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+++ 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 Mikoyan-Gurevich MiG-19 (NATO reporting name: "Farmer") was a Soviet second-generation, single-seat, twin jet-engine fighter aircraft. It was the first Soviet production aircraft capable of supersonic speeds in level flight. A comparable U.S. "Century Series" fighter was the North American F-100 Super Sabre, although the MiG-19 would primarily oppose the more modern McDonnell Douglas F-4 Phantom II and Republic F-105 Thunderchief over North Vietnam. Furthermore, the North American YF-100 Super Sabre prototype appeared approximately one year after the MiG-19, making the MiG-19 the first operational supersonic jet in the world.
On 20 April 1951, OKB-155 was given the order to develop the MiG-17 into a new fighter called "I-340", also known as "SM-1". It was to be powered by two Mikulin AM-5 non-afterburning jet engines, a scaled-down version of the Mikulin AM-3, with 19.6 kN (4,410 lbf) of thrust. The I-340 was supposed to attain 1,160 km/h (725 mph, Mach 0.97) at 2,000 m (6,562 ft), 1,080 km/h (675 mph, Mach 1.0) at 10,000 m (32,808 ft), climb to 10,000 m (32,808 ft) in 2.9 minutes, and have a service ceiling of no less than 17,500 m (57,415 ft).
After several prototypes with many detail improvements, the ministers of the Soviet Union issued the order #286-133 to start serial production on February 17, 1954, at the factories in Gorkiy and Novosibirsk. Factory trials were completed on September 12 the same year, and government trials started on September 30.
Initial enthusiasm for the aircraft was dampened by several problems. The most alarming of these was the danger of a midair explosion due to overheating of the fuselage fuel tanks located between the engines. Deployment of airbrakes at high speeds caused a high-g pitch-up. Elevators lacked authority at supersonic speeds. The high landing speed of 230 km/h (145 mph), compared to 160 km/h (100 mph) for the MiG-15, combined with the lack of a two-seat trainer version, slowed pilot transition to the type. Handling problems were addressed with the second prototype, "SM-9/2", which added a third ventral airbrake and introduced all-moving tailplanes with a damper to prevent pilot-induced oscillations at subsonic speeds. It flew on 16 September 1954, and entered production as the MiG-19S.
Approximately 5,500 MiG-19's were produced, first in the USSR and in Czechoslovakia as the Avia S-105, but mainly in the People's Republic of China as the Shenyang J-6. The aircraft saw service with a number of other national air forces, including those of Cuba, North Vietnam, Egypt, Pakistan, and North Korea. The aircraft saw combat during the Vietnam War, the 1967 Six Day War, and the 1971 Bangladesh War.
However, jet fighter development made huge leaps in the 1960s, and OKB MiG was constantly trying to improve the MiG-19's performance, esp. against fast and high-flying enemies, primarily bombers but also spy planes like the U-2.
As the MiG-19S was brought into service with the Soviet air forces in mid-1956, the OKB MiG was continuing the refinement of the SM-1/I-340 fighter. One of these evolutionary paths was the SM-12 (literally, “SM-1, second generation”) family of prototypes, the ultimate extrapolation of the basic MiG-19 design, which eventually led to the MiG-19bis interceptor that filled the gap between the MiG-19S and the following, highly successful MiG-21.
The SM-12 first saw life as an exercise in drag reduction by means of new air intake configurations, since the MiG-19’s original intake with rounded lips became inefficient at supersonic speed (its Western rival, the North American F-100, featured a sharp-lipped nose air intake from the start). The first of three prototypes, the SM-12/1, was essentially a MiG-19S with an extended and straight-tapered nose with sharp-lipped orifice and a pointed, two-position shock cone on the intake splitter. The simple arrangement proved to be successful and was further refined.
The next evolutionary step, the SM-12/3, differed from its predecessors primarily in two new R3-26 turbojets developed from the earlier power plant by V. N. Sorokin. These each offered an afterburning thrust of 3,600kg, enabling the SM-12/3 to attain speeds ranging between 1,430km/h at sea level, or Mach=1.16, and 1,930km/h at 12,000m, or Mach=1.8, and an altitude of between 17,500 and 18,000m during its test program. This outstanding performance prompted further development with a view to production as a point defense interceptor.
Similarly powered by R3-26 engines, and embodying major nose redesign with a larger orifice permitting introduction of a substantial two-position conical centerbody for a TsD-30 radar, a further prototype was completed as the SM-12PM. Discarding the wing root NR-30 cannon of preceding prototypes, the SM-12PM was armed with only two K-5M (RS-2U) beam-riding missiles and entered flight test in 1957. This configuration would become the basis for the MiG-19bis interceptor that eventually was ordered into limited production (see below).
However, the SM-12 development line did not stop at this point. At the end of 1958, yet another prototype, the SM-12PMU, joined the experimental fighter family. This had R3M-26 turbojets uprated to 3.800kg with afterburning, but these were further augmented by a U-19D accelerator, which took the form of a permanent ventral pack containing an RU-013 rocket motor and its propellant tanks. Developed by D. D. Sevruk, the RU-013 delivered 3,000kg of additional thrust, and with the aid of this rocket motor, the SM-12PMU attained an altitude of 24,000m and a speed of Mach=1.69. But this effort was to no avail: the decision had been taken meanwhile to manufacture the Ye-7 in series as the MiG-21, and further development of the SM-12 series was therefore discontinued.
Nevertheless, since full operational status of the new MiG-21 was expected to remain pending for some time, production of a modified SM-12PM was ordered as a gap filler. Not only would this fighter bridge the performance gap to the Mach 2-capable MiG-21, it also had the benefit of being based on proven technologies and would not require a new basic pilot training.
The new aircraft received the official designation MiG-19bis. Compared with the SM-12PM prototype, the MiG-19bis differed in some details and improvements. The SM-12PM’s most significant shortfall was its short range – at full power, it had only a range of 750 km! This could be mended through an additional fuel tank in an enlarged dorsal fairing behind the cockpit. With this internal extra fuel, range could be extended by a further 200 - 250km range, but drop tanks had typically to be carried, too, in order to extend the fighter’ combat radius with two AAMs to 500 km. Specifically for the MiG-19bis, new, supersonic drop tanks (PTB-490) were designed, and these were later adapted for the MiG-21, too.
The air intake shock cone was re-contoured and the shifting mechanism improved: Instead of a simple, conical shape, the shock cone now had a more complex curvature with two steps and the intake orifice area was widened to allow a higher airflow rate. The air intake’s efficiency was further optimized through gradual positions of the shock cone.
As a positive side effect, the revised shock cone offered space for an enlarged radar dish, what improved detection range and resolution. The TsD-30 radar for the fighter’s missile-only armament was retained, even though the K-5’s effective range of only 2–6 km (1¼ – 3¾ mi) made it only suitable against slow and large targets like bombers. All guns were deleted in order to save weight or make room for the electronic equipment. The tail section was also changed because the R3M-26 engines and their afterburners were considerably longer than the MiG-19's original RM-5 engines. The exhausts now markedly protruded from the tail section, and the original, characteristic pen nib fairing between the two engines had been modified accordingly.
Production started in 1960, but only a total of roundabout 180 MiG-19bis, which received the NATO code "Farmer F", were built and the Soviet Union remained the only operator of the type. The first aircraft entered Soviet Anti-Air Defense in early 1961, and the machines were concentrated in PVO interceptor units around major sites like Moscow, Sewastopol at the Black Sea and Vladivostok in the Far East.
With the advent of the MiG-21, though, their career did not last long. Even though many machines were updated to carry the K-13 (the IR-guided AA-2 "Atoll") as well as the improved K-55 AAMs, with no change of the type’s designation, most MiG-19bis were already phased out towards the late 1960s and quickly replaced by 2nd generation MiG-21s as well as heavier and more capable Suchoj interceptors like the Su-9, -11 and -15. By 1972, all MiG-19bis had been retired.
General characteristics:
Crew: 1
Length: 13.54 m (44 ft 4 in), fuselage only with shock cone in forward position
15.48 m (50 8 ½ in) including pitot
Wingspan: 9 m (29 ft 6 in)
Height: 3.8885 m (12 ft 9 in)
Wing area: 25 m² (269 ft²)
Empty weight: 5,210 kg (11,475 lb)
Loaded weight: 7,890 kg (17,380 lb)
Max. takeoff weight: 9,050 kg (19,935 lb)
Fuel capacity: 2,450 l (556 imp gal; 647 US gal) internal;
plus 760 l (170 imp gal; 200 US gal) with 2 drop tanks
Powerplant:
2× Sorokin R3M-26 turbojets, rated at 37.2 kN (8,370 lbf) thrust each with afterburning
Performance:
Maximum speed: 1,380km/h at sea level (Mach=1.16)
1,850km/h at 12,000m (Mach=1.8)
Range: 1,250 km (775 mi; 750 nmi) at 14,000 m (45,000 ft) with 2 × 490 l drop tanks
Combat range: 500 km (312 mi; 270 nmi)
Ferry range: 2,000 km (1,242 mi; 690 nmi)
Service ceiling: 19,750 m (64,690 ft)
Rate of climb: 180 m/s (35,000 ft/min)
Wing loading: 353.3 kg/m² (72.4 lb/ft²)
Thrust/weight: 0.86
Armament:
No internal guns.
4× underwing pylons; typically, a pair of PTB-490 drop tanks were carried on the outer pylon pair,
plus a pair of air-to air missiles on the inner pair: initially two radar-guided Kaliningrad K-5M (RS-2US)
AAMs, later two radar-guided K-55 or IR-guided Vympel K-13 (AA-2 'Atoll') AAMs
The kit and its assembly:
Another submission for the 2018 Cold War Group Build at whatifmodelers.com, and again the opportunity to build a whiffy model from the project list. But it’s as fictional as one might think, since the SM-12 line of experimental “hybrid” fighters between the MiG-19 and the MiG-21 was real. But none of these aircraft ever made it into serial production, and in real life the MiG-21 showed so much potential that the attempts to improve the MiG-19 were stopped and no operational fighter entered production or service.
However, the SM-12, with its elongated nose and the central shock cone, makes a nice model subject, and I imagined what a service aircraft might have looked like? It would IMHO have been close, if not identical, to the SM-12PM, since this was the most refined pure jet fighter in the development family.
The basis for the build was a (dead cheap) Mastercraft MiG-19, which is a re-edition of the venerable Kovozávody Prostějov (KP) kit – as a tribute to modern tastes, it comes with (crudely) engraved panel, but it has a horrible fit all over. For instance, there was a 1mm gap between the fuselage and the right wing, the wing halves’ outlines did not match at all and it is questionable if the canopy actually belongs to the kit at all? PSR everywhere. I also had a Plastyk version of this kit on the table some time ago, but it was of a much better quality! O.K., the Mastercraft kit comes cheap, but it’s, to be honest, not a real bargain.
Even though the result would not be crisp I did some mods and changes. Internally, a cockpit tub was implanted (OOB there’s just a wacky seat hanging in mid air) plus some serious lead weight in the nose section for a proper stance.
On the outside, the new air intake is the most obvious change. I found a Su-17 intake (from a Mastercraft kit, too) and used a piece from a Matchbox B-17G’s dorsal turret to elongate the nose – it had an almost perfect diameter and a mildly conical shape. Some massive PSR work was necessary to blend the parts together, though.
The tail received new jet nozzles, scratched from steel needle protection covers, and the tail fairing was adjusted according to the real SM-12’s shape.
Ordnance was adapted, too: the drop tanks come from a Mastercraft MiG-21, and these supersonic PTB-490 tanks were indeed carried by the real SM-12 prototypes because the uprated engines were very thirsty and the original, teardrop-shaped MiG-19 tanks simply too draggy for the much faster SM-12. As a side note, the real SM-12’s short range was one of the serious factors that prevented the promising type’s production in real life. In order to overcome the poor range weakness I added an enlarged spine (half of a drop tank), inspired by the MiG-21 SMT, that would house an additional internal fuel tank.
The R2-SU/K-5 AAMs come from a vintage Mastercraft Soviet aircraft weapon set, which carries a pair of these 1st generation AAMs. While the molds seem to be a bit soft, the missiles look pretty convincing. Their pylons were taken from the kit (OOB they carry unguided AAM pods and are placed behind the main landing gear wells), just reversed and placed on the wings’ leading edges – similar to the real SM-12’s arrangement.
Painting and markings:
No surprises. In the Sixties, any PVO aircraft was left in bare metal, so there was hardly an alternative to a NMF finish.
Painting started with an all-over coat with acrylic Revell 99 (Aluminum), just the spine tank became light grey (Revell 371) for some contrast, and I painted some di-electric covers in a deep green (Revell 48).
The cockpit interior was painted with a bright mix of Revell 55 and some 48, while the landing gear wells and the back section of the cockpit were painted in a bluish grey (Revell 57).
The landing gear was painted in Steel (unpolished Modelmaster metallizer) and received classic, bright green wheel discs (Humbrol 2). As a small, unusual highlight the pitot boom under the chin received red and white stripes – seen on occasional MiG-19S fighters in Soviet service, and the anti-flutter booms on the stabilizers became bright red, too.
After the basic painting was done the kit received a black ink wash. Once this had dried and wiped off with a soft cotton cloth, post shading with various metallizer tones was added in order to liven up the uniform aircraft (including Humbrol’s matt and polished aluminum, and the exhaust section was treated with steel). Some panel lines were emphasized with a thin pencil.
Decals were puzzled together from various sources, a Guards badge and a few Russian stencils were added, too. Finally, the kit was sealed with a coat of sheen acrylic varnish (a 2:1 mix of Italeri matt and semi-gloss varnish).
The K-5 missiles, last but not least, were painted in aluminum, too, but their end caps (both front and tail section) became off-white.
The Mastercraft kit on which this conversion was based is crude, so I did not have high expectations concerning the outcome. But the new nose blends nicely into the MiG-19 fuselage, and the wide spine is a subtle detail that makes the aircraft look more “beefy” and less MiG-19-ish. The different drop tanks – even though they are authentic – visually add further speed. And despite many flaws, I am quite happy with the result of roundabout a week’s work.
This is the starting-point of an urban excursion. Its location and trajectory covers parts of Beijing's CBD area (on a commonly smoggy/polluted day). It show-cases a large "in-between area" as a starting point of one of the ways a city can be experienced.
ESSAY BACKUP:
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A Personal View on Today´s Cities
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Institution: Leuphana Digital School
Think Tank — Ideal City of the 21st Century
Supervision: Daniel Libeskind, B.Arch. M.A. BDA AIA
Tutor: Mariam
Assignment: 01
Start Date: January 23, 2013
team code: 339
co-authors: Jan Hauters and Nedyalko Terziev
"TERRITORIZE!"
A Personal View on Today´s Cities
Content:
1. A Theoretical Framework (inferred from daily experiences)
2. Two Case Studies
2.1. Case Study One —Singapore— (Introduction and images + caption)
2.2. Case Study Two —Beijing— (Introduction and images + caption)
3. Epilogue
4. References
1.
A THEORETICAL FRAMEWORK (inferred from daily experiences)
For the occasion of this essay we opted for a less conform verb and title: "TERRITORIZE!" It symbolizes the (lack of) dynamics observed within the two case studies supporting this text. Within the two following case studies, any reference to this essay shall mainly be made by two mutually accompanying formats: photography and its caption. These two shall be explored below this introductory essay. Both case studies, Singapore and Beijing, are similar and yet tremendously different, especially by means of the specific attributes the co-authors decided to point their lenses and attention to. Although this text is planned, produced and constructed around two intricately folded focuses, yet it shall aim to hint in a direction of far more complex considerations in regards to an idealization of a near-future city.
A noticeable major tension lies in how seemingly, in both case studies, territories have been allocated and fixed by means of centralized planning. However each differ in how these territories are sustained or claimed by others. Hence—in a somewhat superficial ode to Deleuze and Guattari (1972)—one could speak of dynamics related to the action of terrritorialization, namely: deterritorialization and reterritorialization. These create complex mechanisms where areas—themselves territories—are stuck in-between other territories, have been seemingly fixated in spacetime by means of regulation, social consideration, form and fixtures—or contrary to this—are gradually in struggle with other territories.
All these dynamics create processes that could be, if artificially seen as a moment in-between function, community, culture, form, and other (note: here as a textual reduction of a non-demarcated, non-linear and multidimensional fluidity of moments into moments). The idea of 'in-between-ness' is lightly borrowed from Bhabha's 1994 work entitled The Location of Culture.
With 'in-between spaces' we shall poetically (cf. Bachelard, 1958) refer to those spaces between nexuses of habitation or labor. As these are poetic references to space, these spaces do not simply refer to physical spaces nor to their reduced forms of infrastructural constructs or public spaces (i.e. roads, bridges, parks, strips of land, etc). Hence, 'in-between spaces' are not a critique on landscape architecture nor structural engineering. 'In-between' shall secondly, and more specifically, also refer to being and becoming 'in-between' or being mid-struggle for occupation of space. Thirdly, in further detailed connotation and as previously hinted, 'in-between' shall refer to a mechanism of unsettled territorial functionality (proprietary, aesthetic, social, cultural, political, etc).
As it was decided to associate these concepts with the texts as provided within this assignment it is aimed to work around the following citation from Lemann :
"There is something delightfully counter intuitive...: you would have thought it was dull Babbitts who made a city commercially successful, but no—it's kids with scruffy beards and tattoos... What is the connection between them and prosperity?" (Lemann, 2011, p.77)
We would like to explore, expand on, support or contradict this image and consider the 'in-between spaces' not only from a point of view of "commercial success" but also add-on 'social success' (or lack thereof) and the dynamics as implied in the citation of struggles or uncanny communities (i.e. scruffy bearded men with tattoos) (or lack thereof; or variations thereon). These considerations would then ideally be trans-coded into the visions of this assignment's team as well as the conceptualizations concerning an ideal twenty-first century city.
