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Con puerto base en Valparaíso, la Escuadra Nacional es la principal y más importante Fuerza Operativa de la Institución, estando conformada por buques de combate y de apoyo logístico.
La Escuadra tiene la capacidad de operar en alta mar, con buques con características oceánicas, que le permiten cumplir con el rol de control y fiscalización en las 200 millas, además de resguardar los intereses nacionales en sus territorios insulares oceánicos, como Isla de Pascua y Juan Fernández. En apoyo a la Política Exterior del Estado, la Escuadra permite la participación activa de sus unidades en esfuerzos internacionales por promover y mantener la paz y la estabilidad en las regiones donde los intereses nacionales estén proyectados.
Desde el año 2003, la Escuadra se encuentra inmersa en un proceso de renovación del material a flote, mediante la incorporación de buques de segunda mano provenientes de la Real Armada Británica y la Real Armada de los Países Bajos. Este proceso finalizará durante el presente año, con la incorporación de la FF “Almirante Condell”, quedando así la Escuadra compuesta por las siguientes unidades: la FF “Almirante Williams”, tipo 22 batch 2; la FF “Almirante Cochrane”, la FF “Almirante Lynch” y la antes mencionada FF “Almirante Condell”, fragatas antisubmarinas del tipo 23, todas ellas de origen inglés; por las FF “Almirante Blanco Encalada” y “Almirante Riveros”, fragatas multipropósito tipo “M”; las FFG “Almirante Latorre” y “Capitán Prat”, tipo “L”, antiaéreas, las cuatro de procedencia holandesa; el remolcador de flota “Galvarino” y el petrolero “Araucano”, estando el reemplazo de este último en fase de proyecto.
The Apollo-Saturn V Museum has a Launch Control Room on display for visitors. Here the visitors to Kennedy Space Center can relive the Apollo 11 launch, by listening to the countdown and watching the various consoles light up as they give their GO to launch.
This Control Unit was also seen at Hartlepool Show back in 1987. The prime mover for this trailer, was usually the Landrover which I enclosed earlier.
Espírito barroco sobrevive na Procissão do Enterro e a perpetua . Edson Paz
Início da noite de sexta-feira, 18 de abril, lua cheia. Antigos guardas romanos de sandália e capacete, lança e escudo em punho, capitaneados por centurião de porte alto e forte, postura severa e barba, partem das proximidades da Matriz do Pilar rumo ao Largo das Mercês. Atravessam a multidão e galgam as escadarias do templo de Nossa Senhora das Mercês, acercando-se de Abraão, Jacó, São Pedro, Salomé, João Batista, Maria Madalena, José de Arimatéia, Nicodemos, Verônica, “virgens” de túnica branca e coroa de flores, “anjos”. Têm seus olhares voltados, bem como os da multidão que toma o Largo, para a expressão – iluminada por holofotes – de dor e espanto, mãos espalmadas e sete espadas de prata fincadas no peito de Nossa Senhora das Dores, e os corpos ensangüentados e rostos de torturados dos crucificados Dimas, Gestas e Cristo. Sob cores, luz e sombra, irrompem 60 vozes em canto: “Spiritus cordi nostri Christus / Dóminus morte turpessima / condemnatus”, e sobrevém o Sermão do Descendimento.
Hora e meia depois, eis o momento mais esperado da Semana Santa. O corpo de Cristo é lentamente despregado, descido e colocado no esquife por José de Arimatéia e Nicodemos, representados por dois sacerdotes. As palavras do pregador, em meio ao silêncio da multidão, mencionam cada etapa do descendimento, com uma narração teatral. Três mulheres de longos vestidos pretos, luvas e véus cobrindo o rosto – as “Três Marias” – cantam: “Heu! Domine, Salvator noster!” (Ai! Senhor, nosso Salvador!). Verônica ergue o sudário com a efígie do rosto de Cristo, entoando tristemente em latim: “Órfãos, fomos privados de nosso pai, e nossas mães são como viúvas”. A banda inicia a Marcha da Paixão, e a morte, razão da procissão, sai a andar lentamente pelas ruas apinhadas de gente, ao som rouco e áspero das matracas e o cheiro místico de incenso.
