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"Zero gravity, zero enemies, zero trouble."
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Colonization in different aspects of the frontier requires four basic things: people, a method of transportation, supplies, and protection against external threats. We already have the first three but we barely have the last.
Wars and gunfights will happen in space and there's no denying it. But there needs to be something that can be used to hold off enemies in space and beyond. That's where the Active Responsive Adaptability platform comes in. Shown right here is the Assault model, developed by the Orbital Sector Research Armaments group in the late 2070s in an effort to provide people both on the ground and in space a weapon to protect themselves in every environment we've come across so far.
The ARA-A features a bullpup design which cuts down on length greatly, allowing the weapon to be maneuvered around quickly and easily. The size makes it easy to conceal as opposed to carrying a large rifle of the same role. Using an experimental gas system, whose schematics are kept private and under wraps for security purposes, the ARA-A can fire bullets at the same velocity as a typical assault rifle but with less explosive force, cutting down on muzzle flash size greatly, which is vital as said flashes and whatnot will tend to expand in vacuums and in space, lowering visibility. Rate of fire is clocked in at 850 RPM, but can be overclocked up to 1,150 RPM or even decreased to 680 RPM if needed for different purposes. Recoil mitigation technology is implemented as well to counter any possible traces of recoil by stabilizing the weapon in an effort to counter the kickback by providing a push in the opposite direction as per Newton's third law.
To further emphasize the short length, the barrel and flash hider are both integrated into the weapon. Barrel lengths are dependent on the receiver, and currently, only one length is available at the moment. By moving the bolt system behind the trigger grouping, the barrel is technically as long as a typical long-barreled assault rifle with a conventional bolt location. This allowed OSRA to make the barrel and flash hider integrated to make the rifle as short as possible.
Due to the fact that it is possible for the shooter to arrive in a dark area in space or on the ground, nighttime tritium sights are also included to provide some degree of visibility. To complement this, HUD systems also outline any identified enemies in red via ID cross-referencing, in which the system scans a target for possible identification (where the list is comprised of only allies and neutral subjects) and labels them accordingly. All targets unidentified are considered neutral (highlighted in green) until fired upon, in which the hostile turns red. The bolt mechanism will lock upon aiming at a neutral target to avoid accidental causalities, regardless if the weapon is set to full-auto, semi-automatic, or safe.
Electronics are also integrated within the rifle, such as the modular handguard, which features an integrated attachment for a variety of different roles. In this presentation model, the handguard is outfitted with a laser sight, which is visible to only the shooter. Using OSRA augmented reality HUD systems, the shooter can produce a laser sight in their field of view without anyone else seeing it unless they are linked to the HUD. This not only prevents enemies from seeing the flare of the laser sight but also provides the benefits of having one enabled for the shooter. Currently, the only modules available are the laser sight and a flashlight, which can also be seen only through AR.
當你輸在起跑點，記住靜觀其變。
也許你背後的位置，才是真正的起跑點。
When you lose at the starting point, remember the wait.
Maybe you behind the position, will be the real starting point
Huh!
Yeah, were comin back then with another bombtrack
Think ya know what its all about
Huh!
Hey yo, so check this out
Yeah!
Know your enemy!
Come on!
Born with insight and a raised fist
A witness to the slit wrist, thats with
As we move into 92
Still in a room without a view
Ya got to know
Ya got to know
That when I say go, go, go
Amp up and amplify
Defy
Im a brother with a furious mind
Action must be taken
We dont need the key
Well break in
Something must be done
About vengeance, a badge and a gun
cause Ill rip the mike, rip the stage, rip the system
I was born to rage against em
Fist in ya face, in the place
And Ill drop the style clearly
Know your enemy...know your enemy!
Yeah!
Hey yo, and dick with this...uggh!
Word is born
Fight the war, fuck the norm
Now I got no patience
So sick of complacence
With the d the e the f the I the a the n the c the e
Mind of a revolutionary
So clear the lane
The finger to the land of the chains
What? the land of the free?
Whoever told you that is your enemy?
Now something must be done
About vengeance, a badge and a gun
cause Ill rip the mike, rip the stage, rip the system
I was born to rage against em
Now action must be taken
We dont need the key
Well break in
Ive got no patience now
So sick of complacence now
Ive got no patience now
So sick of complacence now
Sick of sick of sick of sick of you
Time has come to pay...
Know your enemy!
Come on!
Yes I know my enemies
Theyre the teachers who taught me to fight me
Compromise, conformity, assimilation, submission
Ignorance, hypocrisy, brutality, the elite
All of which are american dreams
Rage Against The Machine, they are tentatively reformed and putting on shows.