In an ideal city of the twenty-first century, city planning would consciously consider 'in-between space' (tangible and intangible; and both in infinite flux) as spaces not simply as disconnected structures supporting facilities (such as for transitional transportation) or such as desolate landscape architecture. The consideration would occur from several angles such as:
1/ the socio-political and the multi-sensorial aesthetic,
2/ the formal and functional,
3/ the interactive or immersive and psychological, and
4/ the business and infrastructural.
The convoluted consideration of these (and possible others) would aim to maximize the in-between as essential and inherent breathing parts of the whole; equally important as one or other composer supposedly claimed composite silences to be equally if not more important than sound. However, currently, in our today's cities some of these in-between territories are stuck others are in flux. Some have settled and created more desirable conditions and while others do not seem maximized some are still too much in flux to realize their full potential. Combining both case studies we noticed that some (imposed) territories terrorize. That is to say, they poetically terrorize form, function, aesthetic, ideal, community (or the potential thereof), commercial viability, sustainability, and so on while others seem to support (cultural, economic, social, aesthetic, functional or other types of) poetic nourishment.
Thus, "TERRITORIZE!" is an outcry (opposing the terror) as well as a call-for-action; promoting the fluid and dynamic maximization (as mentioned, and more: cultural, ecological, aesthetic, communal manners of maximization) of urban(ized) spaces.
2.
CASE STUDIES
While high-levels of central urban planning are prevalent in both Singapore and Beijing, we see two cities of contrast. On one side we have the modern, clinically-clean yet tropically green Singapore which has largely solved the infrastructure and environment issues stemming from its dense population with in-between spaces virtually non-existent. Juxtaposed, we see Beijing rapidly growing but struggling to transition from its communist past with many urban development problems still to be resolved. The two contributors for this assignment also took a divergent approach to examining the cities to show alternative ways that an urban setting can be viewed and experienced. Whereas, the view on Singapore is more of a high-level, city-wide perspective the way a foreigner touring the city might experience it, the approach with Beijing takes a specific path through the city, a path not too different from the one an ordinary Beijing citizen would take on a regular day. Singapore’s case offers an urban panorama providing the reader with a broad view of how territory and in-between space can be observed and experienced. In contrast, Beijing’s case hyper-focuses on a single trajectory.
2.1
Case Study One
—Singapore—
For his participation in the team-driven first assignment, one resident of Singapore took a broad look at Singapore, visiting some distinct destinations indicative of Singapore's character. Geographically, several of the photographs were taken at the central business area. The ones focusing on infrastructure (port, subway, cameras, etc) were made in various, more distant locations. However, in all cases, the contributor has tried his best to pinpoint the salient features of this highly-developed nation. Some of the photos were taken for this assignment specifically, while others were taken earlier, some time during the year before. The order of the photos follows thematic order rather than geographical or chronological order.
Title: Pragmatic Singapore
Caption: The Parliament of Singapore- a building where important decisions are made every day, yet a building void of any pompousness and imposing stature. While cameras videotaping passers-by are of course abundant, lacking any kind of fence or military guards nearby, the Parliament has the demeanor of a very open and accessible building. In fact, probably one of the most noticeable features of the Singapore Parliament building is its lack of notice-ability- one never sees crowds of tourists taking pictures of themselves in front of the Parliament. Open, pragmatic, yet well-fortified, the Parliament of Singapore exemplifies Singaporeans and Singapore itself.
Although differences shall be evident when viewing the Beijing photography, one similarity can be identified: hardly any one frequents the areas in-between the nexuses of activity such as the Singapore parliament and the surrounding architectural structures. Similarities between two cities in regards to a lack of dynamics among some territories can be found. The parliament is such an example. The examples given for Beijing shall speak for themselves as well. Such spaces seem to be fixed in space-time (sustained either by means of technology, such as cameras, white metal fences, or watch-groups). Although one might hide it behind pleasantries and blue skies while the other one (and its chosen imagery) might appear far more crude, each in their own right seems to lack a certain organic or communal feel.
Title: It started with a port
Caption: Devoid of almost any natural resources, the naturally deep port of Singapore located key geographically in the Straits of Malacca is about the only natural endowment Singapore inherited. Today, it is the world's busiest port. The port and the closely related shipping and logistics industry, have been the fundamental driver which raised Singapore's economy from the post-WWII shambles to the world's most competitive economy in the span of 50 years. In addition to its economic importance, the magnitude of the port, the efficiency with which it operates, as well as how well defined and specialized the different parts of the port are is also symbolic for Singapore in general. Thanks to the port and thanks to the qualities which the port represents, Singapore has become the poster child, the shining exception that proved developed countries can also emerge in the hot, subtropical regions of the world (Sachs, 2001). Yet, such economic success has not come without some sacrifices as hopefully, the later photos would prove.
Title: Big Brother
Caption: In Singapore, cameras are literally everywhere. Every bus stop, every metro station and any larger building or street boasts a handful of cameras videotaping. One simply cannot go outside their home without being videotaped by at least a few cameras. Fines for misbehavior are heavy and as a result, law is followed strictly by everyone. Crime is virtually non-existent at the expense of Big Brother constantly 'watching over' Singaporeans. We leave it up to the reader to decide whether Singapore today is a heaven of safety or an Orwellian 1984 city.
Title: Singapore is a FINE city
Caption: Singaporeans like to joke that Singapore is a 'fine' city. Shown above are signs about what one is not allowed to do while in the subway (no chewing gum either, please). In addition to the signs, many subway stations play voice recordings and play short TV clips reinforcing some of the same messages about food and drinks not being allowed. The result of all the cameras and the heavy fines, Singapore is probably the cleanliest big city in the world not just inside the metro but also city-wide.
P.S. Durian is a type of tropical fruit noted for its strong taste and smell.
Caption: Control and safety
Caption:The subway station photographed in this picture is among the many that people use to commute to work. A safety glass prevents people from accidentally falling over or intentionally jumping on subway tracks. The yellow arrows on the photo are directions as to how to enter and how to exit the subway in order to achieve maximum efficiency. Additionally, TV screens instruct people at the station how to spot terrorists who might have boarded on a train and to prevent disasters from happening.
Noted for its cleanliness, Singapore's metro is also known for its convenience- most Singaporeans live within a walking distance from the train station allowing majority of population to live and work without having a car. The fewer cars driven by Singaporeans is the major reason why air pollution is very low and traffic jams are significantly smaller than those in most mega cities.
Title: 'Underground' Singapore
Caption: In a small, densely populated and pragmatically ruled island such as Singapore, in-between spaces are virtually non-existent. On the contrary, lacking enough space on the ground, the city state has developed a maze of underground passageways not just for the subway but also for shopping. Numerous shiny shops inside can sell you from a high fashion clothing to a household good. With some of these underground shopping centers hosting as many as six underground floors of shops one easily gets lost in the shopping frenzy of the locals. Indeed, for many people visiting Singapore, the island seems like a giant shopping mall both above the ground and under.
Title: Green Singapore
Caption: In spite of being the second most densely populated country and boasting numerous high-rise residential and office buildings, Singapore is unmistakably green. Both in-between areas of the city as well as the specially designated parks and gardens, are home for many evergreen trees. This photo is taken in Eastern Singapore, close to the East Coast Park, but it could have well been taken in any other part of Singapore. With its 15 kilometers length, East Coast is the longest park in Singapore stretching all the way from the city center to the Changi airport. To further lengthen the parks available, a recent initiative has connected different parks via park connectors for Singaporeans to enjoy an uninterrupted tropical greenery experience.
Title: Pockets of ethnicity
Caption: Little India. Together with Chinatown and Arab Street, Little India is among the three distinct ethnic areas in the city state. Whereas the country has been known for its order and cleanliness, the little ethnic neighborhoods allow Singaporeans and tourists to still experience the Asian culture in the otherwise very modernistic, efficient, clinically-clean city state.
Title: A nexus of cuisines and traditions
Caption: Cohabiting variation within one territory: the hawker centers. Singaporeans like good deals and love food. Food courts which in Singapore are referred to as hawker centers are a popular hang-out place as they offer affordable food from various cuisines and vendors. In fact, one frequently finds food stalls called 'Economic rice'. There is at least one hawker center in every neighborhood and they are a vibrant part of the community. Photographed here is Lau Pa Sat, Singapore's most iconic hawker center. Singapore's food courts are also an interesting juxtaposition to the rest of the city. Whereas, Singapore's cleanliness and efficiency is well-known, the inevitable messiness of the street food providing a quick escape from Singapore's glitter and modernity to our cultural past. It is also a great opportunity to dive into the food cultures of various cuisines. Located right in the middle of the business center, Lau Pa Sat is probably the best study of compare and contrast between Singapore's 21st century modernism and its cultural past.
Title: Attracting tourists
Caption: Land deterritorializing sea. Welcome to the Sentosa Island! An artificial island which the Singaporean government decided to create out of the blue ocean waters as a way to attract more tourists to the country as well as to offer Singaporeans a popular weekend destination for relaxation and enjoyment.
Title: Building a city icon
Caption: This nexus does not simply stay isolated within itself; its aura or its features (light, color, social status) radiate outwards into other areas. An icon is in battle with those city elements that have to give way for a far reaching status of the iconic. Thanks to its signature three skyscrapers connected via a ship-resembling structure at the top, Marina Bay Sands is perhaps the most recognizable view of Singapore. Just like Sentosa Island, Marina Bay Sands attracts millions of tourists to Singapore every year and adds a visual image to the name Singapore. The Singapore's Formula 1 race is the only night race and runs around Marina Bay Sands allowing million of sport fans around the globe to see Singapore's most iconic building, further enhancing the image of the city-state.
Title: A hub of innovation
Caption: Attributes seen as important within spaces and their accompanying territories are evaluated, devaluated and reevaluated over and over again. Green buildings is one such collective of attributes that has been evaluated replacing those attributes that no longer are considered desirable. Fusionopolis is the first green building in Singapore showing government's desire to support sustainable buildings. Fusionopolis is also designed to become the hub for IT, data management and communication technology companies in Singapore. In the immediate proximity, Biopolis and Mediapolis are currently being built with which the area is planned to become a vibrant cluster for innovative companies from IT, R&D, life sciences and media sectors. A number of universities are also close by to further strengthen the connection between the academia and real-world applications.
Title: Attracting universities
Caption: Territorialization crosses borders and crosses industries. Among the top business schools in Europe, INSEAD was the first major foreign university to establish a campus in Singapore. Singapore's Economic Development Board is actively looking to attract top universities to come and further enhance the quality of Singapore's workforce. So far, INSEAD, Duke, University of Chicago, NYU and MIT among others have established presence in the country. Yale University will be opening its first campus outside of US, this coming Fall as well. Do these institutions alter the dynamics within communities; if so how? Do they replace users/communities, reshuffle them? What happens?
Case Study Two
—Beijing—
For his participation in the team-driven first assignment, one citizen of Beijing offers a case study hyper-focusing on a pedestrian trajectory between the 'Pingguo Shequ Beiqu' residential/cultural business area —located in the southern part or south of 'Beijing's CBD' area (Central/China Business district)— and leading via the 'Tong Hui He canal' along and under the 'Guomao bridge' to the buildings (and one of the publicly accessible rooftops) of 'Guomao' (all the while contextualizing such background architectural structures as Koolhaas' CCTV tower; which after all these years has still not been occupied). Adopting a few words from Bachelard: although several of the spaces shown here as photographic highlights have "no vital necessity" they do have a "bracing effect on our lives." (Bachelard, xxvi)
This co-author chose to walk the distance based on a believe that an urban setting should be enjoyable not simply from aerial photography or comfortably observed from top-floor based boardroom windows, but rather also on the single human's active and participatory scale. The walking distance between the two parts takes about 30 minutes and constitutes a conglomeration of virtual urban islands, perhaps insufficiently radiating their influence into the in-between spaces. These "islands" struggle with various types of physical (i.e. formal and functional) as well as cultural (i.e. social, political, historical, sub-cultural) in-between areas and dynamics of (de-) or (re-)territorializations.
Several such similar 'clouds' have been identified within Beijing yet are not included due to textual, project and temporal constraints. As supportive examples: the 'dramatic' area including and surrounding Steven Holl's MOMA complex—with numerous empty apartment units; the post-Olympic sport facility area and its larger surroundings; the supposedly hundreds of thousands of square meter of empty spaces in Beijing; and so on). This photographer/writer plays with the thesis that such in-between spaces and their dynamics can be found across the globe and across time.
3.
EPILOGUE
Singapore's views, amongst others, showcase ethnic groups. although unique in nature and different from what one might consider (as a bias) to be "Singapore," yet their territory (spacial and probably also economic) is clearly framed within the larger city. The framing one might possibly speak of, in regards to ethnicity , is in useable tension with the de- or re-teritorrialization. One could speak of where one territory battles with another (i.e. The Beijing photography showing graffiti vs out-door signage; the badly masked phone numbers on the bridge pillar; the bicycle repair man on an in-between patch of land; etc ).
In Beijing areas labelled 'dead-zones' or 'no-man's land' were showcased. The reason why those small plots of Beijing land were labelled 'dead-zones' is intended to be made obvious from the drab feel one gets when viewing the images. Similar to Singapore's ethnic districts these 'dead-zone and in-between areas' too are clearly framed (i.e. the white or other fences around areas that have no activity). In stark contrast, Singapore's well-framed ethnic areas are social, human, with spirit and with economic potential.
Additionally, if under the condition the framing of Singaporean ethnic neighborhoods is sufficiently inclusive, one could argue those are islands of centralized activity. This is in contrast with what is shown here in an otherwise highly centralized-controlled city as Beijing. A few Beijing photographs highlighted decentralized 'economic' activity, for instance, the image showing recycling efforts as well as the bicycle repair man (two activities that return at several seemingly random locations around Beijing). These activities, the associated artifacts and their coordinating individuals have taken over areas that were initially not intended for such functionality; they territorialized these spaces. One might argue which economic model would create most social or economic success (see Lemann's quote above); Singapore's or this particular highlighted one in Beijing?
It seems, in the Singaporean setting, as shown above, any struggle is absent in regards to the ethnic neighborhoods (or those places where these Singaporean ethnic areas might transition into/ be stuck in-between other areas); or any other image captured above. Is this factually so, can this be extrapolated across the urban space, or, is this urban imagery patient and editorial in nature and potentially idealizing what is truly happening at the territorial/cultural/or other (intangible) fault-lines? Additionally, might Beijing have very different examples showcasing a rather opposite dynamic as portrayed in the constructed storyline here above? An overarching question floats to the surface: which filtering lenses shall be used to construct, promote and sustain the 'ideal' actualities of a near-future city?
4.
REFERENCES
Bachelard, G. (1958). The Poetics Of Space. Boston: Beacon Press.
Bhabha. H. K. (1994). The Location of Culture. New York: Routledge.
Deleuze, G. & Felix Guattari. (1972, 2000). Anti-Oedipus - Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press.
Foucault, M. (1995). Discipline and Punish: The Birth of the Prison. New York: Vintage Books.
Hauters, J. (2013). Beijing, P.R. China photography
Lemann, N. (2011). A Critique At Large. Get Out Of Town. Has The Celebration of Cities Gone Too Far? in The New Yorker (June 27, 2011).
Orwell, George (1949). Nineteen Eighty-Four. A novel. London: Secker & Warburg.
Sachs, Jeffrey (2001). Tropical Underdevelopment. National Bureau of Economic Research
Terziev, N. (2013). Singapore photography
The turtle is an example of a living fossil, it is un-evolved after millions of years and remains alive today unchanged from its fossil ancestors.
Rapid formation of strata, latest evidence:
www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Fossil museum: www.flickr.com/photos/101536517@N06/sets/72157641367196613/
The formation of fossils.
What many people don't seem to realise is that all good, intact fossils require rapid burial in sufficient sediment to prevent decay or predatory destruction.
So it is evident that rock containing good, undamaged fossils was laid down rapidly, quite likely in catastrophic conditions.
Another important factor is that many large fossils (tree trunks, large fish, dinosaurs etc.) intersect several or many strata (sometimes called layers) which indicates that multiple strata were formed simultaneously in a single event by grading/segregation of sedimentary particles into distinct layers, and not stratum by stratum over long periods of time or different geological eras, which is the evolutionist's, uniformitarian interpretation of the geological column.
Rapid formation of strata, latest evidence:
www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Fossil museum: www.flickr.com/photos/101536517@N06/sets/72157641367196613/
There is no credible mechanism for progressive evolution.
Darwin believed that there was unlimited variability in the gene pool of all creatures and plants.
However, the changes possible through selective breeding were known by breeders to be strictly limited.
This was due to the fact that the changes seen in selective breeding were due to the shuffling, deletion and emphasis of genetic information already existing in the gene pool (micro-evolution). There was no viable mechanism for creating new, beneficial, genetic information required to create entirely new structures and features (macro-evolution).
Darwin ignored the limits which were well known to breeders (even though he selectively bred pigeons himself, and should have known better). He simply extrapolated the limited, minor changes observed in selective breeding to major, unlimited, progressive changes able to create new structures, organs etc. through natural selection, over millions of years.
Of course, the length of time involved made no difference, the existing, genetic information could not increase of its own accord, no matter how long the timescale.
That was a gigantic flaw in Darwinism, and opponents of Darwin's ideas tried to argue that changes were limited, as selective breeding had demonstrated. But because Darwinism had acquired an ideological status, belief in it outweighed the verdict of observational and experimental science, and classical Darwinism became scientific orthodoxy for nearly a century.
Opponents continued to argue all this time, that Darwinism was unscientific nonsense, but they were ostracised and ridiculed as cranks, weirdoes or religious fanatics.
Finally however, it was discovered that the opponents of Darwin were perfectly correct - and that constructive, genetic changes require new, additional, genetic information.