Os soldados romanos batem suas lanças de tempo em tempo no chão, representando o poder da época. Meninos “coroinhas” de terno e gravata borboleta levam objetos simbólicos da tortura sofrida por Cristo. Salomé carrega a cabeça de João Batista, mulheres de luto cantam chorosamente atrás do esquife. Trajes de gala e vara de prata próximo ao Pálio do Bispo, lanterna de prata ou opas de diferentes cores expõem e confirmam a estrutura das relações e posições sociais dos participantes.
Ao longo das calçadas, profundo respeito. O cortejo estaciona em frente às igrejas do Rosário (construída em 1719), São Francisco (1749), Carmo (1734), Pilar (1751) e próximo à antiga Casa de Câmara e Cadeia, momentos em que a Verônica, exibindo o sudário, canta. Conduzido em um esquife levado como um andor pelos irmãos da Irmandade do Santíssimo, o corpo de Cristo aproxima-se da Matriz, quando somente alguns membros de Irmandades, clero e o coro entram na igreja.
Mais do que devoção religiosa
O que revela esse portentoso espetáculo dramático, reproduzido há mais de dois séculos no Largo das Mercês, situado ao pé das primeiras minas de ouro são-joanenses? Qual seu sentido? A socióloga Suely Aparecida Campos Franco, com mestrado sobre a Procissão do Enterro em São João del-Rei e técnica-pesquisadora no Departamento de Ciências Sociais e Políticas da UFSJ, diz que é muito mais do que uma devoção religiosa. “É uma representação coletiva da morte que guarda traços culturais do tempo do ouro, onde imperava o gosto pela festa, pompa e pelo espetacular. Neste ritual vindo de Portugal, que ganhou feição local na época da mineração, está também representada a estrutura social e política colonial, e valores sociais que reforçam e reproduzem a ordem social”.
Citando historiadores, Suely diz que “a religiosidade mineira dos anos 1700 se expressava pelo culto aos santos e pelos atos externos, como procissões e ritualismos [apego excessivo a cerimônias, sem suficiente atenção ao significado que veiculam]. O catolicismo herdado dos colonizadores portugueses era menos uma convicção do que uma conveniência, era ‘menos atento ao sentido íntimo das cerimônias do que ao colorido e a pompa exterior’, uma espécie de ‘religiosidade epidérmica’. Através da exibição de requinte e do fausto, tão ao gosto da época e oportuno diante da opulência da capitania das Minas Gerais, o ritualismo festivo exercia um poder mágico sobre a população e servia ‘como instrumento encantatório persuasivo’. Constituía-se num ‘misto ostentoso de ritual católico, comprazimento intelectual e divertimento coletivo’”.
Com quatro igrejas de vulto construídas somente no seu primeiro cinqüentenário, “a absorção do catolicismo – religião das classes dirigentes e do Estado – levou toda a população são-joanense a ter nas cerimônias do culto sua ocupação predileta”, diz Suely. “As festas religiosas passaram a representar o foco cultural da sociedade, tanto que as irmandades contavam com músicos que executavam missas, novenas, matinas, motetos e outras peças compostas especialmente para as festas religiosas. Todas as músicas executadas na Semana Santa são-joanense são de compositores locais da época, e executadas por uma das duas orquestras bicentenárias – Ribeiro Bastos – criada em 1755 para os serviços musicais".
Além de foco cultural, Suely aponta que as festas “também passaram a ser um instrumento transformador de valores individuais em sociais, e as irmandades, sempre cumprindo a função de mantenedoras ativas das promoções das festas e rituais religiosos, expressam uma religiosidade popular, reforçam a hegemonia social da igreja católica, o poder político de seus organizadores e a explosão do espírito lúdico oriundo da sociedade mineradora”.
Lanternas e fantasias, extremidades opostas da pirâmide social
Por que políticos, autoridades, pessoas de destaque no meio social são-joanense ostentam lanternas? Suely sorri. “A atuação dos sujeitos, a relação entre eles dentro da Procissão demonstra a estrutura das relações sociais. Aqueles que promovem a festa, que a organizam, assumem posições de controle ou de destaque, semelhantes à que ocupam na hierarquia social. Assim, os membros da mesa administrativa da Irmandade do Santíssimo posicionam-se com trajes de gala e levam varas de prata, próximos ao pálio [sobrecéu portátil, com varas] do bispo, lugar de maior destaque na procissão, porque ali localiza-se a máxima autoridade da igreja na cidade. Às Ordens Terceiras, pela importância na hierarquia das associações religiosas, por serem formadas no período colonial e até cerca de 1930 por pessoas ricas ou de destaque social, são concedidas uma lanterna de prata ricamente trabalhada e bastante diferenciada das outras. As posições de destaque são ocupadas pelas autoridades”.