During our time in Normandy. I wanted to visit the all of the cemeteries. Including the one of our enemy at the time. It is a beautiful and peaceful cemetery. The dark stones are a stark contrast to the allied cemeteries. I did consider cloning out the people in this image, but decided not to. Image made during the European leg of the 2019 Photo Safari with a Pentax K1.
www.goear.com/listen/3a0c9ed/fight-the-power-public-enemy
The Scales are uneven...and Justice..Blind...as a bat..
Many of you know what today is...So a befitting shot?
Just rollin' with it all...It is a fucking Gorgeous day!!!
Fight the Power!
Dwayne the Deckhand spotted an enemy approaching on the horizon! And he's wearing a brand new bicorn.
The Library of Congress Steel workers in Denver
I claim no rights other than colorizing this image if you wish to use let me know
Title
Denver, Colorado. Twenty-four hours a day the sparks from acetylene torches of steel workers in eight Denver fabricating plants are flying thick and fast that the U.S. Navy may carry the battle to the enemy in all parts of the world. Here in secluded Denver, the world's largest city not on a navigable waterway, this war production worker, who has never seen a battleship or an ocean, fashions the steel hull parts which are being assembled at Mare Island Navy Yard--1,200 miles from where he and his fellow wokers are on the job to help "keep 'em sailling."
Created / Published
1942?
Subject Headings
- United States--Colorado--Denver County--Denver.
- Colorado--Denver County--Denver
Format Headings
Nitrate negatives.
Notes
- Actual size of negative is C (approximately 4 x 5 inches).
- Title and other information from print in lot and lot catalog card.
- LOT 2113 (Location of corresponding print.)
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
- Film copy on SIS roll 34, frame 393.
Medium
1 negative : nitrate ; 4 x 5 inches or smaller.
Call Number/Physical Location
LC-USE6- D-010589 [P&P]
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints & Photographs Division Washington, DC 20540 hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8b08625 //hdl.loc.gov/loc.pnp/fsa.8b08625
Control Number
oem2002009002/PP
Reproduction Number
LC-USE6-D-010589 (b&w film nitrate neg.) LC-DIG-fsa-8b08625 (digital file from original neg.)
Online Format
image
Description
1 negative : nitrate ; 4 x 5 inches or smaller.
Rights Advisory
No known restrictions on publication.
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A jump-jet mech tearing through and taking out a fortified artillery position behind enemy lines. This will be one of three MOCs with the same title, each of them will be placed in different times.
Our house is being invaded
by long legged creatures,
Though doors are barricaded
they still get through.
They are big, black and hairy
and run like the clappers,
Ugly as sin and twice as scary
their mission in life is to terrorise me.
They squeeze through the tiniest cracks
and expand to gigantic proportions,
In my direction begin to make tracks
with speed and determination.
I scream, the cat pounces
then backs away in disgust,
Off the creature flounces
and scoots around a table.
They get bigger each year
these fearsome squatters,
Their ability to instil fear
is a legend through time.
How i Wish you were here
to hold my hand.
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
Operator 1: I spotted enemy vehicle at my 10 o'clock. Need the MAAWS here.
Operator 2: Roger. On my way.
A special operations reconnaissance team encountered enemies during their patrol.
I got the idea of the Sea Hind while watching the movie “Firefox”, where the fictional Soviet Missile Cruiser “Riga” launches a group of four “naval” Hinds.
I always wondered why the Soviets never modified the Hind into a submarine hunter…
Right now, the Ultra Lynx is the Imperial Lego Naval Aviation main anti-submarine helicopter but before that, the “Sea Hind” was the Imperial Lego Naval Aviation Submarine Butcher.
Comparable in size to the Sea King, the Sea Hind had a coaxial rotor, which provided a superior control at low altitudes but required a taller hangar. The helicopter had six supports under the wings for anti-submarine torpedoes, rockets, anti-ship missiles or defensive air-to-air missiles; a 50mm heavy auto-cannon was also installed under the fuselage and used to destroy enemy tanks while performing support for the Imperial Marines.
The Sea Hind also carried a surface radar, a FLIR, a retractable MAD on the rear, dipping sonar, sonobuoy launcher and systems to guide missiles over the horizon.
The Sea Hind was the second type of anti-submarine helicopter used by the Imperial Navy, being replaced by the much more advanced Lynx.
The MOC features hardpoints under the wings, internal compartments for radars and sonobouys as well as access to the engines. The rotor can be folded for naval operations.
Hope you like it!
More images here: www.flickr.com/photos/einon/
Eínon