This looked like the ignominious end of Darwinism, as there was no credible, natural mechanism able to create new, constructive, genetic information. And Darwinism should have been heading for the dustbin of history,
However, rather than ditch the whole idea, the vested interests in Darwinism had become so great, with numerous, lifelong careers and an ideological agenda involved in the Darwinian belief system, a desperate attempt was made to rescue it from its justified demise.
A mechanism had to be invented to explain the origin of new, constructive information.
That invented mechanism was 'mutations'. Mutations are ... genetic, copying MISTAKES.
The public had already been convinced that classical Darwinism was a scientific fact, and that anyone who questioned it was a crank, so all that had to be done was to give the impression that the theory had simply been refined and updated in the light of modern science.
The fact that classical Darwinism had been wrong all along, and was fatally flawed from the outset was kept quiet.
The new developments were simply portrayed as the evolution and development of the theory. The impression was given that there was nothing wrong with the idea of progressive (macro) evolution, it had simply evolved in the light of greater knowledge.
The new, improved Darwinism became known as Neo-Darwinism.
So what is Neo-Darwinism?
It is progressive, macro evolution based on the ludicrous idea that random mutations (accidental, genetic, copying mistakes) selected by natural selection, can provide constructive, genetic information capable of creating entirely new features, structures, organs, and biological systems. Macro evolution is based on a belief in a complete progression from microbes to man through millions of random, genetic, copying MISTAKES. There is no evidence for it whatsoever, it is unscientific nonsense which defies logic.
Micro-evolution is simply the small changes which take place, through natural selection or selective breeding, but only within the strict limits of the built-in variability of the existing gene pool. Any changes outside the extent of the existing gene pool requires a credible mechanism for the creation of new, constructive, genetic information, that is what is essential for macro evolution. Micro evolution does not involve or require the creation of any new, genetic information. So micro evolution and macro evolution are entirely different. There is no connection between them at all.
Neo-Darwinian, macro evolution is the ridiculous idea that everything in the genome of humans and every living thing past and present (apart from the original genetic information in the very first living cell) is the result of millions of genetic copying mistakes..... mutations ... of mutations .... of mutations.... of mutations .... and so on - and on - and on.
In other words, Neo-Darwinism proposes that the complete genome (every scrap of genetic information in the DNA) of every living thing that has ever lived was created by a series ... of mistakes ... of mistakes .... of mistakes .... of mistakes etc. etc.
If we look at the whole picture we soon realise that what is actually being proposed by evolutionists is that, apart from the original information in the first living cell - every additional scrap of genetic information for all - features, structures, systems and processes that exist, or have ever existed in living things, such as:
skin, bones, bone joints, shells, flowers, leaves, wings, scales, muscles, fur, hair, teeth, claws, toe and finger nails, horns, beaks, nervous systems, blood, blood vessels, brains, lungs, hearts, digestive systems, vascular systems, liver, kidneys, pancreas, bowels, immune systems, senses, eyes, ears, sex organs, sexual reproduction, sperm, eggs, pollen, the process of metamorphosis, marsupial pouches, marsupial embryo migration, mammary glands, hormone production, melanin etc. .... have been created from scratch, by an incredibly long series of small, accumulated mistakes ... mistake - upon mistake - upon mistake - upon mistake - over and over again, millions of times. That is ... every part, system and process of all living things are the result of literally billions of genetic MISTAKES of MISTAKES, accumulated over many millions of years.
So what we are asked to believe is that something like a vascular system, or reproductive organs, developed in small, random, incremental steps, with every step being the result of a copying mistake, and with each step being able to provide a significant survival or reproductive advantage in order to be preserved and become dominant in the gene pool. Incredible!
If you believe that ... you will believe anything.
Even worse, evolutionists have yet to cite a single example of a positive, beneficial, mutation which adds constructive information to the genome of any creature. Yet they expect us to believe that we have been converted from an original, single living cell into humans by an accumulation of billions of beneficial mutations (mistakes).
Conclusion:
Progressive, microbes-to-man evolution is impossible - there is no credible mechanism to produce all the new, genetic information which is essential for that to take place.
The evolution story is an obvious fairy tale presented as scientific fact.
However, nothing has changed - those who dare to question Neo-Darwinism are still portrayed as idiots, retards, cranks, weirdoes, anti-scientific ignoramuses or religious fanatics.
Want to join the club?
What about the fossil record?
All creatures and plants alive today, which are found as fossils, are the same in their fossil form as the living examples, in spite of the fact that the fossils are claimed to be millions of years old. So all living things today could be called 'living fossils' inasmuch as there is no evidence of any evolutionary changes in the alleged multi-million year timescale. The fossil record shows either extinct species or unchanged species, that is all.
The Cambrian Explosion.
Trilobites and other many creatures appeared suddenly in some of the earliest rocks of the fossil record, with no intermediate ancestors. This sudden appearance of a great variety of advanced, fully developed creatures is called the Cambrian Explosion. Trilobites are especially interesting because they have complex eyes, which would need a lot of progressive evolution to develop such advanced features However, there is no evidence of any evolution leading up to the Cambrian Explosion, and that is a serious dilemma for evolutionists.
Trilobites are now thought to be extinct, although it is possible that similar creatures could still exist in unexplored parts of deep oceans.
Rapid formation of strata - latest evidence:
www.flickr.com/photos/101536517@N06/sets/72157635944904973/
See fossil of a crab unchanged after many millions of years:
www.flickr.com/photos/101536517@N06/12702046604/in/set-72...
Fossil museum: www.flickr.com/photos/101536517@N06/sets/72157641367196613/
What about all the claimed scientific evidence that evolutionists have found for evolution?
The evolutionist 'scientific' method has resulted in a serious decline in scientific integrity, and has given us such scientific abominations as:
Piltdown Man (a fake),
Nebraska Man (a pig),
South West Colorado Man (a horse),
Orce man (a donkey),
Embryonic Recapitulation (a fraud),
Archaeoraptor (a fake),
Java Man (a giant gibbon),
Peking Man (a monkey),
The Horse Series (unrelated species cobbled together),
Peppered Moth (faked photographs)
Etc. etc.
Anyone can call anything 'science' ... it doesn't make it so.
All these examples were trumpeted by evolutionists as scientific evidence for evolution.
Do we want to trust evolutionists claims about scientific evidence, when they have such an appalling record?
Just how good are peer reviews of scientific papers?
www.sciencemag.org/content/342/6154/60.full
www.examiner.com/article/want-to-publish-science-paper-ju...
Piltdown Man and Nebraska Man were even used in the famous, Scopes Trial as positive evidence for evolution.
Piltdown Man reigned for over 40 years, as a supreme example of human evolution, before it was exposed as a crudely, fashioned fake.
Is that 'science'?
The ludicrous Hopeful Monster Theory and so-called Punctuated Equilibrium (evolution in big jumps) were invented by evolutionists as a desperate attempt to explain away the lack of fossil evidence for evolution. They are proposed methods of evolution which, it is claimed, need no fossil evidence. They are actually an admission that the required fossil evidence does not exist.
Piltdown Man... it survived as alleged proof of evolution for over 40 years in evolution textbooks and was taught in schools and universities, it survived peer reviews etc. and was used as supposed irrefutable evidence for evolution at the famous Scopes Trial..
Nebraska Man, this was a single tooth of a peccary. it was trumpeted as evidence for the evolution of humans, and artists impressions of an ape-like man appeared in newspapers magazines etc. It was also used as 'scientific' evidence for evolution in the Scopes Trial. Such 'scientific' evidence is enough to make any genuine, respectable scientist weep.
South West Colorado Man, another tooth .... of a horse this time... It was presented as evidence for human evolution.
Orce man, a fragment of skullcap, which was most likely from a donkey, but even if it was human. such a tiny fragment is certainly not any proof of human evolution as it was made out to be.
Embryonic Recapitulation, the evolutionist zealot Ernst Haeckel (who was a hero of Hitler) published fraudulent drawings of embryos and his theory was readily accepted by evolutionists as proof of evolution. Even after he was exposed as a fraudster, evolutionists still continued to use his fraudulent evidence in books and publications on evolution, including school textbooks, until very recently.
Archaeoraptor, A so-called feathered dinosaur from the Chinese fossil faking industry. It managed to fool credulous evolutionists, because it was exactly what they were looking for. The evidence fitted the wishful thinking.
Java Man, Dubois, the man who discovered Java Man and declared it a human ancestor ..... admitted much later that it was actually a giant gibbon, however, that spoilt the evolution story which had been built up around it, so evolutionists were reluctant to get rid of it, and still maintained it was a human ancestor. Dubois had also 'forgotten' to mention that he found the bones of modern humans at the same site.
Peking Man, made up from monkey skulls which were found in an ancient limestone burning industrial site where there were crushed monkey skulls and modern human bones. Drawings were made of Peking Man, but the original skull conveniently disappeared. So that allowed evolutionists to continue to use it as evidence without fear of it ever being debunked.
The Horse Series, unrelated species cobbled together, They were from different continents and were in no way a proper series of intermediates, They had different numbers of ribs etc. and the very first in the line, is similar to a creature alive today - the Hyrax.
Peppered Moth, moths were glued to trees to fake photographs for the peppered moth evidence. They don't normally rest on trees in daytime. In any case, the selection of a trait which is part of the variability of the existing gene pool, is not progressive evolution. It is just normal, natural selection within limits, which no-one disputes.
+++ 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 Mikoyan-Gurevich MiG-19 (NATO reporting name: "Farmer") was a Soviet second-generation, single-seat, twin jet-engine fighter aircraft. It was the first Soviet production aircraft capable of supersonic speeds in level flight. A comparable U.S. "Century Series" fighter was the North American F-100 Super Sabre, although the MiG-19 would primarily oppose the more modern McDonnell Douglas F-4 Phantom II and Republic F-105 Thunderchief over North Vietnam. Furthermore, the North American YF-100 Super Sabre prototype appeared approximately one year after the MiG-19, making the MiG-19 the first operational supersonic jet in the world.
On 20 April 1951, OKB-155 was given the order to develop the MiG-17 into a new fighter called "I-340", also known as "SM-1". It was to be powered by two Mikulin AM-5 non-afterburning jet engines, a scaled-down version of the Mikulin AM-3, with 19.6 kN (4,410 lbf) of thrust. The I-340 was supposed to attain 1,160 km/h (725 mph, Mach 0.97) at 2,000 m (6,562 ft), 1,080 km/h (675 mph, Mach 1.0) at 10,000 m (32,808 ft), climb to 10,000 m (32,808 ft) in 2.9 minutes, and have a service ceiling of no less than 17,500 m (57,415 ft).
After several prototypes with many detail improvements, the ministers of the Soviet Union issued the order #286-133 to start serial production on February 17, 1954, at the factories in Gorkiy and Novosibirsk. Factory trials were completed on September 12 the same year, and government trials started on September 30.
Initial enthusiasm for the aircraft was dampened by several problems. The most alarming of these was the danger of a midair explosion due to overheating of the fuselage fuel tanks located between the engines. Deployment of airbrakes at high speeds caused a high-g pitch-up. Elevators lacked authority at supersonic speeds. The high landing speed of 230 km/h (145 mph), compared to 160 km/h (100 mph) for the MiG-15, combined with the lack of a two-seat trainer version, slowed pilot transition to the type. Handling problems were addressed with the second prototype, "SM-9/2", which added a third ventral airbrake and introduced all-moving tailplanes with a damper to prevent pilot-induced oscillations at subsonic speeds. It flew on 16 September 1954, and entered production as the MiG-19S.
Approximately 5,500 MiG-19's were produced, first in the USSR and in Czechoslovakia as the Avia S-105, but mainly in the People's Republic of China as the Shenyang J-6. The aircraft saw service with a number of other national air forces, including those of Cuba, North Vietnam, Egypt, Pakistan, and North Korea. The aircraft saw combat during the Vietnam War, the 1967 Six Day War, and the 1971 Bangladesh War.
However, jet fighter development made huge leaps in the 1960s, and OKB MiG was constantly trying to improve the MiG-19's performance, esp. against fast and high-flying enemies, primarily bombers but also spy planes like the U-2.
As the MiG-19S was brought into service with the Soviet air forces in mid-1956, the OKB MiG was continuing the refinement of the SM-1/I-340 fighter. One of these evolutionary paths was the SM-12 (literally, “SM-1, second generation”) family of prototypes, the ultimate extrapolation of the basic MiG-19 design, which eventually led to the MiG-19bis interceptor that filled the gap between the MiG-19S and the following, highly successful MiG-21.
The SM-12 first saw life as an exercise in drag reduction by means of new air intake configurations, since the MiG-19’s original intake with rounded lips became inefficient at supersonic speed (its Western rival, the North American F-100, featured a sharp-lipped nose air intake from the start). The first of three prototypes, the SM-12/1, was essentially a MiG-19S with an extended and straight-tapered nose with sharp-lipped orifice and a pointed, two-position shock cone on the intake splitter. The simple arrangement proved to be successful and was further refined.
The next evolutionary step, the SM-12/3, differed from its predecessors primarily in two new R3-26 turbojets developed from the earlier power plant by V. N. Sorokin. These each offered an afterburning thrust of 3,600kg, enabling the SM-12/3 to attain speeds ranging between 1,430km/h at sea level, or Mach=1.16, and 1,930km/h at 12,000m, or Mach=1.8, and an altitude of between 17,500 and 18,000m during its test program. This outstanding performance prompted further development with a view to production as a point defense interceptor.
Similarly powered by R3-26 engines, and embodying major nose redesign with a larger orifice permitting introduction of a substantial two-position conical centerbody for a TsD-30 radar, a further prototype was completed as the SM-12PM. Discarding the wing root NR-30 cannon of preceding prototypes, the SM-12PM was armed with only two K-5M (RS-2U) beam-riding missiles and entered flight test in 1957. This configuration would become the basis for the MiG-19bis interceptor that eventually was ordered into limited production (see below).
However, the SM-12 development line did not stop at this point. At the end of 1958, yet another prototype, the SM-12PMU, joined the experimental fighter family. This had R3M-26 turbojets uprated to 3.800kg with afterburning, but these were further augmented by a U-19D accelerator, which took the form of a permanent ventral pack containing an RU-013 rocket motor and its propellant tanks. Developed by D. D. Sevruk, the RU-013 delivered 3,000kg of additional thrust, and with the aid of this rocket motor, the SM-12PMU attained an altitude of 24,000m and a speed of Mach=1.69. But this effort was to no avail: the decision had been taken meanwhile to manufacture the Ye-7 in series as the MiG-21, and further development of the SM-12 series was therefore discontinued.
Nevertheless, since full operational status of the new MiG-21 was expected to remain pending for some time, production of a modified SM-12PM was ordered as a gap filler. Not only would this fighter bridge the performance gap to the Mach 2-capable MiG-21, it also had the benefit of being based on proven technologies and would not require a new basic pilot training.
The new aircraft received the official designation MiG-19bis. Compared with the SM-12PM prototype, the MiG-19bis differed in some details and improvements. The SM-12PM’s most significant shortfall was its short range – at full power, it had only a range of 750 km! This could be mended through an additional fuel tank in an enlarged dorsal fairing behind the cockpit. With this internal extra fuel, range could be extended by a further 200 - 250km range, but drop tanks had typically to be carried, too, in order to extend the fighter’ combat radius with two AAMs to 500 km. Specifically for the MiG-19bis, new, supersonic drop tanks (PTB-490) were designed, and these were later adapted for the MiG-21, too.
The air intake shock cone was re-contoured and the shifting mechanism improved: Instead of a simple, conical shape, the shock cone now had a more complex curvature with two steps and the intake orifice area was widened to allow a higher airflow rate. The air intake’s efficiency was further optimized through gradual positions of the shock cone.
As a positive side effect, the revised shock cone offered space for an enlarged radar dish, what improved detection range and resolution. The TsD-30 radar for the fighter’s missile-only armament was retained, even though the K-5’s effective range of only 2–6 km (1¼ – 3¾ mi) made it only suitable against slow and large targets like bombers. All guns were deleted in order to save weight or make room for the electronic equipment. The tail section was also changed because the R3M-26 engines and their afterburners were considerably longer than the MiG-19's original RM-5 engines. The exhausts now markedly protruded from the tail section, and the original, characteristic pen nib fairing between the two engines had been modified accordingly.
Production started in 1960, but only a total of roundabout 180 MiG-19bis, which received the NATO code "Farmer F", were built and the Soviet Union remained the only operator of the type. The first aircraft entered Soviet Anti-Air Defense in early 1961, and the machines were concentrated in PVO interceptor units around major sites like Moscow, Sewastopol at the Black Sea and Vladivostok in the Far East.
With the advent of the MiG-21, though, their career did not last long. Even though many machines were updated to carry the K-13 (the IR-guided AA-2 "Atoll") as well as the improved K-55 AAMs, with no change of the type’s designation, most MiG-19bis were already phased out towards the late 1960s and quickly replaced by 2nd generation MiG-21s as well as heavier and more capable Suchoj interceptors like the Su-9, -11 and -15. By 1972, all MiG-19bis had been retired.
General characteristics:
Crew: 1
Length: 13.54 m (44 ft 4 in), fuselage only with shock cone in forward position
15.48 m (50 8 ½ in) including pitot
Wingspan: 9 m (29 ft 6 in)
Height: 3.8885 m (12 ft 9 in)
Wing area: 25 m² (269 ft²)
Empty weight: 5,210 kg (11,475 lb)
Loaded weight: 7,890 kg (17,380 lb)
Max. takeoff weight: 9,050 kg (19,935 lb)
Fuel capacity: 2,450 l (556 imp gal; 647 US gal) internal;
plus 760 l (170 imp gal; 200 US gal) with 2 drop tanks
Powerplant:
2× Sorokin R3M-26 turbojets, rated at 37.2 kN (8,370 lbf) thrust each with afterburning
Performance:
Maximum speed: 1,380km/h at sea level (Mach=1.16)
1,850km/h at 12,000m (Mach=1.8)
Range: 1,250 km (775 mi; 750 nmi) at 14,000 m (45,000 ft) with 2 × 490 l drop tanks
Combat range: 500 km (312 mi; 270 nmi)
Ferry range: 2,000 km (1,242 mi; 690 nmi)
Service ceiling: 19,750 m (64,690 ft)
Rate of climb: 180 m/s (35,000 ft/min)
Wing loading: 353.3 kg/m² (72.4 lb/ft²)
Thrust/weight: 0.86
Armament:
No internal guns.