Suely sublinha o fato de que “ainda hoje as procissões significam local de afirmação social e demonstração de ‘status’ para a população, e as posições no ritual religioso podem servir para legitimar instituições, status e relações de autoridades. A distribuição das lanternas define e mantém a hierarquia e a posição social. Grande parte da vida social de São João del-Rei gira em torno das festas da igreja católica, que criam uma zona de convivência, cujo sentido ultrapassa as normas religiosas”. Suely, ao realizar a pesquisa para a dissertação, em 1995, diz que notou “a explícita diferença entre aqueles que carregam lanternas ao longo dos andores e aqueles que vestem as fantasias dos personagens do antigo e do novo testamento. Ocupam as extremidades da pirâmide social”.
Identidade cultural
Suely sublinha que “o espaço de destaque e a riqueza e o aparato da Procissão do Enterro ainda nos dias de hoje retratam a aceitação e manutenção pela sociedade são-joanense contemporânea de costumes culturais trazidos pelo colonizador português. O significado da manutenção das festividades religiosas na forma como foram concebidas há dois séculos, refletindo o modelo baseado no período colonial, é bem maior que o simples ‘apego a tradição’ e ‘orgulho em conservar as relíquias do passado’, como garantem os moradores de São João del-Rei e membros das irmandades. A eficácia e os significados que justificam as realizações da festa atribuem a esta sociedade sua identidade cultural e estão simbolizados no rito, isto é, nas regras e cerimônias da Procissão”.
Fonte: Jornal Cultura Local . Editora Ponte da Cadeia
one late night looking at interesting photos on Flikr. goofing around i just decide to snap a shot to see what would turn out. this is what turned out and is one of my favs. (on a side note to the owners of the pics in the background... hope you dont mind that i used them but somehow it seemed fitting)
''Mind-controlled drones' promise a future of hands-free flying [consider criminal / terrorist use or in warfare]' www.engadget.com/2015/02/25/tekever-mind-controlled-drone...
The Summit Lawn Mower Company logo represents a company built on the dedication to building the world's greatest remote control lawn mowers. A slope mower with this logo on it insures years of uninterrupted dependability and service. Our remote control lawn mowers are ideal for hills too steep to walk or drive traditional lawn equipment on while being elderly friendly.
eggstremely conTROLLing
Artist: Julia McLain
Egg is 19" long
2008
This shadow box is based on vintage panoramic “Sugar Eggs” and the artists fascination with troll dolls from childhood. In the 6th grade all the little girls had one. When the teacher wasn’t looking they pulled them out of their purse and combed their colorful hair. I did not have one, so became a bit obsessed with them as an adult. They were called “Dam” dolls thus thought to be evil. Little did Americans know they were named after their creator: Thomas Dam from Denmark.
This egg is papier maché over plastic. Hand painted inside and out then dusted with glitter glass. The characters on the nursery wall are based on vintage memorabilia. The figures are a variety of vintage, dollar and thrift store finds. The crib is a collectable Renwal.
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The Harper brothers Charlie and Alan are almost opposites but form a great team. After years they had little in common except their dislike for their mundane, maternally cold but domineering mother Evelyn, Allan, a compulsively neat chiropractor and control-freak, is thrown out by his manipulative wife Judith who nevertheless gets him to pay for everything and do most jobs in the house. Charlie, a freelance jingle composer in a luxurious beach-house and irresistible Casanova who rarely gets up before brunch around noon, puts him up 'temporarily' with his son Jake, a lazy fat school kid who shuttles between his parents. This starts off the sitcom around their conflicting lifestyles, such as how to raise the boy (who now has an efficient, caring dad for the boring stuff while having a ball with his fun-loving sugar uncle who teaches him boyish things), be moralistic or have fun, a stickler or popular, what's a 'white' lie... Other fairly regular characters include Charlie's fat cleaning lady Bertha and his rich, obsessively infatuated neighbor-girl Rose who often sneaks in...
Originally known as Northampton Park, Ascot Park was built in 1923 on 68 acres of farmland near Cuyahoga Falls, OH along what is present-day State Route 8. It took its current name in 1938.
