, son of the above John, obt. 1740. In the same vault are others of this family. A beautiful mural monument of white marble, on which is the figure of a child sitting, weeping and leaning on an urn, erected to the memory of John-Alexander Dekewer, son of John Dekewer, esq. of Hackney, and Elizabeth his wife, obt. 1778, æt. ten years. A mural monument for the Rev. Tho. Reynolds, obt. 1754. Besides these there are memo rials for Noble, Gray, Read, Witherden, White, Simons, Cooke, Culmer, Wild, Jeken, Tilman, and Kerby. In the middle of the chancel, a memorial for Grace, wife of James White, gent. of Chilham, daugh ter of Gratian Lynch, gent. of Grove, in Staple, obt. 1740, and for Grace her daughter, wife of Thomas Hawkins, obt. 1746. A brass plate in the north isle, for John Sacket, of this parish, obt. 1623, æt. 59. At the end of the north isle is a large white stone, much obliterated, for Michael Pavlen, obt. 1662; Anne his wife, and Anne their daughter. In the church yard are many handsome tombs and grave-stones, of persons of different trades and occupations, residents of this parish. In the tower is a great crack on the east and west sides of it, from the top almost to the bottom, where it opened near an inch, and more than two at the top, so that the tower by it inclines to the northward; and it is wonderful, that when it was so rent it did not fall; the fissure is filled up with stone and mortar. As tradition reports, it was occasioned by the earthquake in queen Elizabeth's reign, in the 22d year of which, Mr. Camden tells us, there was a great one felt in this county.

This church was one of the three chapels belonging to the church of Minister, and very probably was made parochial sometime after the year 1200, when the church of Minster, with its appendages, was appropriated, in the year 1128, to the monastery of St. Augustine; it was at the same time assigned, with the above-mentioned chapels, with all rents, tithes, and other things belonging to that church and those chapels, to the sacristy of the monastery; and it was further granted, that the abbot and convent should present to the archbishop in the above-mentioned chapels, fit perpetual chaplains to the altarages of them; but that the vicar of the mother church of Minister should take and receive in right of his vicarage, the tenths of the small tithes, viz. of lambs and pigs, and the obventions arising from marriages and churchings, which were forbidden at these chapels, and were solemnized, &c. at the mother church only.

As to the chaplains of these chapels, though they were to receive no more than ten marcs of these altarages, yet they were not excluded the enjoyment of the manses and glebes given to these chapels when they were first consecrated, which made some additiou to their income, and enabled them to keep a deacon to assist them on the great and principal festivals. The inhabitants of these three chapelries, preceded by their priests, were accustomed to go in procession to Minster, in token of their subjection to their parochial or mother church. (fn. 10)

After this the appropriation of the church of Minster, with its appendant chapels, and the advowsons of the vicarages of them, continued with the abbot and convent till the dissolution of the monastery in the 30th year of king Henry VIII. when they were surrendered, together with the rest of the possessions of the monastery, into the king's hands.

After the dissolution of the monastery and the change in the service of the churches wrought by the reformation, this parochial chapel of St. Peter became entirely separated from the mother church of Minster, the vicar of this parish having no further subjection to it in any shape whatever; but by the same change he was likewise deprived of several of those emoluments he had before enjoyed in right of his vicarage, and all the great tithes of this parish, being appropriated to Callis and Salmestone granges, formerly belonging to the abbot and convent of St. Augustine, as has been already taken notice of before; the endowment of this vicarage consisted only of the small tithes of this parish, the payment of two bushels of corn yearly at Midsummer, from Salmanstone grange, and a pension of ten pounds to be paid yearly out of Callis grange; besides which he had a vicarage house, orchard, garden, and two parcels of land.

The small tithes of this parish being chiefly arable land, with the other emoluments of the vicarage, by reason of the great increase of every necessary article of life, falling far short of a reasonable maintenance, Mrs. Elizabeth Lovejoy, in the year 1694, further augmented it with the sum of forty pounds per annum, to be paid half yearly out of Callis grange above-mentioned; in consideration of which augmentation, the vicar is obliged, without accepting any dispensation, to be constantly resident on this vicarage, with several other injunctions mentioned in her will.

This vicarage is valued in the king's books at nine pounds, and the yearly tenths at eighteen shillings. In 1588 here were one hundred and forty-six communicants. In 1640 here were three hundred communicants, and it was valued at seventy pounds, but it appears by the return made in 1709, to the enquiry into the clear value of church livings, that this vicarage was worth only thirty pounds clear yearly income, before Mrs. Lovejoy's addition of forty pounds per annum.

¶The advowson of this vicarage coming into the hands of the crown, on the dissolution of the abbey of St. Augustine, continued there till king Edward VI. in his first year, granted the advowson of the vicarage of Minster, with the three chapels appendant to it, one of which was this church of St. Peter, among other premises, to the archbishop; since which this advowson has continued parcel of the possessions of that see, the archbishop being the present patron of it.

In 1630 the churchwardens and assistants reported, that here were belonging to the vicarage a mansion, with a well house, one orchard, one garden, and one acre of land adjoining to it, and one parcel of land, called the Vicar's Acre, lying within the lands of Capt. Norwood, who paid to the vicar, in consideration of it, five shillings a year; but no care being taken to preserve the bounds of this acre, the place where it lay was forgot, and the rent paid for it disputed, and at length quite discontinued.

www.british-history.ac.uk/survey-kent/vol10/pp355-377

A set of stencils containing QR messages which, covertly marked in urban spaces, may be used to warn people about danger or clue them into good situations.

These stencils can be understood as situated infoviz for urban spaces — providing directions, information, and warnings to digital nomads and other indigenterati. We present these as modern equivalents of the chalk-based "hobo signs" developed by 19th century vagabonds and migratory workers to cope with the difficulty of nomadic life. Indeed, our set of QR stencils port a number of classic hobo annotations to the QR format ("turn right here", "dangerous dog", "food for work") as well as some new ones, with a nod to warchalking, that are specific to contemporary conditions ("insecure wifi", "hidden cameras", "vegans beware").

Fabricated with generous support from Ponoko.com.

Official site: fffff.at/qr-stenciler-and-qr-hobo-codes/

Signs promoting the Burren Code in English, French, Italian, Polish, Spanish and German. Apparently visitors to the Burren tend to break pieces of the limestone pavement to make little cairns. I've no idea why. In the background you can see two of the Aran Islands in the distance.

Here's a link to the Burren Code online:

www.burrenconnect.ie/burren_code/burren_code.html

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