4× underwing pylons; typically, a pair of PTB-490 drop tanks were carried on the outer pylon pair,
plus a pair of air-to air missiles on the inner pair: initially two radar-guided Kaliningrad K-5M (RS-2US)
AAMs, later two radar-guided K-55 or IR-guided Vympel K-13 (AA-2 'Atoll') AAMs
The kit and its assembly:
Another submission for the 2018 Cold War Group Build at whatifmodelers.com, and again the opportunity to build a whiffy model from the project list. But it’s as fictional as one might think, since the SM-12 line of experimental “hybrid” fighters between the MiG-19 and the MiG-21 was real. But none of these aircraft ever made it into serial production, and in real life the MiG-21 showed so much potential that the attempts to improve the MiG-19 were stopped and no operational fighter entered production or service.
However, the SM-12, with its elongated nose and the central shock cone, makes a nice model subject, and I imagined what a service aircraft might have looked like? It would IMHO have been close, if not identical, to the SM-12PM, since this was the most refined pure jet fighter in the development family.
The basis for the build was a (dead cheap) Mastercraft MiG-19, which is a re-edition of the venerable Kovozávody Prostějov (KP) kit – as a tribute to modern tastes, it comes with (crudely) engraved panel, but it has a horrible fit all over. For instance, there was a 1mm gap between the fuselage and the right wing, the wing halves’ outlines did not match at all and it is questionable if the canopy actually belongs to the kit at all? PSR everywhere. I also had a Plastyk version of this kit on the table some time ago, but it was of a much better quality! O.K., the Mastercraft kit comes cheap, but it’s, to be honest, not a real bargain.
Even though the result would not be crisp I did some mods and changes. Internally, a cockpit tub was implanted (OOB there’s just a wacky seat hanging in mid air) plus some serious lead weight in the nose section for a proper stance.
On the outside, the new air intake is the most obvious change. I found a Su-17 intake (from a Mastercraft kit, too) and used a piece from a Matchbox B-17G’s dorsal turret to elongate the nose – it had an almost perfect diameter and a mildly conical shape. Some massive PSR work was necessary to blend the parts together, though.
The tail received new jet nozzles, scratched from steel needle protection covers, and the tail fairing was adjusted according to the real SM-12’s shape.
Ordnance was adapted, too: the drop tanks come from a Mastercraft MiG-21, and these supersonic PTB-490 tanks were indeed carried by the real SM-12 prototypes because the uprated engines were very thirsty and the original, teardrop-shaped MiG-19 tanks simply too draggy for the much faster SM-12. As a side note, the real SM-12’s short range was one of the serious factors that prevented the promising type’s production in real life. In order to overcome the poor range weakness I added an enlarged spine (half of a drop tank), inspired by the MiG-21 SMT, that would house an additional internal fuel tank.
The R2-SU/K-5 AAMs come from a vintage Mastercraft Soviet aircraft weapon set, which carries a pair of these 1st generation AAMs. While the molds seem to be a bit soft, the missiles look pretty convincing. Their pylons were taken from the kit (OOB they carry unguided AAM pods and are placed behind the main landing gear wells), just reversed and placed on the wings’ leading edges – similar to the real SM-12’s arrangement.
Painting and markings:
No surprises. In the Sixties, any PVO aircraft was left in bare metal, so there was hardly an alternative to a NMF finish.
Painting started with an all-over coat with acrylic Revell 99 (Aluminum), just the spine tank became light grey (Revell 371) for some contrast, and I painted some di-electric covers in a deep green (Revell 48).
The cockpit interior was painted with a bright mix of Revell 55 and some 48, while the landing gear wells and the back section of the cockpit were painted in a bluish grey (Revell 57).
The landing gear was painted in Steel (unpolished Modelmaster metallizer) and received classic, bright green wheel discs (Humbrol 2). As a small, unusual highlight the pitot boom under the chin received red and white stripes – seen on occasional MiG-19S fighters in Soviet service, and the anti-flutter booms on the stabilizers became bright red, too.
After the basic painting was done the kit received a black ink wash. Once this had dried and wiped off with a soft cotton cloth, post shading with various metallizer tones was added in order to liven up the uniform aircraft (including Humbrol’s matt and polished aluminum, and the exhaust section was treated with steel). Some panel lines were emphasized with a thin pencil.
Decals were puzzled together from various sources, a Guards badge and a few Russian stencils were added, too. Finally, the kit was sealed with a coat of sheen acrylic varnish (a 2:1 mix of Italeri matt and semi-gloss varnish).
The K-5 missiles, last but not least, were painted in aluminum, too, but their end caps (both front and tail section) became off-white.
The Mastercraft kit on which this conversion was based is crude, so I did not have high expectations concerning the outcome. But the new nose blends nicely into the MiG-19 fuselage, and the wide spine is a subtle detail that makes the aircraft look more “beefy” and less MiG-19-ish. The different drop tanks – even though they are authentic – visually add further speed. And despite many flaws, I am quite happy with the result of roundabout a week’s work.
Richmond Hill Masonic Temple
112 Crosby Avenue Richmond Hill Ontario Canada.
Masonic Broken Column.
www.Phoenix masonry.org/broken_column.htm
THE BROKEN COLUMN:
Short Talk Bulletin - Vol. 34, February 1956,
No. 2 - Author Unknown
The story of the broken column was first illustrated by Amos Doolittle in the "True Masonic Chart" by Jeremy Cross, published in 1819.
Many of Freemasonry's symbols are of extreme antiquity and deserve the reverence which we give to that which has had sufficient vitality to live long in the minds of men. For instance, the square, the point within a circle, the apron, circumambulation, the Altar have been used not only in Freemasonry but in systems of ethics, philosophy and religions without number.
Other symbols in the Masonic system are more recent. Perhaps they are not the less important for that, even without the sanctity of age which surrounds many others.
Among the newer symbols is that usually referred to as the broken column. A marble monument is respectably ancient - the broken column seems a more recent addition. There seems to be no doubt that the first pictured broken column appeared in Jeremy Cross's True Masonic Chart, published in 1819, and that the illustration was the work of Amos Doolittle, an engraver, of Connecticut.
That Jeremy Cross "invented" or "designed" the emblem is open to argument. But there is legitimate room for argument over many inventions. Who invented printing from movable type? We give the credit to Gutenberg, but there are other claimants, among them the Chinese at an earlier date. Who invented the airplane? The Wrights first flew a "mechanical bird" but a thousand inventors have added to, altered, changed their original design, until the very principle which first enabled the Wrights to fly, the "warping wing", is now discarded and never used.
Therefore, if authorities argue and contend about the marble monument and broken column it is not to make objection or take credit from Jeremy Cross; the thought is that almost any invention or discovery is improved, changed, added to and perfected by many men. Edison is credited with the first incandescent lamp, but there is small kinship between his carbon filament and a modern tungsten filament bulb. Roentgen was first to bring the "x-ray" to public notice-the discoverer would not know what a modern physician's x-ray apparatus was if he saw it!
In the library of the Grand Lodge of Iowa in Cedar Rapids, is a book published in 1784; "A BRIEF HISTORY OF FREEMASONRY" by Thomas Johnson, at that time the Tiler of the Grand Lodge of England (the "Moderns"). In this book the author states that he was "taken the liberty to introduce a Design for a Monument in Honor of a Great Artist." He then admits that there is no historical account of any such memorial but cites many precedents of "sumptuous Piles" which perpetuate the memories and preserve the merits of the historic dead, although such may have been buried in lands far from the monument or "perhaps in the depth of the Sea".
In this somewhat fanciful and poetic description of this monument, the author mentions an urn, a laurel branch, a sun, a moon, a Bible, square and compasses, letter G. The book was first published in 1782, which seems proof that there was at that time at least the idea of a monument erected to the Master Builder.
There is little historical material upon which to draw to form any accurate conclusions. Men write of what has happened long after the happenings. Even when faithful to their memories, these may be, and often are, inaccurate. It is with this thought in mind that a curious statement in the Masonic newspaper, published in New York seventy-five years ago, must be considered. In the issue of May 10, 1879, a Robert B. Folger purports to give Cross' account of his invention, or discovery, an inclusion, of the broken column into the marble monument emblem.
The account is long, rambling and at times not too clear. Abstracted, the salient parts are as follows. Cross found or sensed what he considered a deficiency in the Third Degree which had to be filled in order to effect his purposes. He consulted a former Mayor of New Haven, who at the time was one of his most intimate friends. Even after working together for a week, they did not hit upon any symbol which would be sufficiently simple and yet answer the purpose. Then a Copper-plate engraver, also a brother, was called in. The number of hieroglyphics which had be this time accumulated was immense. Some were too large, some too small, some too complicated, requiring too much explanation and many were not adapted to the subject.
Finally, the copper-plate engraver said, "Brother Cross, when great men die, they generally have a monument." "That's right!" cried Cross; "I never thought of that!" He visited the burying-ground in New Haven. At last he got an idea and told his friends that he had the foundation of what he wanted. He said that while in New York City he had seen a monument in the southwest corner of Trinity Church yard erected over Commodore Lawrence, a great man who fell in battle. It was a large marble pillar, broken off. The broken part had been taken away, but the capital was lying at the base. He wanted that pillar for the foundation of his new emblem, but intended to bring in the other part, leaving it resting against the base. This his friends assented to, but more was wanted. They felt that some inscription should be on the column. after a length discussion they decided upon an open book to be placed upon the broken pillar. There should of course be some reader of the book! Hence the emblem of innocence-a beautiful virgin-who should weep over the memory of the deceased while she read of his heroic deeds from the book before her.
The monument erected to the memory of Commodore Lawrence was placed in the southwest corner of Trinity Churchyard in 1813, after the fight between the frigates
Chesapeake and Shannon, in which battle Lawrence fell. As described, it was a beautiful marble pillar, broken off, with a part of the capital laid at its base. lt remained until 1844-5 at which time Trinity Church was rebuilt. When finished, the corporation of the Church took away the old and dilapidated Lawrence monument and erected a new one in a different form, placing it in the front of the yard on Broadway, at the lower entrance of the Church. When Cross visited the new monument, he expressed great disappointment at the change, saying "it was not half as good as the one they took away!"
These claims of Cross-perhaps made for Cross-to having originated the emblem are disputed. Oliver speaks of a monument but fails to assign an American origin. In the Barney ritual of 1817, formerly in the possession of Samuel Wilson of Vermont, there is the marble column, the beautiful virgin weeping, the open book, the sprig of acacia, the urn, and Time standing behind. What is here lacking is the broken column. Thus it appears that the present emblem, except the broken column, was in use prior to the publication of Cross' work (1819).
The emblem in somewhat different form is frequently found in ancient symbolism. Mackey states that with the Jews a column was often used to symbolize princes, rulers or nobles. A broken column denoted that a pillar of the state had fallen. In Egyptian mythology, Isis is sometimes pictured weeping over the broken column which conceals the body of her husband Osiris, while behind her stands Horus or Time pouring ambrosia on her hair. In Hasting's ENCYCLOPEDIA OF RELIGION AND ETHICS, Isis is said sometimes to be represented standing; in her right hand is a sistrum, in her left hand a small ewer and on her forehead is a lotus, emblem of resurrection. In the Dionysaic Mysteries, Dionysius is represented as slain; Rhea goes in search of the body. She finds it and causes it to be buried. She is sometimes represented as standing by a column holding in her hand a sprig of wheat, emblem of immortality; since, though it be placed in the ground and die, it springs up again into newness of life. She was the wife of Kronus or Time, who may fittingly be represented as standing behind her.
Whoever invented the emblem or symbol of the marble monument, the broken column, the beautiful virgin, the book, the urn, the acacia, Father Time counting the ringlets of hair, could not have thought through all the implications of this attempt-doubtless made in all reverence-to add to the dignity and impressiveness of the story of the Master Builder.
The urn in which "ashes were safely deposited" is pure invention. Cremation was not practiced by the Twelve Tribes; it was not the method of disposing of the dead in the land and at the time of the building of the Temple. rather was the burning of the dead body reserved as a dreadful fate for the corpses of criminals and evil doers. That so great a man as "the widow's son, of the tribe of Naphtali" should have been cremated is unthinkable. The Bible is silent on the subject; it does not mention Hiram the Builder's death, still less the disposal of the body, but the whole tone of the Old Testament in description of funerals and mournings, make it impossible to believe that his body was burned, or that his ashes might have been preserved.
The Israelites did not embalm their dead; burial was accomplished on the day of death or, at the longest wait, on the day following. According to the legend, the Master Builder was disinterred from the first or temporary grave and reinterred with honor. That is indeed, a supposable happening; that his body was raised only to be cremated is wholly out of keeping with everything known of deaths, funeral ceremonies, disposal of the dead of the Israelites.
In the ritual which describes the broken column monument, before the figure of the virgin is "a book, open before her." Here again invention and knowledge did not go hand in hand. There were no books at the time of the building of the Temple, as moderns understand the word. there were rolls of skins, but a bound book of leaves made of any substance-vellum, papyrus, skins-was an unknown object. Therefore there could have been no such volume in which the virtues of the Master Builder were recorded.
No logical reason has been advanced why the woman who mourned and read in the book was a "beautiful virgin." No scriptural account tells of the Master Builder having wife or daughter or any female relative except his mother. The Israelites reverenced womanhood and appreciated virginity, but they were just as reverent over mother and child. Indeed, the bearing of children, the increase of the tribe, the desire for sons, was strong in the Twelve Tribes; why, then, the accent upon the virginity of the woman in the monument? "Time standing behind her, unfolding and counting the ringlets of her hair" is dramatic, but also out of character for the times. "Father Time" with his scythe is probably a descendant of the Greek Chromos, who carried a sickle or reaping hook, but the Israelites had no contact with Greece. It may have been natural for whoever invented the marble monument emblem to conclude that Time was both a world-wide and a time immemorial symbolic figure, but it could not have been so at the era in which Solomon's Temple was built.
It evidently did not occur to the originators of this emblem that it was historically impossible. Yet the Israelites did not erect monuments to their dead. In the singular, the word "monument" does not occur in the Bible; as "monuments" it is mentioned once, in Isaiah 65 - "A people...which remain among the graves and lodge in the monuments." In the Revised Version this is translated "who sit in tombs and spend the night in secret places." The emphasis is apparently upon some form of worship of the dead (necromancy). The Standard Bible Dictionary says that the word "monument" in the general sense of a simple memorial does not appear in Biblical usage.
Oliver Day Street in "SYMBOLISM OF THE THREE DEGREES" says that the urn was an ancient sign of mourning, carried in funeral processions to catch the tears of those who grieved. But the word "urn" does not occur in the Old Testament nor the New.
Freemasonry is old. It came to us as a slow, gradual evolution of the thoughts, ideas, beliefs, teachings, idealism of many men through many years. It tells a simple story-a story profound in its meaning, which therefore must be simple, as all great truths in the last analysis are simple.
The marble monument and the broken column have many parts. Many of these have the aroma of age. Their weaving together into one symbol may be-probably is-a modernism, if that term can cover a period of nearly two hundred years. but the importance of a great life, his skill and knowledge; his untimely and pitiful death is not a modernism.
Nothing herein set forth is intended as in any way belittling one of Freemasonry's teachings by means of ritual and picture. These few pages are but one of many ways of trying to illuminate the truth behind a symbol, and show that, regardless of the dates of any parts of the emblem, the whole has a place in the Masonic story which has at least romance, if not too much fact, behind it.
THE BROKEN COLUMN AND ITS DEEPER MEANING:
by Bro. William Steve Burkle KT, 32°
Scioto Lodge No. 6, Chillicothe, Ohio.
Philo Lodge No. 243, South River, New Jersey
The meaning of the Broken Column as explained by the ritual of the Master mason degree is that the column represents both the fall of Master Hiram Abif as well as the unfinished work of the Temple of Solomon[i]. This interesting symbol has appeared in some fascinating places; for example, a Broken Column monument marks the gravesite in Lewis County Tennessee[ii] of Brother Meriwether Lewis (Lewis & Clark), and a similar monument marks the grave of Brother Prince Hall[iii]. In China, there is a “broken column-shaped” home which was built just prior to the French Revolution by the aristocrat François Nicolas Henri Racine de Monville[iv]. Today “The Broken Column” is frequently used in Masonic newsletters as the header for obituary notices and is a popular tomb monument for those whose life was deemed cut short. Note that when I speak of The Broken Column here, I am referring to only the upright but shattered Column Base with its detached Shattered Capital, and not to the more extensive symbolism often associated with the figure such as a book resting on the column base, the Weeping Virgin (Isis), or Father Time (Horus) disentangling the Virgin’s hair. In this version the shattered column itself is often said to allude to Osiris[v]. While these embellishments add to the complexity of the allusion, it is the shattered column alone which I intend to address.
The Broken Column is believed to be a fairly recent addition to the symbolism of Freemasonry, and has been attributed to Brother Jeremy L. Cross. Brother Cross[vi] is said to have devised the symbol based upon a broken column grave monument dedicated to a Commodore Lawrence[vii], which was erected in the Trinity Churchyard circa 1813. Lawrence perished in a naval battle that same year between the Frigates Chesapeake and Shannon. The illustration of the broken column was reportedly first published in the “True Masonic Chart” by artist Amos Doolittle in 1819[viii]. There is however little evidence beyond the word of Brother Cross that the symbol was thus created[ix],[x].