As a 3/4 mile oval, Ascot Park billed itself as the "Biggest Little Racetrack in America," and was home to an annual two-mile race known as the Ascot Gold Cup, first run in 1941. For a while, the Gold Cup ranked as the oldest continuously run stakes race in Ohio. The 1951 winner, Chiffon, won the race while pregnant. The 1967 winner, Loyal Son, was buried near the 4 1/2 furlong chute at the track (whether he is still there is unknown).
Ascot Park is also known for being the track at which Hall of Fame jockey Eddie Maple won his first race (on Swami in 1966). Over his career, Eddie rode such famous horses as Alydar, Conquistador Cielo, Cox's Ridge, Creme Fraiche, Devil's Bag, Foolish Pleasure, Forty Niner, Riva Ridge, Slew o' Gold, Swale, and Temperence Hill. He also rode Secretariat in his final race, when Secretariat's regular jockey (Ron Turcotte) was serving out a suspension.
Horace Adams bought Ascot Park in 1954, pledging to make it the "Little Saratoga of the West." But the cold weather spring meets hurt the open-air track. The record attendance for the track was 12,525, achieved on opening day in 1955.
Ascot Park was sold to Edward Debartolo (who controlled Thistledown, Randall Park, and Cranwood Park) in 1968. Racing at the location was officially over. Over time, the site disintegrated to the point of becoming a fire hazard. Northampton firefighters burned it to the ground in 1976 as part of a training exercise. Today, the track property is part of a 200-acre industrial park which technically falls within the city limits of Akron, OH.
The information above comes from a great 2009 Akron Beacon Journal article on the track, written by Mark J. Price (www.ohio.com/news/ascot-park-1.154828). The article contains links to 3 photos of the track.
Some additional old photos of the track: bit.ly/IGgUJb
Postcard of the track: bit.ly/IGgz9j
Mapquest satellite view of the former track property: mapq.st/IAYJae
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
In 1943, the IJN issued an 18-shi specification that included the requirement for a new interceptor. Japanese aircraft tasked with interception roles had by this time begun to be eclipsed by the newest Allied fighters and the IJN sought to ensure their edge was main-tained. Three contenders submitted their designs, and it would be Kyūshū's that was the most radical of them all: the J7W Shinden. The Kyūshū J7W Shinden (震電, "Magnificent Lightning") was a World War II Japanese propeller-driven fighter plane with wings at the rear of the fuselage, a nose-mounted canard, and a pusher engine. Developed by the Imperial Japanese Navy (IJN) as a short-range, land-based interceptor, the J7W was a response to Boeing B-29 Superfortress raids on the Japanese Home Islands.
The man behind the Shinden ('Magnificent Lightning') was Captain Masaoki Tsuruno, a member of the Technical Staff of the IJN. Tsuruno conceived an interceptor that made use of a configuration rarely seen at the time of his design work, a design with canard fore planes. Canards were not a new concept, even in 1943. They were seen as far back as 1910 with a Gabriel and Charles Voisin design and later a Bleriot tail-first aircraft had incorporated canards. Tsuruno felt canards could offer a num-ber of advantages such as reducing the chances of stalling, improved controllability and maneuverability and easing some construction concerns such as the engine installation and control linkage arrangements. Tsuruno also believed the design could easily be retrofitted with a turbojet, when suitable engines became available, and the radical J7W was originally designed as a jet aircraft. At this time, the Shinden was known as the X-18. His ideas were worked out by the First Naval Air Technical Arsenal (Dai-Ichi Kaigun Koku Gijitsusho), which designed three gliders, designated Yokosuka MXY6, featuring canards. These were built by Chigasaki Seizo K. K., and one was later fitted with a 22 hp Semi 11 (Ha-90) 4-cylinder air-cooled engine.
By the time Tsuruno's initial layout for the Shinden was complete the IJN had already issued its late 1943 18-shi specifications for three classes of aircraft. The first of these covered an air superiority fighter (18-shi Ko), the second for an interceptor (18-shi Ōtsu) and the third for a night fighter (18-shi Hei). For the 18-shi Ōtsu competition, both Nakajima and Kawanishi had submitted designs: the single-engine J6K1 Jinpu ('Squall') and the twin-engine J5N1 Tenrai (or 'Heavenly Thun-der') respectively. These entries were based on the rather sparse directives of the specification which called for a top speed of 665km/h (413mph), a climb to 8,000m (26,246ft) in nine minutes and the ability to carry at least two 30mm cannons. To go with these two projects, Tsuruno introduced the X-18 to the IJN as a third competitor.
The feasibility of the canard design was proven by both the powered and unpowered versions of the MXY6 by the end of 1943, and the Navy were so impressed by the flight testing, they instructed the Kyushu Aircraft Company to design a canard interceptor around Tsuruno's concept. Kyushu was chosen because both its design team and production facilities were relatively unburdened, and Tsuruno was chosen to lead a team from Dai-Ichi Kaigun Koku Gijitsusho to aid Kyushu's design works. The aircraft was officially designated J7W; in the IJN designation system, "J" referred to land-based fighters and "W" to Watanabe Tekkōjo, the company that oversaw the initial design.
The construction of the first two prototypes started in earnest by June 1944, stress calculations were finished by January 1945, and the first prototype was completed in April 1945. The Shinden would carry four Type 5 30mm cannons. The Type 5, while heavier than the earlier Type 2 30mm gun, possessed a higher rate of fire at 500 rounds per minute and had a higher muzzle velocity. Each cannon was provided with 66 rounds. With less than eight seconds of 30mm rounds per gun, one hit would be sufficient to cripple and shoot down a fighter or bomber, therefore there was little ammunition to waste. Therefore, there were two Type 1 7.92mm machine guns, one on either side of the gun camera, in front of the nose. The purpose of these guns was not offensive but to serve as a ranging weapon for the cannons. Upon lining of his target, the pilot would fire a short burst from the machine guns. If the rounds struck the target, he would fire a burst from the cannons and be reasonably assured of a hit, thereby conserving the precious cannon ammunition. Each Type 1 was provided with 75 rounds of ammunition in a saddle drum magazine. For payload, the Shinden had a modest bomb carrying capacity of 120kg (264 lb).
The 2,130 hp Mitsubishi MK9D (Ha-43) radial engine and its supercharger were installed behind the cockpit and drove a six-bladed propeller via an extension shaft. Engine cooling was to be provided by long, narrow, obliquely mounted intakes on the side of the fuselage. It was this configuration that caused cooling problems while running the engine while it was still on the ground. This, together with the unavailability of some equipment parts, postponed the first flight of the Shinden. The aircraft turned out to be agile but not easy to fly. The Shinden was found to have a relatively fast landing speed at 240km/h (149mph), its massive propeller and extension shaft caused substantial torque pull to the right and the aircraft had the unpleasant tendency to drop its nose at any speed. Especially bringing the Shinden down safely was not a simple task.
However, even before the Shinden took flight the IJN was desperately in need of a high-performance interceptor. The Kawanishi J6K1 Jinpu failed to show any improvement over the Kawanishi N1K2-J Shiden-Kai (meaning 'Violet Lightning', known to the Allies as George) and the Nakajima J5N1 Tenrai was proving to be a disappointment by the time flight trials commenced in July 1944. With the failure of these two entries for the 18-shi specification, the IJN ordered the J7W1 Shinden into production in May 1944 and in so doing made the type the only canard configuration aircraft to achieve this status during World War 2. By September 1944, the production plans had been formulated with Kyūshū's Zashonokuma factory expected to turn out 30 Shindens per month while Naka-jima's Handa plant would produce 120 Shindens each month. While serial production was ramped up, work on the J7W airframe continued: the propeller-driven aircraft were soon improved to get rid of the handling issues: the front canards were placed at 7.5° positive incidence, the center of gravity was adjusted and the extension shaft for the propeller pointed 3° to the right and 4.5° down from the zero thrust line.
In parallel, work on a more potent jet-powered version, as originally envisioned, continued, the J7W2 Shinden-Kai. This was to be the turbojet-equipped version of the Shinden. The already available Ne 12B engine was rejected as its power was considered too low to effectively propel the aircraft. In any case, work was by this time under way on the Kügishō Ne 20 turbojet that was based on the German BMW 003A engine, the only turbojet built and flown in a Japanese aircraft so far: the Nakajima Kitsuka. Two of these engines were proposed to power the J7W2, but mounting them required a substantial redesign of the rear hull. A J7W2 prototype had been converted from a J7W airframe by April 1945, but it soon became clear that the aircraft was underpowered - it never got off of the ground and only made high-speed taxiing tests, before it was destroyed in a bomb raid. However, the aircraft provided some valuable information to refine a jet-powered version of the Shinden. For instance, the original narrow air intake slits turned out to be ineffective, and the canards had to be enlarged to improve balance and control.