Whether the Broken Column is a modern invention or passed down from times of antiquity is of little consequence; regardless of its origins the symbol serves well as a powerful allusion in our Craft, and as will be discussed, may have deeper meanings which align with other Masonic symbols which also incorporate images of columns and pillars.
Freemasonry makes generous reference to columns and pillars of all sorts in the work of the various degrees including the two pillars which stood at the entrance of Solomon’s Temple, the four columns of architectural significance, and the three Great Columns representing strength, beauty, and wisdom[xi]. The first mention of pillars in a Masonic context[xii] is found in the Cooke Manuscript dated circa 1410 A.D. The three Great Pillars of Masonry are of particular interest in this article even though it is the Broken Column and its deeper meanings which I ultimately intend to explore.
Three Great Columns:
The basis for the Three Great Columns can be traced to an ancient Kabalistic concept and a unique diagram found in the Zohar which illustrates the emanations of God in forming and sustaining the universe. The diagram also reflects certain states of spiritual attainment in man. This diagram, called the Sephiroth consists of ten spheres or Sephira connected to one another by pathways and which are ordered to reflect the sequence of creation. In accordance with Kabalistic belief Aur Ein Sof (Light Without End) shines down into the Sephiroth and is split like a prism into its ten constituent Sephira[xiii], eventually ending in the material universe. To discuss the Sephiroth in sufficient depth to impart a good understanding is well beyond the scope of this paper; however, a basic understanding of how the structure of the Sephiroth is related to the Great Columns is manageable, and is in fact essential to the subsequent discussion of the Broken Column. Be aware that the explanations I give are vast oversimplifications of a highly complex concept. In an attempt to simplify the concept, it is inevitable that some degree of inaccuracy will be introduced.
I would like to begin my discussion of the Three Great Columns by discussing the Cardinal Virtues. The Cardinal Virtues are believed to have originated with Plato who formed them from a tripartite division[xiv] of the attributes of man (power, wisdom, reason, mercy, strength, beauty, firmness, magnificence, and base kingship) presented in the Sephiroth. These concepts were later adopted by the Christian Church[xv] and were popularized by the treatises of Martin of Braga, Alcuin and Hrabanus Maurus (circa 1100 A.D.) and later promoted by Thomas Aquinas (circa 1224 A.D.). According to Wescott[xvi] the Four Cardinal Virtues are represented by what were originally branches of the Sepheroth:
“Four tassels refer to four cardinal virtues, says the first degree Tracing Board Lecture, these are temperance, fortitude, prudence, and justice; these again were originally branches of the Sephirotic Tree, Chesed first, Netzah fortitude, Binah prudence, and Geburah justice. Virtue, honour, and mercy, another triad, are Chochmah, Hod, and Chesed.”
broken-column1
Thus we have a connection between the Cardinal Virtues and the Sephiroth. The Three Pillars of Freemasonry (Wisdom, Beauty, and Strength) are associated with the Cardinal Virtues[xvii] and also therefore with the Kabalistic concept of the Sephiroth[xviii]. I have provided an illustration of the Sepiroth in Figure 1. This particular version of the Sephiroth is based upon that used in the 30th Degree or Knight Kadosh Grade[xix] of the ASSR. The Sephiroth, incidentally is also called “The Tree of Life”. Each of the vertical columns of spheres (Sephira) in the Sephiroth are considered to represent a pillar (column). Each pillar is named according to the central concept which it represents; thus in Figure 1 we have the pillars Justice, Beauty, and Mercy left to right, respectively. The Sephiroth is a very elegant system in which balance is maintained between the Sephira of the two outermost pillars by virtue of the center pillar. Note also that traditionally the Sephiroth is divided into “Triads” of Sephira. In Figure 1 the uppermost triad, consisting of the spheres Wisdom, Intelligence, and Crown represent the intellectual and spiritual characteristics of man. The next triad is represented by the Sephira Justice, Beauty, and Mercy; the final triad is Splendor, Foundation, and Firmness (or Strength).
According to S.L. MacGregor Mathers[xx], the word Sephira is best translated to mean (or is best rendered as) “Numerical Emanation”, and each of the ten Sephira corresponds to a specific numerical value. Mathers also asserts that it was through knowledge of the Sephiroth that Pythagoras devised his system of numerical symbolism. While there are additional divisions and subdivisions of the Sephiroth, the concept which is of interest to us here is that God created the Material World or Universe (signified by the lowest Sephira, Kingdom) in a series of ordered actions which proceeded along established pathways (i.e. the connecting lines between the Sephira in our Figure). Each of the Sephira and each pathway are a sort of “buffer” between the majesty and power of God and the material world. Without these buffers, profane man and the material world he inhabits would meet with destruction. On the other hand, enlightened man is able to progress upwards along these pathways to higher level Sephira and to thereby achieve enhanced knowledge of the Divine. Tradition holds that man once was closer to the Divine spirit, but became corrupted by the material world, losing this connection (i.e. The fall of Man from Grace. Note also the reference to the Tree of Knowledge and possible connections to the Tree of Life). God uses the Sephiroth in renewing and sustaining the material universe. Each new soul created is an emanation of God and travels to materiality (physical existence) via the pathways established in the Sephiroth. In a similar fashion, the spirits of the departed return to God via these same pathways, making the Sephiroth the mechanism by which God interacts with the universe.
broken-column:
The Broken Column:
In Figure 2, I have redrawn the Sephiroth as an overlay of the Three Great Columns; however in this version the Pillar of Beauty is Broken. Note especially that the center pillar, the Pillar of Beauty in the Sephiroth has a gap between Beauty and Crown, in effect making this column a Broken Pillar[xxi]. I believe this “fracture” symbolizes Man’s separation from knowledge of the Divine, and an interruption in the Pathway leading from Beauty directly to the Crown (which symbolizes “The Vast Countenance”[xxii]).
I would also like to extrapolate that if the Broken Column indeed represents Hiram Abif as per the explanation given to initiates, then the two remaining columns would then correspond to Solomon and Hiram King of Tyre[xxiii]. Certainly the Sephira (Wisdom, Justice, and Splendor) which comprise the column of Justice align well with the characteristics traditionally associated with King Solomon. Tradition unfortunately does not address Hiram King of Tyre although we can assume that Intelligence, Mercy, and Firmness or Strength would be a likely requirement for a Monarch of such apparent success. The connection between the Three Great Columns and the three principle characters in the drama of the Third Degree does have a certain sense of validity. The “Lost Word” associated with Hiram Abif would then allude to the lost Pathway.
In so many of our Masonic Lessons we initially receive a plausible but quite shallow explanation of our symbols and allusions. Those who sense an underlying, deeper meaning tend to find it (Seek and you will find, knock and the door shall be opened). Perhaps in our ritual of the Third Degree, that which is symbolically being raised (restored) is the Pillar of which resides within us. If so, the Lost Word has then in fact been received by each of us. It only remains lost if we choose to forget it or choose not to pursue it.
[i] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976). ISBN-13: 978-0679506263. pp 157.
[ii] “Meriwether Lewis, Master Mason”. The Lewis and Clark Fort Mandan Foundation.
[iii] “WHo is Prince Hall ?” (1996). Retrieved December 5, 2008 from www.mindspring.com/~johnsonx/whoisph.htm.
[iv] Kenna, Michael. (1988). The Broken Column House at Désert de Retz in Le Desert De Retz, A late 18th Century French Folley Garden. Retrieved December 6, 2008 from Valley Daze. valley-daze.blogspot.com/2007/09/broken-column-house.html
[v] Pike, Albert. (1919) Morals and Dogma. Charleston Southern Jurisdiction. pp. 379. ASIN: B000CDT4T8.
[vi] “The Broken Column”. The Short Talk Bulletin 2-56. The Masonic Service Association of the United States. VOL. 34 February 1956 NO. 2.
[vii] Brown, Robert Hewitt. (1892). Stellar Theology and Masonic Astronomy or the origin and meaning of ancient and modern mysteries explained. New York: D. Appleton and Company, 1, 3, and 5 Bond Street. 1892.. pp. 68.
[viii] “Boston Masonic Lithograph”. Retrieved December 5, 2008 from Lodge Pambula Daylight UGL of NSW & ACT No1000. lodgepambuladaylight.org/lithograph.htm.
[ix] Folger, Robert B. Fiction of the Weeping Virgin. Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/art/monument / fiction/fiction.html
[x] Mackey, Albert Gallatin & Haywood H. L. Encyclopedia of Freemasonry Part 2. pp. 677. Kessinger Publishing, LLC (March 31, 2003).
[xi] Claudy, Carl H. Introduction to Masonry. The Temple Publishers. Retrieved December 5, 2008 from Pietre-Stones Review of Freemasonry. www.freemasons-freemasonry.com/claudy4.html.
[xii] Dwor, Mark. (1998). Globes, Pillars, Columns, and Candlesticks. Vancouver Lodge of Education and Research . Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/texts/globes_pillars_columns.html
[xiii] Day, Jeff. (2008). Dualism of the Sword and the Trowel. Cryptic Masons of Oregon – Grants Pass. Retrieved December 6, 2008 from rogue.cryptic-masons.org/dualism_of_the_sword_and_trowel
[xiv] Brimstone, M. Thinkers of the Middle Ages. Monthly Packet. Evening Readings of the Christian Church (1893). Ed. Charlotte Mary Yonge, Christabel Rose Coleridge, Arthur Innes. J. and C. Mozley. University of Michigan (2007).
[xv] Regan, Richard. (2005). The Cardinal Virtues: Prudence, Justice, Fortitude, and Temperance. Hackett Publishing.
[xvi] Wescott, William ( ). The Religion of Freemasonry. Illuminated by the Kabbalah. Ars Quatuor Coronatorum. vol. i. p. 73-77. Grand Lodge of British Columbia and Yukon. Retrieved September 29, 2008 from www.freemasonry.bcy.ca/aqc/kabbalah.html.
[xvii] MacKenzie, Kenneth R. H. (1877). Kabala. Royal Masonic Cyclopedia. Kessinger Publishing (2002).
[xviii] Pirtle, Henry. Lost Word of Freemasonry. Kessinger Publishing, 1993.
[xix] Knight Kadosh. The Thirtieth Grade of the Ancient and Accepted Scottish Rite, and the First Degree of the Chivalric Series. Hirams Web. University of Bradford.
[xx] Mathers, S.L. MacGregor. (1887). Qabalah Unveiled. Reprinted (2006) as The Kabbalah: Essential Texts From The Zohar. Watkins. London. pp. 10.
[xxi] Ibid. Dualism of the Sword and the Trowel
[xxii] Ibid. Qabalah Unveiled .Plate III. pp. 38-39.
[xxiii] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976).
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More Norfolk Island Galleries HERE
The name Slaughter in this case apparently came from the Anglo-Saxon words "slough" meaning wet land and "slohtre" a muddy place or from the name of their Norman landowners – the d’Schlotre family. In my research I saw that an extrapolation of "slohtre" may have led to "slow moving steam" as an alternative meaning. The Cotswold villages of Lower and Upper Slaughter in Goucestershire have a slow moving stream, The River Eye, passing through them.
I don't think anything necessarily horrific happened here to generate that name despite Norfolk Island's acknowledged harsh Penal Colony origins. The HMS Sirius was wrecked on the reef just outside Slaughter Bay in 1790 but without loss of life.
The area of Slaughter Bay was quarried under the water for limestone which was used in Buildings around Kingston and in particular St Barnabas Church.
Today it is an idyllic and safe snorkelling location.
The Mausoleum Ossuary Garibaldi is located on the Janiculum in the place called Pine Hill, where between 30 April and the first days of July 1849, led by Giuseppe Garibaldi,the last strong defense of the Roman Republic (proclaimed February 9 of that year) took place.
Designed by John Jacobucci (1895-1970) and formally opened on 3 November 1941, after two years of construction, the mausoleum contains the remains of those killed in the battles for Roma Capitale 1849-1870.
The need to remember the fallen dignity to Rome was placed firmly in the aftermath of the taking of Porta Pia. In 1878-79 the same Menotti Garibaldi and his son were among the promoters of the law that recognized the Janiculum the place to pick up the remains of the patriots. It was then carried out the first burial ground on the basis of detailed surveys carried out to identify the bodies, some of which were buried in the Campo Verano, while those of 1870 were still buried on the sites of the battles at the walls. The idea of building a mausoleum was shot in the thirties of the '900 Ezio Garibaldi, son Ricciotti, then president of the Association of Veterans Patrie Battles, dedicated to the heroic grandfather, and a proposal to the government, which made her own and bear the costs . The design of the monument was commissioned by the company to the shareholder Jacobucci, while the construction was overseen by the Technical Office of the Governor.
At the center of an enclosure, an austere portico of travertine, which has three arches on each side, and in an elevated position on a staircase, contains the core of the monument: an altar carved from a single block of granite red Baveno, decorated with allegorical figures inspired by Roman antiquities, including the wolf, the imperial eagle, shield and gladi. These motifs are repeated throughout the decoration of the Mausoleum.
In the corners of the quadrangle four pedestals travertine supporting as many bronze braziers decorated with wolf heads, which are still lit during the official celebrations. On pedestals are reminded of the most significant battles for the liberation of Rome: 1849 Ship, St. Pancras, Palestrina, Velletri, Monti Parioli, the Villa Spada; 1862 Aspromonte; 1867 Monterotondo, Mentone, Villa Glori, House Ajani; 1870 Porta Pia, St Pancras.
On the back of the portico, a double flight of stairs down to the Shrine, closed by a massive bronze portal. The atmospheric environment is divided into two zones: a vestibule with side apses and a small square room, which has a large central circular pillar adorned with palm trees and votive crosses alabaster. The vaulted ceiling is lowered covered in gold mosaic tiles; polychrome marble lining the floor and walls, on which are placed 36 niches enclosed by stones that recall the names of more than 1,600 heroic dead. In the niches are preserved only a few remnants (ca. 200), mostly anonymous, found during the various surveys. On the back wall there is the porphyry sarcophagus containing the remains of Goffredo Mameli, the young Genoese poet, author of the hymn of Italy, wounded to death right on the Janiculum Hill in 1849 at the age of 22.
Among the fallen remember are: Andrea Aguyar, better known as the faithful "Moor of Garibaldi" Ciceruacchio, the heroic populate Angelo Brunetti shot with two children in Cà Tiepolo; Francis Davenport, Enrico Dandolo, Luciano Manara, Emilio Morosini, James Veneziani, and Edward Negri among women Giuditta Tavani Arquati and Dove Antonietti Porzi. Around the monument there are many inscriptions recalling facts, places, thoughts and texts related to the historical events and characters that are celebrated as the two stones of the crypt with the agendas of the City Hall and the Roman Triumvirate (Giuseppe Mazzini, Aurelio Saffi, Carlo Armellini) and the mosaic inscription extrapolated from the writings of Mazzini.
Kos or Cos (Greek: Κως) is a Greek island, part of the Dodecanese island chain in the southeastern Aegean Sea, next to the Gulf of Gökova/Cos.
In Homer's Iliad, a contingent from Kos fought for the Greeks in the Trojan War.[12]
In the Roman mythology, the island was visited by Hercules.[13]
The island was originally colonised by the Carians. The Dorians invaded it in the 11th century BC, establishing a Dorian colony with a large contingent of settlers from Epidaurus, whose Asclepius cult made their new home famous for its sanatoria. The other chief sources of the island's wealth lay in its wines and, in later days, in its silk manufacture.[14]
Its early history–as part of the religious-political amphictyony that included Lindos, Kamiros, Ialysos, Cnidus and Halicarnassus, the Dorian Hexapolis (hexapolis means six cities in Greek),[15]–is obscure. At the end of the 6th century, Kos fell under Achaemenid domination but rebelled after the Greek victory at the Battle of Mycale in 479. During the Greco-Persian Wars, before it twice expelled the Persians, it was ruled by Persian-appointed tyrants, but as a rule it seems to have been under oligarchic government. In the 5th century, it joined the Delian League, and, after the revolt of Rhodes, it served as the chief Athenian station in the south-eastern Aegean (411–407). In 366 BC, a democracy was instituted. In 366 BC, the capital was transferred from Astypalaia to the newly built town of Kos, laid out in a Hippodamian grid. After helping to weaken Athenian power, in the Social War (357-355 BC), it fell for a few years to the king Mausolus of Caria.
Proximity to the east gave the island first access to imported silk thread. Aristotle mentions silk weaving conducted by the women of the island.[16] Silk production of garments was conducted in large factories by women slaves.[17]
In the Hellenistic age, Kos attained the zenith of its prosperity. Its alliance was valued by the kings of Egypt, who used it as a naval outpost to oversee the Aegean. As a seat of learning, it arose as a provincial branch of the museum of Alexandria, and became a favorite resort for the education of the princes of the Ptolemaic dynasty. During the hellenistic age, there was a medical school; however, the theory that this school was founded by Hippocrates (see below) during the classical age is an unwarranted extrapolation.[18] Among its most famous sons were the physician Hippocrates, the painter Apelles, the poets Philitas and, perhaps, Theocritus.
Diodorus Siculus (xv. 76) and Strabo (xiv. 657) describe it as a well-fortified port. Its position gave it a high importance in Aegean trade; while the island itself was rich in wines of considerable fame.[19] Under Alexander the Great and the Egyptian Ptolemies the town developed into one of the great centers in the Aegean; Josephus[20] quotes Strabo to the effect that Mithridates was sent to Kos to fetch the gold deposited there by the queen Cleopatra of Egypt. Herod is said to have provided an annual stipend for the benefit of prize-winners in the athletic games,[21] and a statue was erected there to his son Herod the Tetrarch ("C. I. G." 2502 ). Paul briefly visited here according to Acts 21:1.
Except for occasional incursions by corsairs and some severe earthquakes, the island has rarely had its peace disturbed. Following the lead of its larger neighbour, Rhodes, Kos generally displayed a friendly attitude toward the Romans; in 53 AD it was made a free city. Lucian (125–180) mentions their manufacture of semi-transparent light dresses, a fashion success.[22] The island of Kos also featured a provincial library during the Roman period. The island first became a center for learning during the Ptolemaic dynasty, and Hippocrates, Apelles, Philitas and possibly Theocritus came from the area. An inscription lists people who made contributions to build the library in the 1st century AD.[23] One of the people responsible for the library's construction was the Kos doctor Gaiou Stertinou Xenofontos, who lived in Rome and was the personal physician of the Emperors Tiberius, Claudius, and Nero.[24]
The bishopric of Cos was a suffragan of the metropolitan see of Rhodes.[25] Its bishop Meliphron attended the First Council of Nicaea in 325. Eddesius was one of the minority Eastern bishops who withdrew from the Council of Sardica in about 344 and set up a rival council at Philippopolis. Iulianus went to the synod held in Constantinople in 448 in preparation for the Council of Chalcedon of 451, in which he participated as a legate of Pope Leo I, and he was a signatory of the joint letter that the bishops of the Roman province of Insulae sent in 458 to Byzantine Emperor Leo I the Thracian with regard to the killing of Proterius of Alexandria. Dorotheus took part in a synod in 518. Georgius was a participant of the Third Council of Constantinople in 680–681. Constantinus went to the Photian Council of Constantinople (879).[26][27] Under Byzantine rule, apart from the participation of its bishops in councils, the island's history remains obscure. It was governed by a droungarios in the 8th/9th centuries, and seems to have acquired some importance in the 11th and 12th centuries: Nikephoros Melissenos began his uprising here, and in the middle of the 12th century, it was governed by a scion of the ruling Komnenos dynasty, Nikephoros Komnenos.[25]
A graph that speaks for itself.
EXTRAPOLATE THAT!! START HERE. If you are a teacher and you decide to use this idea, please let me know.
In 1958 Charles David Keeling set up a carbon dioxide testing station on Mauna Loa, on the Big Island of Hawai`i. Data has been collected there over the past 5 decades. Here's the web page for the CO2 program. The data can be found here. Remember that -99.99 means missing data. And here is a more direct link to the page with the Monthly data from 1958 to present. I plug it into a spreadsheet and delete the columns I don't want.
WHOAAA!! CHECK OUT THE NEW DATA PAGE!!!
This is part of a graph my 8th graders put together a few years ago. The vertical scale of the graph paper ranges from 310 to 390 ppm CO2. (now it must run to over 400!!!) Each of my classes did a graph. Each group of students did one sheet. Each sheet held 4 years of data. I invite other teachers to do the same exercise!! Let me know how it went.
[For 2011 - 2013 I was lucky enough to have small classes. I had each class do one graph, with each student graphing 3 years on one sheet. You will need to adjust according to your class size(s).]
When I have larger classes I have each student graph at least 2 years of data. I allow some to do more for extra credit, once they show me they can do it well with their first graph. Once they finished a sheet, I had them cut off one end and we overlapped the sheets chronologically to make the composite graph shown in the photo.
I have the students construct a line that they feel shows the average ave the data over the years, or the trend of the data, as a smooth line up the center of the data on the graph.
I also have them find the max. and min. and have them calculate the % change since 1958. They also research what the change has been since the beginning of the industrial revolution.
I next have the students go through the data and each student makes one graph using just the data from whatever month they were born in. This shrinks the horizontal scale and makes the graph much more steep. This lead into a discussion of how to different presentation of the same data may give viewers different perceptions. We also then discuss extrapolation and current trends of carbon production.
So, what's the trend of CO2 in the atmosphere over the last 50 years?
The curvy line indicates the monthly data, with seasonal fluctuations. The red line is an approximation of the general trend of the data. The data itself ranged from about 314 to 386 ppm, from 1958 to 2008, or an increase of approximately 70 ppm. Starting at 314, and increasing by 70 ppm is an increase of 22% .......
TWENTY TWO PERCENT INCREASE IN THE CO2 CONTENT OF THE ATMOSPHERE IN THE PAST 50 YEARS!! That's an increase by more than one fifth!
So what? What's the significance? Well let's ignore the global warming issue for a moment. One of the less-discussed results of CO2 in the atmosphere is that it dissolves into the oceans, and forms carbonic acid [a small amount of the CO2 combines with water to form H2CO3 in the solution], so this trend in atmospheric CO2 also points toward acidification of the oceans. Scientists have been investigating how this might affect the marine ecosystems, especially the near-surface waters, where the atmospheric gas absorption occurs.
Well, guess what? One thing that an acid can do is dissolve things like calcium carbonate, or reduce the rate of calcification. Now, CaCO3 just happens to be the primary ingredient of the shells and casings of various marine organisms, such as clams, oysters, snails/gastropods, corals, and many planktonic organisms such as calcareous algaes. But see other research that indicates some organisms are actually producing CaCO3 at an increasing rate.
So, if many organisms find it progressively more difficult to form shells and casings, then what? Already fluctuations in ocean pH have caused oyster producers significant losses in the Pacific NW. Recent studies also show the significant thinning of shells in marine invertebrates.
We are being forced to find out the consequences of fouling our own nest.
+++ 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 Mikoyan-Gurevich MiG-19 (NATO reporting name: "Farmer") was a Soviet second-generation, single-seat, twin jet-engine fighter aircraft. It was the first Soviet production aircraft capable of supersonic speeds in level flight. A comparable U.S. "Century Series" fighter was the North American F-100 Super Sabre, although the MiG-19 would primarily oppose the more modern McDonnell Douglas F-4 Phantom II and Republic F-105 Thunderchief over North Vietnam. Furthermore, the North American YF-100 Super Sabre prototype appeared approximately one year after the MiG-19, making the MiG-19 the first operational supersonic jet in the world.
On 20 April 1951, OKB-155 was given the order to develop the MiG-17 into a new fighter called "I-340", also known as "SM-1". It was to be powered by two Mikulin AM-5 non-afterburning jet engines, a scaled-down version of the Mikulin AM-3, with 19.6 kN (4,410 lbf) of thrust. The I-340 was supposed to attain 1,160 km/h (725 mph, Mach 0.97) at 2,000 m (6,562 ft), 1,080 km/h (675 mph, Mach 1.0) at 10,000 m (32,808 ft), climb to 10,000 m (32,808 ft) in 2.9 minutes, and have a service ceiling of no less than 17,500 m (57,415 ft).
After several prototypes with many detail improvements, the ministers of the Soviet Union issued the order #286-133 to start serial production on February 17, 1954, at the factories in Gorkiy and Novosibirsk. Factory trials were completed on September 12 the same year, and government trials started on September 30.
Initial enthusiasm for the aircraft was dampened by several problems. The most alarming of these was the danger of a midair explosion due to overheating of the fuselage fuel tanks located between the engines. Deployment of airbrakes at high speeds caused a high-g pitch-up. Elevators lacked authority at supersonic speeds. The high landing speed of 230 km/h (145 mph), compared to 160 km/h (100 mph) for the MiG-15, combined with the lack of a two-seat trainer version, slowed pilot transition to the type. Handling problems were addressed with the second prototype, "SM-9/2", which added a third ventral airbrake and introduced all-moving tailplanes with a damper to prevent pilot-induced oscillations at subsonic speeds. It flew on 16 September 1954, and entered production as the MiG-19S.
Approximately 5,500 MiG-19's were produced, first in the USSR and in Czechoslovakia as the Avia S-105, but mainly in the People's Republic of China as the Shenyang J-6. The aircraft saw service with a number of other national air forces, including those of Cuba, North Vietnam, Egypt, Pakistan, and North Korea. The aircraft saw combat during the Vietnam War, the 1967 Six Day War, and the 1971 Bangladesh War.
However, jet fighter development made huge leaps in the 1960s, and OKB MiG was constantly trying to improve the MiG-19's performance, esp. against fast and high-flying enemies, primarily bombers but also spy planes like the U-2.
As the MiG-19S was brought into service with the Soviet air forces in mid-1956, the OKB MiG was continuing the refinement of the SM-1/I-340 fighter. One of these evolutionary paths was the SM-12 (literally, “SM-1, second generation”) family of prototypes, the ultimate extrapolation of the basic MiG-19 design, which eventually led to the MiG-19bis interceptor that filled the gap between the MiG-19S and the following, highly successful MiG-21.
The SM-12 first saw life as an exercise in drag reduction by means of new air intake configurations, since the MiG-19’s original intake with rounded lips became inefficient at supersonic speed (its Western rival, the North American F-100, featured a sharp-lipped nose air intake from the start). The first of three prototypes, the SM-12/1, was essentially a MiG-19S with an extended and straight-tapered nose with sharp-lipped orifice and a pointed, two-position shock cone on the intake splitter. The simple arrangement proved to be successful and was further refined.
The next evolutionary step, the SM-12/3, differed from its predecessors primarily in two new R3-26 turbojets developed from the earlier power plant by V. N. Sorokin. These each offered an afterburning thrust of 3,600kg, enabling the SM-12/3 to attain speeds ranging between 1,430km/h at sea level, or Mach=1.16, and 1,930km/h at 12,000m, or Mach=1.8, and an altitude of between 17,500 and 18,000m during its test program. This outstanding performance prompted further development with a view to production as a point defense interceptor.
Similarly powered by R3-26 engines, and embodying major nose redesign with a larger orifice permitting introduction of a substantial two-position conical centerbody for a TsD-30 radar, a further prototype was completed as the SM-12PM. Discarding the wing root NR-30 cannon of preceding prototypes, the SM-12PM was armed with only two K-5M (RS-2U) beam-riding missiles and entered flight test in 1957. This configuration would become the basis for the MiG-19bis interceptor that eventually was ordered into limited production (see below).
However, the SM-12 development line did not stop at this point. At the end of 1958, yet another prototype, the SM-12PMU, joined the experimental fighter family. This had R3M-26 turbojets uprated to 3.800kg with afterburning, but these were further augmented by a U-19D accelerator, which took the form of a permanent ventral pack containing an RU-013 rocket motor and its propellant tanks. Developed by D. D. Sevruk, the RU-013 delivered 3,000kg of additional thrust, and with the aid of this rocket motor, the SM-12PMU attained an altitude of 24,000m and a speed of Mach=1.69. But this effort was to no avail: the decision had been taken meanwhile to manufacture the Ye-7 in series as the MiG-21, and further development of the SM-12 series was therefore discontinued.
Nevertheless, since full operational status of the new MiG-21 was expected to remain pending for some time, production of a modified SM-12PM was ordered as a gap filler. Not only would this fighter bridge the performance gap to the Mach 2-capable MiG-21, it also had the benefit of being based on proven technologies and would not require a new basic pilot training.
The new aircraft received the official designation MiG-19bis. Compared with the SM-12PM prototype, the MiG-19bis differed in some details and improvements. The SM-12PM’s most significant shortfall was its short range – at full power, it had only a range of 750 km! This could be mended through an additional fuel tank in an enlarged dorsal fairing behind the cockpit. With this internal extra fuel, range could be extended by a further 200 - 250km range, but drop tanks had typically to be carried, too, in order to extend the fighter’ combat radius with two AAMs to 500 km. Specifically for the MiG-19bis, new, supersonic drop tanks (PTB-490) were designed, and these were later adapted for the MiG-21, too.
The air intake shock cone was re-contoured and the shifting mechanism improved: Instead of a simple, conical shape, the shock cone now had a more complex curvature with two steps and the intake orifice area was widened to allow a higher airflow rate. The air intake’s efficiency was further optimized through gradual positions of the shock cone.
As a positive side effect, the revised shock cone offered space for an enlarged radar dish, what improved detection range and resolution. The TsD-30 radar for the fighter’s missile-only armament was retained, even though the K-5’s effective range of only 2–6 km (1¼ – 3¾ mi) made it only suitable against slow and large targets like bombers. All guns were deleted in order to save weight or make room for the electronic equipment. The tail section was also changed because the R3M-26 engines and their afterburners were considerably longer than the MiG-19's original RM-5 engines. The exhausts now markedly protruded from the tail section, and the original, characteristic pen nib fairing between the two engines had been modified accordingly.
Production started in 1960, but only a total of roundabout 180 MiG-19bis, which received the NATO code "Farmer F", were built and the Soviet Union remained the only operator of the type. The first aircraft entered Soviet Anti-Air Defense in early 1961, and the machines were concentrated in PVO interceptor units around major sites like Moscow, Sewastopol at the Black Sea and Vladivostok in the Far East.
With the advent of the MiG-21, though, their career did not last long. Even though many machines were updated to carry the K-13 (the IR-guided AA-2 "Atoll") as well as the improved K-55 AAMs, with no change of the type’s designation, most MiG-19bis were already phased out towards the late 1960s and quickly replaced by 2nd generation MiG-21s as well as heavier and more capable Suchoj interceptors like the Su-9, -11 and -15. By 1972, all MiG-19bis had been retired.
General characteristics:
Crew: 1
Length: 13.54 m (44 ft 4 in), fuselage only with shock cone in forward position
15.48 m (50 8 ½ in) including pitot
Wingspan: 9 m (29 ft 6 in)
Height: 3.8885 m (12 ft 9 in)
Wing area: 25 m² (269 ft²)
Empty weight: 5,210 kg (11,475 lb)
Loaded weight: 7,890 kg (17,380 lb)
Max. takeoff weight: 9,050 kg (19,935 lb)
Fuel capacity: 2,450 l (556 imp gal; 647 US gal) internal;
plus 760 l (170 imp gal; 200 US gal) with 2 drop tanks
Powerplant:
2× Sorokin R3M-26 turbojets, rated at 37.2 kN (8,370 lbf) thrust each with afterburning
Performance:
Maximum speed: 1,380km/h at sea level (Mach=1.16)
1,850km/h at 12,000m (Mach=1.8)
Range: 1,250 km (775 mi; 750 nmi) at 14,000 m (45,000 ft) with 2 × 490 l drop tanks
Combat range: 500 km (312 mi; 270 nmi)
Ferry range: 2,000 km (1,242 mi; 690 nmi)
Service ceiling: 19,750 m (64,690 ft)
Rate of climb: 180 m/s (35,000 ft/min)
Wing loading: 353.3 kg/m² (72.4 lb/ft²)
Thrust/weight: 0.86
Armament:
No internal guns.
4× underwing pylons; typically, a pair of PTB-490 drop tanks were carried on the outer pylon pair,
plus a pair of air-to air missiles on the inner pair: initially two radar-guided Kaliningrad K-5M (RS-2US)
AAMs, later two radar-guided K-55 or IR-guided Vympel K-13 (AA-2 'Atoll') AAMs
The kit and its assembly:
Another submission for the 2018 Cold War Group Build at whatifmodelers.com, and again the opportunity to build a whiffy model from the project list. But it’s as fictional as one might think, since the SM-12 line of experimental “hybrid” fighters between the MiG-19 and the MiG-21 was real. But none of these aircraft ever made it into serial production, and in real life the MiG-21 showed so much potential that the attempts to improve the MiG-19 were stopped and no operational fighter entered production or service.
However, the SM-12, with its elongated nose and the central shock cone, makes a nice model subject, and I imagined what a service aircraft might have looked like? It would IMHO have been close, if not identical, to the SM-12PM, since this was the most refined pure jet fighter in the development family.
The basis for the build was a (dead cheap) Mastercraft MiG-19, which is a re-edition of the venerable Kovozávody Prostějov (KP) kit – as a tribute to modern tastes, it comes with (crudely) engraved panel, but it has a horrible fit all over. For instance, there was a 1mm gap between the fuselage and the right wing, the wing halves’ outlines did not match at all and it is questionable if the canopy actually belongs to the kit at all? PSR everywhere. I also had a Plastyk version of this kit on the table some time ago, but it was of a much better quality! O.K., the Mastercraft kit comes cheap, but it’s, to be honest, not a real bargain.
Even though the result would not be crisp I did some mods and changes. Internally, a cockpit tub was implanted (OOB there’s just a wacky seat hanging in mid air) plus some serious lead weight in the nose section for a proper stance.
On the outside, the new air intake is the most obvious change. I found a Su-17 intake (from a Mastercraft kit, too) and used a piece from a Matchbox B-17G’s dorsal turret to elongate the nose – it had an almost perfect diameter and a mildly conical shape. Some massive PSR work was necessary to blend the parts together, though.
The tail received new jet nozzles, scratched from steel needle protection covers, and the tail fairing was adjusted according to the real SM-12’s shape.
Ordnance was adapted, too: the drop tanks come from a Mastercraft MiG-21, and these supersonic PTB-490 tanks were indeed carried by the real SM-12 prototypes because the uprated engines were very thirsty and the original, teardrop-shaped MiG-19 tanks simply too draggy for the much faster SM-12. As a side note, the real SM-12’s short range was one of the serious factors that prevented the promising type’s production in real life. In order to overcome the poor range weakness I added an enlarged spine (half of a drop tank), inspired by the MiG-21 SMT, that would house an additional internal fuel tank.
The R2-SU/K-5 AAMs come from a vintage Mastercraft Soviet aircraft weapon set, which carries a pair of these 1st generation AAMs. While the molds seem to be a bit soft, the missiles look pretty convincing. Their pylons were taken from the kit (OOB they carry unguided AAM pods and are placed behind the main landing gear wells), just reversed and placed on the wings’ leading edges – similar to the real SM-12’s arrangement.
Painting and markings:
No surprises. In the Sixties, any PVO aircraft was left in bare metal, so there was hardly an alternative to a NMF finish.
Painting started with an all-over coat with acrylic Revell 99 (Aluminum), just the spine tank became light grey (Revell 371) for some contrast, and I painted some di-electric covers in a deep green (Revell 48).
The cockpit interior was painted with a bright mix of Revell 55 and some 48, while the landing gear wells and the back section of the cockpit were painted in a bluish grey (Revell 57).
The landing gear was painted in Steel (unpolished Modelmaster metallizer) and received classic, bright green wheel discs (Humbrol 2). As a small, unusual highlight the pitot boom under the chin received red and white stripes – seen on occasional MiG-19S fighters in Soviet service, and the anti-flutter booms on the stabilizers became bright red, too.