Another variant of the Siden-Kai was the J7W3, and this aircraft was to use the Ne 130 turbojet, also based on the BMW 003A, which was being developed by Ishikawajima-Shibaura. The Ne 130 was to have produced nearly double the thrust of the Ne 20, and this promised to be sufficient to exceed the propeller-driven J7W's performance and warrant further development. Together with the data gathered from the J7W2 the resulting aircraft retained the Shinden's core airframe but underwent considerable detail modifications. The most obvious difference were new air intakes on the wing roots, leading in constant diameter ducts to the engines that were now housed in more organic and aerodynamically more efficient nacelles that ran along the fuselage flanks. The tail section was also extended, ending now in a pen nib fairing that moved the center of gravity further back and improved aerodynamics. The canards and therewith wing area was increased. To save internal space the landing gear was shortened, resulting in smaller wells. The freed space was used for two additional 125 l wing tanks and an increased ammunition load of 90 30 mm rounds per gun. Due to the expected high speed and frontline experience with the J7W's arrangement, the two Type 1 7.92mm machine guns were deleted. Since the landing gear was shorter and there was no propeller anymore to protect, the twin fins' shape was also changed: they became taller while the lower halves were reduced in size, and their overall area was slightly increased to improve longitudinal stability. Most of the wings and the hull remained untouched, even though the different engine arrangement allowed an additional 450 l tank in the fuselage behind the cockpit, which remained unmodified, too.
By the time the J7W3 entered hardware stage its intended powerplant also had made progress: this became the Ne 130-II, an improved design that was more reliable and produced 10.76 kN (2,420 lbf) / 10,000 rpm / sea level. Its weight was only 649 kg, and it featured one extra compressor and turbine stage for higher thrust, only lengthening the engine by 303 mm (11+15⁄16 in) overall compared to the original Ne 130. With these more advanced engines the J7W3 became a fighter to be reckoned with, offering a performance comparable with the German Messerschmitt Me 262 twin jet fighter.
However, in dire need for an interceptor that could cope with the incoming American high-flying B-29 bombers, the IJN repeated the J7W’s hasty decision and ordered the J7W3 into production even before the first prototype took to the air in July 1945, and a quota of twenty Shinden-Kai a month was given to Kyushu's Zashonokuma factory, while 120 J7Ws from Nakajima's Handa plant were to be produced until production was supposed to fully switch to the J7W3 towards 1946. It was estimated some 1,086 Shinden could be produced in total between April 1946 and March 1947.
General characteristics:
Crew: 1
Length: 10,80 m (35 ft 4 1/2 in)
Wingspan: 11.11 m (36 ft 6 in)
Height: 3.42 m (11 ft 2 1/2 in)
Wing area: 21.8 m² (234 sq ft)
Empty weight: 3,795 kg (8,367 lb)
Gross weight: 6,473 kg (14,271 lb)
Max takeoff weight: 7,130 kg (15,719 lb)
Powerplant:
2× Ishikawajima Ne 130-II axial-flow turbojets, developing 1,100 kg (2,400 lb) of thrust each.
Performance:
Maximum speed: 900 km/h (560 mph, 490 kn)
Range: 1,050 km (650 mi, 570 nmi)
Service ceiling: 11,450 m (37,570 ft)
Rate of climb: 20 m/s (3,900 ft/min) at max weight of 7,130 kg (15,720 lb)
Wing loading: 300 kg/m2 (61 lb/sq ft)
Thrust/weight: 0.31
Armament:
4× 30 mm (1.181 in) Type 5 cannon with 90 RPG
Underwing hardpoints for 4× 30kg (66lb) or 4× 60kg (130lb) bombs or 2x 125l drop tanks
The kit and its assembly:
This fictional what-if project is a personal but somewhat history-based interpretation of what could have been, inspired by the J7W2 model/conversion that Hasegawa offers for its propeller-driven J7W Shinden kit, turning the latter (outwardly) into a jet-powered version. As mentioned in the background above, the J7W was originally envisioned as a jet-powered interceptor, but at a time when no suitable engine was available or even on Japanese drawing boards yet. So it was – as an interim solution – modified to accept a radial engine with a pusher propeller, but with the perspective to switch again to a jet powerplant later. Over time the Ne-20 jet engine was developed, which was a simplified adaptation of the German BMW 003 – an axial design and rather slim. But it was experimental at best and not very powerful or reliable. It was used and flown on the Nakajima J9N Kikka, though, but even with two of these engines the aircraft was rather underpowered and far from an effective fighter airplane, let alone a fast interceptor .