After the basic painting was done the kit received a black ink wash. Once this had dried and wiped off with a soft cotton cloth, post shading with various metallizer tones was added in order to liven up the uniform aircraft (including Humbrol’s matt and polished aluminum, and the exhaust section was treated with steel). Some panel lines were emphasized with a thin pencil.
Decals were puzzled together from various sources, a Guards badge and a few Russian stencils were added, too. Finally, the kit was sealed with a coat of sheen acrylic varnish (a 2:1 mix of Italeri matt and semi-gloss varnish).
The K-5 missiles, last but not least, were painted in aluminum, too, but their end caps (both front and tail section) became off-white.
The Mastercraft kit on which this conversion was based is crude, so I did not have high expectations concerning the outcome. But the new nose blends nicely into the MiG-19 fuselage, and the wide spine is a subtle detail that makes the aircraft look more “beefy” and less MiG-19-ish. The different drop tanks – even though they are authentic – visually add further speed. And despite many flaws, I am quite happy with the result of roundabout a week’s work.
From Wikipedia, the free encyclopedia
A dabbawala; also spelled as dabbawalla or dabbawallah; is a person in India, most commonly in Mumbai, who is part of a delivery system that collects hot food in lunch boxes from the residences of workers in the late morning, delivers the lunches to the workplace utilizing various modes of transport, predominantly bicycles and the railway trains, and returns the empty boxes to the customer's residence that afternoon. They are also made use of by prominent meal suppliers in Mumbai where they ferry ready, cooked meals from central kitchens to the customers and back.
In Mumbai, most officegoers prefer to eat home-cooked food rather than eat outside, usually for reasons of taste and hygiene, hence the concept. A number of work-from-home women also supply such home-cooked meals, delivering through the dabbawala network.[1]
The word "dabbawala" when literally translated, means "one who carries a box". "Dabba" means a box (usually a cylindrical tin or aluminium container), while "wala" is an agentive suffix, denoting a doer or holder of the preceding word.[2] The closest meaning of the dabbawala in English would be the "lunch box delivery man".
Origins[edit]
In 1890, Mahadeo Bhavaji Bachche started a lunch delivery service with about a hundred men.[3] In 1930, he informally attempted to unionize the dabbawallas. Later, a charitable trust was registered in 1956 under the name of Nutan Mumbai Tiffin Box Suppliers Trust. The commercial arm of this trust was registered in 1968 as Mumbai Tiffin Box Supplier's Association. The current president of the association is Raghunath Medge.
Supply chain[edit]
A collecting dabbawala, usually on bicycle, collects dabbas either from a worker's home or from the dabba makers. As many of the carriers are of limited literacy (the average literacy of Dabbawallahs is 8th grade[4]), the dabbas (boxes) have some sort of distinguishing mark on them, such as a colour or group of symbols.
The dabbawala then takes them to a designated sorting place, where he and other collecting dabbawalas sort (and sometimes bundle) the lunch boxes into groups. The grouped boxes are put in the coaches of trains, with markings to identify the destination of the box (usually there is a designated car for the boxes). The markings include the railway station to unload the boxes and the destination building delivery address.
At each station, boxes are handed over to a local dabbawala, who delivers them. The empty boxes are collected after lunch or the next day and sent back to the respective houses.
Dabbawallas tend to belong to the Varkari sect of Maharashtra and consider Tukaram's teachings of helping each other to be central to their efficiency and motivation.[5]
Appearance and coding[edit]
Lunch boxes are usually marked in several ways: (1) abbreviations for collection points, (2) colour code for starting station, (3) number for destination station and (4) markings for handling dabbawala at destination, building and floor.[6]
A typical dabbawala lunch.
It was estimated in 2007 that the dabbawala industry was still growing by 5-10% per annum.[7]
The dabbawalas have started to embrace technology, and now allow for delivery requests through SMS.[8] A colour-coding system identifies the destination and recipient. Each dabbawala is required to contribute a minimum capital in kind, in the form of two bicycles, a wooden crate for the tiffins, white cotton kurta-pyjamas, and the white Gandhi cap (topi). Each month there is a division of the earnings of each unit.
Uninterrupted services[edit]
The service is almost always uninterrupted, even on the days of severe weather such as monsoons. The local dabbawalas and population know each other well, and often form bonds of trust. Dabbawalas are generally well accustomed to the local areas they cater to, and use shortcuts and other low-profile routes to deliver their goods on time. Occasionally, people communicate between home and work by putting messages inside the boxes (See: The Lunchbox film); however, with the rise of instant communication such as SMS and instant messaging, this trend is vanishing. Since 1890, when the dabbawalas formally came into existence, none of them had ever gone on strike until 2011 when the members decided to head towards Azad Maidan to support Anna Hazare in his campaign against corruption.[9]
Economic analysis[edit]
Each dabbawala, regardless of role, is paid around eight thousand rupees per month (about US$131 in 2014). Between 175,000 and 200,000 lunch boxes are moved each day by 4,500 to 5,000 dabbawalas, all with an extremely small nominal fee and with utmost punctuality.
It is frequently claimed that dabbawalas make less than one mistake in every six million deliveries.[10] However, this error rate is conservative as it is estimated from Ragunath Medge, the president of the Mumbai Tiffinmen's Association in 1998, and is not from a rigorous study. Medge told Subrata Chakravarty, the lead author of the 'Fast Food' article by Forbes.[11] that dabbawalas make a mistake "almost never, maybe once every two months" and this statement was extrapolated by Subrata Chakravarty to be a rate of "one mistake in 8 million deliveries." [12]
The ABC has produced a documentary on dabbawalas [13] and Prince Charles visited them during his visit to India; he had to fit in with their schedule, since their timing was too precise to permit any flexibility. Charles also invited them to his wedding with Camilla Parker Bowles in London on 9 April 2005. Owing to the tremendous publicity, some of the dabbawalas were invited to give guest lectures in some of the top business schools of India, which is very unusual.
The New York Times reported in 2007 that the 125-year-old dabbawala industry continues to grow at a rate of 5–10% per year.[7]
Awards, Studies and recognition[edit]
Awards / Accreditations[edit]
ISO 9001:2000 certified by the Joint Accreditation System of Australia and New Zealand [14]
Studies and accolades[edit]
In 2001, Pawan G. Agrawal carried out his PhD research in " A Study & Logistics & Supply Chain Management of Dabbawala in Mumbai". He often presents his results on the efficiency of Dabbawallas in various fora.[15]
In 2005, the Indian Institute of Management (Ahmedabad) featured a case study on the Mumbai Dabbawallas from a management perspective of logistics.[16]
In 2010, Harvard Business School added the case study The Dabbawala System: On-Time Delivery, Every Time to their compendium for its high level of service (equivalent of Six Sigma or better) with a low-cost and simple operating system.[17]
Six Sigma myth[edit]
It has been frequently asserted that dabbawalas were awarded a Six Sigma certification by Forbes magazine. This is a myth perpetuated by the news media who inferred the accreditation from the 1998 article in Forbes.[11] In 2007, an explanation was provided by the lead author of the article, Subrata Chakravarty in a private email correspondence to Gauri Sanjeev Pathak:
"Forbes never certified the dabbawalas as being a six-sigma organization. In fact, I never used the term at all. As you know, six-sigma is a process, not a statistic. But it is commonly associated with a statistic of 1.9 errors per billion operations, and that is what caused the confusion … . I was impressed by the efficiency and complexity of the process by which some 175,000 tiffin boxes were sorted, transported, delivered and returned each day by people who were mostly illiterate and unsophisticated. I asked the head of the organization how often they made a mistake. He said almost never, maybe once every two months. Any more than that would be unforgivable to customers. I did the math, which works out to one mistake in 8 million deliveries—or 16 million, since the tiffin carriers are returned home each day. That is the statistic I used. Apparently, at a conference in 2002, a reporter asked the president … whether the tiffinwallahs were a six-sigma organization. He said he didn't know what that was. When told about the 1.9 error-per-billion statistic, I'm told he said: "Then we are. Just ask Forbes". The reporter, obviously without having read my story, wrote that Forbes had certified the tiffinwallahs as a six-sigma organization. That phrase was picked up and repeated by other reporters in other stories and now seems to have become part of the folklore."
—Subrata Chakravarty, [12]
World record[edit]
On 21 March 2011, Prakash Baly Bachche carried three dabbawalla tiffin crates on his head at one time which was entered as a Guinness world record
The sighting head for the super-secret Norden bomb sight is mounted below and to the right of the yellow, portable, oxygen tank. Ahead of the floor so it can look down through the optically "flat" bomb aiming window. The sighting part of the Norden was developed by Mr. Norden for the US Navy. It was then combined with a Sperry Autopilot for USAAC service. It could not hit a pickle barrel from 20,000 feet.
Having the sighting head removed by the bombardier (aka bomb aminer) and kept under lock and key had some security value, but hid the crucial role of the autopilot, which was a box with gyroscopes, stabilizing a platform in 3d space, and firmly fastened to the plane. By sensing relative acceleration or motion between the stable platform and the airplane, the Sperry unit could steer the airplane on a course selected by the pilot. By changing the selected course that the Autopilot was flying, a curious pilot, a bombardier or a bomb-sight could effectively "fly" the airplane on a straight course, or by constantly varying the input, on a curved course.
The Norden bomb sight itself was a mechanical computer which could be synchronized with the path the bomber was flying over the surface of the earth. The bombardier adjusted
for bomber altitude above target, rotation of the earth, uncorrected crosswind drift etc.
Once it was tracking the bomber's path over the Earth, the free-falling path of an idealized bomb can be projected ahead of the spot being flown over. Then come corrections for: aerodynamic drag based true airspeed, density of the air at the bomber's altitude, increasing density down to the altitude of the target, terminal velocity of the bomb and adding any net crosswinds between bomber and target. There may be other facts to add. If the model is right, all this allows the sight picture to be extrapolated to where bombs would hit, if released ...now!
Looking ahead on the path that bombs dropped in the future will hit, the bombarder marks a target and the mechanical computer follows the track until it hits that mark, and that's when the bombs are dropped.
Now the bombs are falling and the action isn't in the plane.
The bombs come out, at the true airspeed of the plane, falling slowly, but accelerating downward every second.
Aerodynamic drag slows the bomb, initially, in the forward direction (it has to, they were inside the plane and not experiencing any drag, now, suddenly, they are experiencing drag) even as gravity accelerates them vertically. "Terminal velocity" for forward speed of a bomb released horizontally is 0. Terminal velocity in a vertical fall is when the acceleration of gravity balances the acceleration of drag. There is no horizontal acceleration that speeds up a bomb dropped horizontally. Just drag that slows it down.
The fins cause the bomb to "weathervane"- go nose-first into the sum of the fading forward velocity and growing vertical velocity. So the drag isn't all simply accelerating against forward momentum. Its accelerating the bomb backward relative to the air its passing through. If it falls for long enough, it will hit terminal velocity for the density its in, and that density will increase as altitude decreases.
But horizontal velocity will decrease to 0. There isn't anything speeding up the bomb horizontally. Just drag slowing it down. As a practical matter, the drag will win the day. Its not an asymptote, its a finite segment of a curve, and it stops.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the fully functional VF-1 prototype (the VF-X-1).
Introduced in 2008, the VF-1 would be produced en masse within a short period of time, a total of 5,459 airframes were delivered until 2013. The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. From the start the VF-1 proved to be an extremely capable and versatile craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements and upgrades. The VF-1 was a single-seater, but the VF-1D was a two-seater with a slightly extended cockpit section, originally developed as a trainer for conversion duties. It shared almost all systems of the single-seaters, though, was fully combat-capable, and only differed through an extended cockpit section that offered space for a second seat behind the standard pilot seat.
The VF-1 was operated by many operational U.N. Spacy units - initially by fighter/interceptor units, but when more and more aircraft became available or early production models were replaced by new and improved later machines, VF-1s were also operated by strike units like the "Manjisai". This unit was formed in early 2009 to defend the southern regions of the Japanese mainland from Zentraedi attacks. Its home base became Naha, and in honor of the Japanese air force unit that had been based in the Okinawa region during WWII to defend the country against american bomber raids, the unit adopted the "144" (which later became the more famous IJA 244th Hikotai) number and carried the old unit marking on the VF-1s' fins. SVA-144 machines were furthermore noteworthy for their experimental paint schemes, which were tested to replace the U.N. Spacy's standard livery of sand and white for the VF-1As. Several color combinations were tested, including pale blue and teal hues, and some flight commanders decorated their machines further with colorful trim and cheatlines to add an individual touch - a feature that was normally reserved to commanding officers.
After the end of Space War I, production on Earth was stopped but the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and its persistent production after the war in many space sectors proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with several major variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30), sub-variants (VF-1G = 12, VE-1 = 122, VT-1 = 68) and upgrades of existing airframes (like the VF-1P).
Despite its relatively short and intense production run the fighter remained active in many second line units and continued to show its worthiness even years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N.S. Marine Corps
Accommodation:
Pilot and trainee in Marty & Beck Mk-7 zero/zero ejection seats
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or 225.63 kN in overboost
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 ppm
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rpm
4x underwing hard points for a wide variety of ordnance, including…
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
Once again, a vintage 1:100 VF-1 model, no idea how many I have built of these - probably more than 30... But I still find inspriration for canonical, fictional and even converted/fictional variants. This project was spontaneously inspired by a photograph of a car that I had recently come upon while browsing the WWW: an individualized McLaren, taken somewhere in the Persian Gulf region. I just had a front view, though, but it showed that the car had been re-painted or foil-wrapped in two teal colors, with thin yellow contrast lines between these tones. Sounds horrible, but actually worked for me, also because of the color contrasts. I
The kit was built OOB, with the landing gear down and with an open canopy. As a standard upgrade I added some typical small blade antennae on the nose and on the spine. As an extra I provided this VF-1 with radar warning antenna fairlings at the top of the fins, too. The four underwing hardpoints were retained, but the armament was changed from twelve original AMM-1 missiles to four cluster bomb units on the outer pair of pylons (these are actually 1:100 scale, from a toylike Revell A-10 snap-fit kit) and two fictional GBUs on the inner stations - modified (poor) Kh-23/AS-7 "Kerry" ASMs in 1:72 from a Kangam/Revell Yak-38 kit. Furthermore, the VF-1's standard GU-11 gun pod was retained, modified to hold a scratched wire display for in-flight pictures.
Painting and markings:
Quite challenging, and to ease things I jused an Arii VF-1J kit molded in pale green plastic. The cockpit became canonical medium grey with brown seat cushions, air intakes and some other areas were painted in a dark grey tone. The two teal tones were a bit challenging, though, and the scheme itself evolved gradually, because I adapted the inspiring car's front section with a darker shade in front of the windscreen and along the lower front bumper, and extrapolated it further back on the VF-1.
The light tone would be the primary color, with darker accents and thin yellow stripes/lines differentiating them. This led early to dark "shank flanks" and an extended spine, as well as dark folded arms and a dark head unit underneath. However, wings, fins and dorsal area were challenging, and I actually made some design tests with computer aid to eventually come up with "breast chevrons", and extended spine and simple dark slats and flaps on the wings - instead of dark teal wings with a single lighter stripe, what I had initially favored. But it would not have worked and disrupted the overall elegant look.
The dark teal turquoise is ModelMaster's "Soviet Cockpit Teal", while the light tone is Humbrol 65 (RLM 65, Lichtblau), later panel-shaded with ModelColor's acrylic 70.832 "Patina Verdin", a markedly lighter and more greenish tone, which was applied with a glazing technique. Together it works quite well. The yellow lines were all created with 0.5mm decal stripes from TL Modellbau - a tedious job, because the stripes had partly to be carefully bent into shape, but much easier than trying to do this stunt with paint. And the result is a rather subtle yet decorative livery, almost a low-viz livery, thanks to the subdued teal tones and the thin yellow lines which differ only a little in brightness from their surroundings.
The decals came mostly from the OOB sheet, just the "kite" roundels and the yellow "U.N. Spacy" tags on legs and gun pod were procured from a VF-1A sheet. The "ER" code comes from an Academy OV-10 Bronco while the yellow 244th Hikotai emblem on the outer fins' surface came from a Printscale aftermarket sheet. After the decals had been completed the model was sealed with a coat of not-100%-matt acrylic varnish. Position and other lights were painted with translucent acrylic paint on chrome silver vases, and the model was finally completed.
A pretty VF-1, and it looks (to me) better than expected, despite the strange color combination of teal and yellow. It appears to be quite effective, too, since the teal tones are rather subdued and only the kite roundels really stand out. It even looks elegant, even though the livery is totally fictional?!
Kid Kicking Pile of Dried Leaves | Turn Intentions Into Action. Photo by ROMMEL BANGIT
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+++ 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 Mikoyan-Gurevich MiG-19 (NATO reporting name: "Farmer") was a Soviet second-generation, single-seat, twin jet-engine fighter aircraft. It was the first Soviet production aircraft capable of supersonic speeds in level flight. A comparable U.S. "Century Series" fighter was the North American F-100 Super Sabre, although the MiG-19 would primarily oppose the more modern McDonnell Douglas F-4 Phantom II and Republic F-105 Thunderchief over North Vietnam. Furthermore, the North American YF-100 Super Sabre prototype appeared approximately one year after the MiG-19, making the MiG-19 the first operational supersonic jet in the world.
On 20 April 1951, OKB-155 was given the order to develop the MiG-17 into a new fighter called "I-340", also known as "SM-1". It was to be powered by two Mikulin AM-5 non-afterburning jet engines, a scaled-down version of the Mikulin AM-3, with 19.6 kN (4,410 lbf) of thrust. The I-340 was supposed to attain 1,160 km/h (725 mph, Mach 0.97) at 2,000 m (6,562 ft), 1,080 km/h (675 mph, Mach 1.0) at 10,000 m (32,808 ft), climb to 10,000 m (32,808 ft) in 2.9 minutes, and have a service ceiling of no less than 17,500 m (57,415 ft).