When you then take a look at Hasegawa’s conversion offer (which only consists of a different end plate with a nozzle cone instead of the prop) for a J7W2 jet version of the Shinden, it’s bullsh!t because a) a single indigenous jet engine like the Ne-20 and even its more powerful derivatives would never have had enough power to let the J7W airframe perform like an interceptor, let alone fly at all, and b) the potential engine size/shape, which would rather reflect a centrifugal engine with a much bigger diameter. The shape and size of the air intakes would also leave some doubts. Another factor that speaks against the Hasegawa “proposal” is the fact that there was and is apparently no reliable design sketch or layout for a re-jet-engined Shinden.
This would not stop an ambitious model kit builder to try a personal interpretation, and effectively one that is more plausible than Hasegawa’s own rather lazy attempt. This eventually led to “my” J7W3, which took some inspiration from the very good and exhaustive description of the J7W in Edwin D. Myer’s book “Japanese Secret Projects (1)”. It discusses the potential engine options – which were all axial flow powerplants – and also suggests that there would have been some considerable hardware changes to the J7W airframe, like a modified tail section, a lowered/simplified landing gear, and therewith also different fins.
The basis became a standard Hasegawa J7W – and I had actually procured resin copies of the company’s own J7W2 conversion parts. However, I made considerable conceptual changes. The central difference was the decision to mount a pair of axial flow engines in the real hull, and I had resin upgrade parts for the twin J47 gondolas’ rear end for Hasegawa’s 1:72 B-47 kit in The Stash™. One of these was implanted into the J7W's slightly shortened tail/engine bay, adding length so that the aircraft’s center of gravity might be kept. Being much wider and flatter than the original radial engine I decided to add bigger air intakes, too, and to delete the original “slits” behind the cockpit. These were sanded away and replaced with the intakes from an Italeri BAe Hawk trainer, mounted relatively low in front of the wing’s leading edge. They look a bit modern (esp. because of their boundary layer gaps to the fuselage) but were simply perfect in size and shape. The ducts connecting the new intakes and the side-by-side engines were then sculpted with 2C putty and PSRed into the rest of the hull.
The cockpit was taken OOB, but I decided to modify the canards and give them more shape. I initially experimented with swept surfaces, but that did not look plausible and so I “just” mounted elevators from an Intech P-51 kit. Another mod was made to the landing gear: while the OOB struts and wheels were used, all parts were shortened and the respective wells were reduced in length/size accordingly, what moved the front leg forward and the main landing gear inwards, reducing track width. With less ground clearance and for a different look I also replaced the fins on the wings’ trailing edge – not an easy task, but I eventually found a pair of vintage elevators from an Airfix 1:72 F-86D kit, which were slightly modified and now occupy the original fins’ places. They are taller now, have less depth, and the lower section under the wings was dramatically shortened, too. That shape was inspired by an illustration in Edwin D. Myer’s book, and it looks quite plausible.
Another small mod was the replacement of the molded gun barrels with bits from hollow steel needles.
Painting and markings:
I considered a lot of potential options, including a bare metal finish, an improvised camouflage over that, or even highly exotic or speculative schemes (e.g. in all-over IJN grey-green or a very pale grey). In the end I settled for a simple/conservative IJN green/grey livery for land-based aircraft. Boring, yes, but the aircraft itself was already so exotic that I wanted to keep the looks more standard, and therewith more convincing.
However, I built the paint up so that aluminum would shine through here and there, and I painted upper surface areas in different shades of dark green (including ModelMaster’s IJN Dark Green and Humbrol 2, 195 and 239). The underside was painted with Humbrol 40 (Light Gull Grey), and the low waterline became quite wavy.
The cockpit tub was painted in a yellowish green (a mix of Humbrol 63 and 226) while the landing gear wells were initially painted with aluminum and received a coat with translucent bright blue lacquer, simulating aodake iro. The landing gear struts became glossy black.
The model received a light black ink washing, thorough post-panel shading in various mixed shades of dark green on the upper surfaces, plus dry-brushing with silver to simulate flakes paint here and there. The exhaust fairings were painted with Revell 91 (Iron metallic) and treated with graphite to provide them with an uneven and more metallic/burnt shine.
Markings came mostly from a PrintScale Kawanishi N1K kit, with typical late-war IJN markings. The yellow ID bands on the wings' leading edges were created with generic decal material (TL Modellbau) instead of trying to mask and paint them. Stencils were mostly taken from the Hasegawa J7W's OOB sheet. Finally, the model was sealed with a sheen acrylic varnish (a mix of semi-gloss and matt Italeri varnish) and the wire antenna, made from black heated sprue material, was added.
A project that I had had on my agenda for a long time, and I am happy that I eventually tackled it – and it turned out better and more plausible than expected! Despite the hand-sculpted air ducts/engine fairings the aircraft’s outlines do not look too fantastic, and the new tail section makes the Shinden look pretty fast, if not elegant. The shorter landing gear also suits the aircraft well, and I think that sticking to the classic green/grey IJN livery was the right move, because it suits the Shinden well and just underlines its “serious” origins as a real but undocumented development project.
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The Control tower at Port Columbus International Airport. This is a surprisingly small airport for a city of nearly 2 million people in the metro area.
I assume the blue antenna control goes to the blue wire out of the Scosche antenna kit. That will be the first thing I solder.
Mounted in the top of one of the British airships gas bags. The large centre bowl is the valve itself. Notice the large amount of wood used. This reduced any chances of sparks igniting the gas. A control cable leading to the gondola can also be seen
www.youtube.com/watch?v=SfpDWDZVi5U
Until I should die, until I should break,
not a god, not a devil my soul shall take.
If I should lie to betray myself,
then I would damn myself, and my soul forsake.
I don't want fifteen minutes want a whole lot more,
don't want to suffer the fools and the spoils of war.
I don't want fifteen minutes, or a reason why.
I want a stainless steel road stretching off to the sky.
I don't need sentiment, want, or hate on my mind
No crimes of passion or obsessions in kind.
No walls, restraints, or momentary thrill,
No blood on my hands, No time to kill
I want my Body,
I want my Soul,
Make the switch to automatic, I want Control.
I want Control
If I should give in, if I should turn away
not a god, not a devil my soul could save.
I want more body, I want more soul.
Make the switch to automatic, I want Control
I want Control
I want Control
I want Control
On the second to last day of my vacation, November 2, I went to the Morton Arboretum and found they were having a "Controlled Burn". Of course I had to park and take some pictures of this—something you don't see everyday at the Arb. I was thinking of naming them "Cheech and Chong Visit The Arboretum" but decided on the more conservative naming convention.
There's something else to look for while you're waiting for your training session. When you're in the corridor alongside Mission Control, watch the small monitors on the workstation behind the glass. You may spot footage of an albatross coming in for a rough landing. It's a clip once used for comic effect during the pre-show of the Mission to Mars attraction in the Magic Kingdom (1975-1993).
As you advance along the switchback queue, ostensibly to receive training for the ultimate space mission, enter the "Sim Lab", a large warehouse-like training area similar to one that might be found at Kennedy Space Center. Pass by a huge rotating wheel with chambers that is supposedly used for simulating gravity for trainees. Along the queue are a number of interesting visuals, including a genuine Lunar Rover on loan from the Smithsonian. From there, pass into the Command Room, where Cast Members sit behind a glass wall and multiple control panels. On the wall are plaques commemorating outstanding "firsts" in space travel -- First Man in Space, First Man on the Moon, etc., up to the fictitious "First Family in Space" and "First Deep Space Mission." At the end of this queue, you are standing in front of four color-coded Ready Rooms, into which you will be dispatched in teams of four. You are given the roles to assume during the training mission -- commander, pilot, navigator or engineer. As you wait for your assignment, peruse the astronaut uniforms on the walls, and watch a video from CapCom.
Mission Space
Walt Disney World Epcot Orlando Fl
Coalition force members watch a controlled detonation during live fire training on a base in Herat province, Afghanistan, Nov. 9, 2012. Afghan National Security Forces have been taking the lead in security operations, with coalition forces as mentors, to bring security and stability to the people of the Islamic Republic of Afghanistan. (U.S. Marine Corps photo by Sgt. Pete Thibodeau/Released)
Radio controlled car collecting a javelin at the 2017 Athletics World Championships at the Queen Elizabeth Olympic Park in Stratford
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