After several prototypes with many detail improvements, the ministers of the Soviet Union issued the order #286-133 to start serial production on February 17, 1954, at the factories in Gorkiy and Novosibirsk. Factory trials were completed on September 12 the same year, and government trials started on September 30.
Initial enthusiasm for the aircraft was dampened by several problems. The most alarming of these was the danger of a midair explosion due to overheating of the fuselage fuel tanks located between the engines. Deployment of airbrakes at high speeds caused a high-g pitch-up. Elevators lacked authority at supersonic speeds. The high landing speed of 230 km/h (145 mph), compared to 160 km/h (100 mph) for the MiG-15, combined with the lack of a two-seat trainer version, slowed pilot transition to the type. Handling problems were addressed with the second prototype, "SM-9/2", which added a third ventral airbrake and introduced all-moving tailplanes with a damper to prevent pilot-induced oscillations at subsonic speeds. It flew on 16 September 1954, and entered production as the MiG-19S.
Approximately 5,500 MiG-19's were produced, first in the USSR and in Czechoslovakia as the Avia S-105, but mainly in the People's Republic of China as the Shenyang J-6. The aircraft saw service with a number of other national air forces, including those of Cuba, North Vietnam, Egypt, Pakistan, and North Korea. The aircraft saw combat during the Vietnam War, the 1967 Six Day War, and the 1971 Bangladesh War.
However, jet fighter development made huge leaps in the 1960s, and OKB MiG was constantly trying to improve the MiG-19's performance, esp. against fast and high-flying enemies, primarily bombers but also spy planes like the U-2.
As the MiG-19S was brought into service with the Soviet air forces in mid-1956, the OKB MiG was continuing the refinement of the SM-1/I-340 fighter. One of these evolutionary paths was the SM-12 (literally, “SM-1, second generation”) family of prototypes, the ultimate extrapolation of the basic MiG-19 design, which eventually led to the MiG-19bis interceptor that filled the gap between the MiG-19S and the following, highly successful MiG-21.
The SM-12 first saw life as an exercise in drag reduction by means of new air intake configurations, since the MiG-19’s original intake with rounded lips became inefficient at supersonic speed (its Western rival, the North American F-100, featured a sharp-lipped nose air intake from the start). The first of three prototypes, the SM-12/1, was essentially a MiG-19S with an extended and straight-tapered nose with sharp-lipped orifice and a pointed, two-position shock cone on the intake splitter. The simple arrangement proved to be successful and was further refined.
The next evolutionary step, the SM-12/3, differed from its predecessors primarily in two new R3-26 turbojets developed from the earlier power plant by V. N. Sorokin. These each offered an afterburning thrust of 3,600kg, enabling the SM-12/3 to attain speeds ranging between 1,430km/h at sea level, or Mach=1.16, and 1,930km/h at 12,000m, or Mach=1.8, and an altitude of between 17,500 and 18,000m during its test program. This outstanding performance prompted further development with a view to production as a point defense interceptor.
Similarly powered by R3-26 engines, and embodying major nose redesign with a larger orifice permitting introduction of a substantial two-position conical centerbody for a TsD-30 radar, a further prototype was completed as the SM-12PM. Discarding the wing root NR-30 cannon of preceding prototypes, the SM-12PM was armed with only two K-5M (RS-2U) beam-riding missiles and entered flight test in 1957. This configuration would become the basis for the MiG-19bis interceptor that eventually was ordered into limited production (see below).
However, the SM-12 development line did not stop at this point. At the end of 1958, yet another prototype, the SM-12PMU, joined the experimental fighter family. This had R3M-26 turbojets uprated to 3.800kg with afterburning, but these were further augmented by a U-19D accelerator, which took the form of a permanent ventral pack containing an RU-013 rocket motor and its propellant tanks. Developed by D. D. Sevruk, the RU-013 delivered 3,000kg of additional thrust, and with the aid of this rocket motor, the SM-12PMU attained an altitude of 24,000m and a speed of Mach=1.69. But this effort was to no avail: the decision had been taken meanwhile to manufacture the Ye-7 in series as the MiG-21, and further development of the SM-12 series was therefore discontinued.
Nevertheless, since full operational status of the new MiG-21 was expected to remain pending for some time, production of a modified SM-12PM was ordered as a gap filler. Not only would this fighter bridge the performance gap to the Mach 2-capable MiG-21, it also had the benefit of being based on proven technologies and would not require a new basic pilot training.
The new aircraft received the official designation MiG-19bis. Compared with the SM-12PM prototype, the MiG-19bis differed in some details and improvements. The SM-12PM’s most significant shortfall was its short range – at full power, it had only a range of 750 km! This could be mended through an additional fuel tank in an enlarged dorsal fairing behind the cockpit. With this internal extra fuel, range could be extended by a further 200 - 250km range, but drop tanks had typically to be carried, too, in order to extend the fighter’ combat radius with two AAMs to 500 km. Specifically for the MiG-19bis, new, supersonic drop tanks (PTB-490) were designed, and these were later adapted for the MiG-21, too.
The air intake shock cone was re-contoured and the shifting mechanism improved: Instead of a simple, conical shape, the shock cone now had a more complex curvature with two steps and the intake orifice area was widened to allow a higher airflow rate. The air intake’s efficiency was further optimized through gradual positions of the shock cone.
As a positive side effect, the revised shock cone offered space for an enlarged radar dish, what improved detection range and resolution. The TsD-30 radar for the fighter’s missile-only armament was retained, even though the K-5’s effective range of only 2–6 km (1¼ – 3¾ mi) made it only suitable against slow and large targets like bombers. All guns were deleted in order to save weight or make room for the electronic equipment. The tail section was also changed because the R3M-26 engines and their afterburners were considerably longer than the MiG-19's original RM-5 engines. The exhausts now markedly protruded from the tail section, and the original, characteristic pen nib fairing between the two engines had been modified accordingly.
Production started in 1960, but only a total of roundabout 180 MiG-19bis, which received the NATO code "Farmer F", were built and the Soviet Union remained the only operator of the type. The first aircraft entered Soviet Anti-Air Defense in early 1961, and the machines were concentrated in PVO interceptor units around major sites like Moscow, Sewastopol at the Black Sea and Vladivostok in the Far East.
With the advent of the MiG-21, though, their career did not last long. Even though many machines were updated to carry the K-13 (the IR-guided AA-2 "Atoll") as well as the improved K-55 AAMs, with no change of the type’s designation, most MiG-19bis were already phased out towards the late 1960s and quickly replaced by 2nd generation MiG-21s as well as heavier and more capable Suchoj interceptors like the Su-9, -11 and -15. By 1972, all MiG-19bis had been retired.
General characteristics:
Crew: 1
Length: 13.54 m (44 ft 4 in), fuselage only with shock cone in forward position
15.48 m (50 8 ½ in) including pitot
Wingspan: 9 m (29 ft 6 in)
Height: 3.8885 m (12 ft 9 in)
Wing area: 25 m² (269 ft²)
Empty weight: 5,210 kg (11,475 lb)
Loaded weight: 7,890 kg (17,380 lb)
Max. takeoff weight: 9,050 kg (19,935 lb)
Fuel capacity: 2,450 l (556 imp gal; 647 US gal) internal;
plus 760 l (170 imp gal; 200 US gal) with 2 drop tanks
Powerplant:
2× Sorokin R3M-26 turbojets, rated at 37.2 kN (8,370 lbf) thrust each with afterburning
Performance:
Maximum speed: 1,380km/h at sea level (Mach=1.16)
1,850km/h at 12,000m (Mach=1.8)
Range: 1,250 km (775 mi; 750 nmi) at 14,000 m (45,000 ft) with 2 × 490 l drop tanks
Combat range: 500 km (312 mi; 270 nmi)
Ferry range: 2,000 km (1,242 mi; 690 nmi)
Service ceiling: 19,750 m (64,690 ft)
Rate of climb: 180 m/s (35,000 ft/min)
Wing loading: 353.3 kg/m² (72.4 lb/ft²)
Thrust/weight: 0.86
Armament:
No internal guns.
4× underwing pylons; typically, a pair of PTB-490 drop tanks were carried on the outer pylon pair,
plus a pair of air-to air missiles on the inner pair: initially two radar-guided Kaliningrad K-5M (RS-2US)
AAMs, later two radar-guided K-55 or IR-guided Vympel K-13 (AA-2 'Atoll') AAMs
The kit and its assembly:
Another submission for the 2018 Cold War Group Build at whatifmodelers.com, and again the opportunity to build a whiffy model from the project list. But it’s as fictional as one might think, since the SM-12 line of experimental “hybrid” fighters between the MiG-19 and the MiG-21 was real. But none of these aircraft ever made it into serial production, and in real life the MiG-21 showed so much potential that the attempts to improve the MiG-19 were stopped and no operational fighter entered production or service.
However, the SM-12, with its elongated nose and the central shock cone, makes a nice model subject, and I imagined what a service aircraft might have looked like? It would IMHO have been close, if not identical, to the SM-12PM, since this was the most refined pure jet fighter in the development family.
The basis for the build was a (dead cheap) Mastercraft MiG-19, which is a re-edition of the venerable Kovozávody Prostějov (KP) kit – as a tribute to modern tastes, it comes with (crudely) engraved panel, but it has a horrible fit all over. For instance, there was a 1mm gap between the fuselage and the right wing, the wing halves’ outlines did not match at all and it is questionable if the canopy actually belongs to the kit at all? PSR everywhere. I also had a Plastyk version of this kit on the table some time ago, but it was of a much better quality! O.K., the Mastercraft kit comes cheap, but it’s, to be honest, not a real bargain.
Even though the result would not be crisp I did some mods and changes. Internally, a cockpit tub was implanted (OOB there’s just a wacky seat hanging in mid air) plus some serious lead weight in the nose section for a proper stance.
On the outside, the new air intake is the most obvious change. I found a Su-17 intake (from a Mastercraft kit, too) and used a piece from a Matchbox B-17G’s dorsal turret to elongate the nose – it had an almost perfect diameter and a mildly conical shape. Some massive PSR work was necessary to blend the parts together, though.
The tail received new jet nozzles, scratched from steel needle protection covers, and the tail fairing was adjusted according to the real SM-12’s shape.
Ordnance was adapted, too: the drop tanks come from a Mastercraft MiG-21, and these supersonic PTB-490 tanks were indeed carried by the real SM-12 prototypes because the uprated engines were very thirsty and the original, teardrop-shaped MiG-19 tanks simply too draggy for the much faster SM-12. As a side note, the real SM-12’s short range was one of the serious factors that prevented the promising type’s production in real life. In order to overcome the poor range weakness I added an enlarged spine (half of a drop tank), inspired by the MiG-21 SMT, that would house an additional internal fuel tank.
The R2-SU/K-5 AAMs come from a vintage Mastercraft Soviet aircraft weapon set, which carries a pair of these 1st generation AAMs. While the molds seem to be a bit soft, the missiles look pretty convincing. Their pylons were taken from the kit (OOB they carry unguided AAM pods and are placed behind the main landing gear wells), just reversed and placed on the wings’ leading edges – similar to the real SM-12’s arrangement.
Painting and markings:
No surprises. In the Sixties, any PVO aircraft was left in bare metal, so there was hardly an alternative to a NMF finish.
Painting started with an all-over coat with acrylic Revell 99 (Aluminum), just the spine tank became light grey (Revell 371) for some contrast, and I painted some di-electric covers in a deep green (Revell 48).
The cockpit interior was painted with a bright mix of Revell 55 and some 48, while the landing gear wells and the back section of the cockpit were painted in a bluish grey (Revell 57).
The landing gear was painted in Steel (unpolished Modelmaster metallizer) and received classic, bright green wheel discs (Humbrol 2). As a small, unusual highlight the pitot boom under the chin received red and white stripes – seen on occasional MiG-19S fighters in Soviet service, and the anti-flutter booms on the stabilizers became bright red, too.
After the basic painting was done the kit received a black ink wash. Once this had dried and wiped off with a soft cotton cloth, post shading with various metallizer tones was added in order to liven up the uniform aircraft (including Humbrol’s matt and polished aluminum, and the exhaust section was treated with steel). Some panel lines were emphasized with a thin pencil.
Decals were puzzled together from various sources, a Guards badge and a few Russian stencils were added, too. Finally, the kit was sealed with a coat of sheen acrylic varnish (a 2:1 mix of Italeri matt and semi-gloss varnish).
The K-5 missiles, last but not least, were painted in aluminum, too, but their end caps (both front and tail section) became off-white.
The Mastercraft kit on which this conversion was based is crude, so I did not have high expectations concerning the outcome. But the new nose blends nicely into the MiG-19 fuselage, and the wide spine is a subtle detail that makes the aircraft look more “beefy” and less MiG-19-ish. The different drop tanks – even though they are authentic – visually add further speed. And despite many flaws, I am quite happy with the result of roundabout a week’s work.
Masonic Lodge 229 Albert Street Victoria Harbour, ON L0K 2A0
Masonic Broken Column.
www.phoenixmasonry.org/broken_column.htm
THE BROKEN COLUMN:
Short Talk Bulletin - Vol. 34, February 1956,
No. 2 - Author Unknown
The story of the broken column was first illustrated by Amos Doolittle in the "True Masonic Chart" by Jeremy Cross, published in 1819.
Many of Freemasonry's symbols are of extreme antiquity and deserve the reverence which we give to that which has had sufficient vitality to live long in the minds of men. For instance, the square, the point within a circle, the apron, circumambulation, the Altar have been used not only in Freemasonry but in systems of ethics, philosophy and religions without number.
Other symbols in the Masonic system are more recent. Perhaps they are not the less important for that, even without the sanctity of age which surrounds many others.
Among the newer symbols is that usually referred to as the broken column. A marble monument is respectably ancient - the broken column seems a more recent addition. There seems to be no doubt that the first pictured broken column appeared in Jeremy Cross's True Masonic Chart, published in 1819, and that the illustration was the work of Amos Doolittle, an engraver, of Connecticut.
That Jeremy Cross "invented" or "designed" the emblem is open to argument. But there is legitimate room for argument over many inventions. Who invented printing from movable type? We give the credit to Gutenberg, but there are other claimants, among them the Chinese at an earlier date. Who invented the airplane? The Wrights first flew a "mechanical bird" but a thousand inventors have added to, altered, changed their original design, until the very principle which first enabled the Wrights to fly, the "warping wing", is now discarded and never used.
Therefore, if authorities argue and contend about the marble monument and broken column it is not to make objection or take credit from Jeremy Cross; the thought is that almost any invention or discovery is improved, changed, added to and perfected by many men. Edison is credited with the first incandescent lamp, but there is small kinship between his carbon filament and a modern tungsten filament bulb. Roentgen was first to bring the "x-ray" to public notice-the discoverer would not know what a modern physician's x-ray apparatus was if he saw it!
In the library of the Grand Lodge of Iowa in Cedar Rapids, is a book published in 1784; "A BRIEF HISTORY OF FREEMASONRY" by Thomas Johnson, at that time the Tiler of the Grand Lodge of England (the "Moderns"). In this book the author states that he was "taken the liberty to introduce a Design for a Monument in Honor of a Great Artist." He then admits that there is no historical account of any such memorial but cites many precedents of "sumptuous Piles" which perpetuate the memories and preserve the merits of the historic dead, although such may have been buried in lands far from the monument or "perhaps in the depth of the Sea".
In this somewhat fanciful and poetic description of this monument, the author mentions an urn, a laurel branch, a sun, a moon, a Bible, square and compasses, letter G. The book was first published in 1782, which seems proof that there was
at that time at least the idea of a monument erected to the Master Builder.
There is little historical material upon which to draw to form any accurate conclusions. Men write of what has happened long after the happenings. Even when faithful to their memories, these may be, and often are, inaccurate. It is with this thought in mind that a curious statement in the Masonic newspaper, published in New York seventy-five years ago, must be considered. In the issue of May 10, 1879, a Robert B. Folger purports to give Cross' account of his invention, or discovery, an inclusion, of the broken column into the marble monument emblem.
The account is long, rambling and at times not too clear. Abstracted, the salient parts are as follows. Cross found or sensed what he considered a deficiency in the Third Degree which had to be filled in order to effect his purposes. He consulted a former Mayor of New Haven, who at the time was one of his most intimate friends. Even after working together for a week, they did not hit upon any symbol which would be sufficiently simple and yet answer the purpose. Then a Copper-plate engraver, also a brother, was called in. The number of hieroglyphics which had be this time accumulated was immense. Some were too large, some too small, some too complicated, requiring too much explanation and many were not adapted to the subject.
Finally, the copper-plate engraver said, "Brother Cross, when great men die, they generally have a monument." "That's right!" cried Cross; "I never thought of that!" He visited the burying-ground in New Haven. At last he got an idea and told his friends that he had the foundation of what he wanted. He said that while in New York City he had seen a monument in the southwest corner of Trinity Church yard erected over Commodore Lawrence, a great man who fell in battle. It was a large marble pillar, broken off. The broken part had been taken away, but the capital was lying at the base. He wanted that pillar for the foundation of his new emblem, but intended to bring in the other part, leaving it resting against the base. This his friends assented to, but more was wanted. They felt that some inscription should be on the column. after a length discussion they decided upon an open book to be placed upon the broken pillar. There should of course be some reader of the book! Hence the emblem of innocence-a beautiful virgin-who should weep over the memory of the deceased while she read of his heroic deeds from the book before her.
The monument erected to the memory of Commodore Lawrence was placed in the southwest corner of Trinity Churchyard in 1813, after the fight between the frigates
Chesapeake and Shannon, in which battle Lawrence fell. As described, it was a beautiful marble pillar, broken off, with a part of the capital laid at its base. lt remained until 1844-5 at which time Trinity Church was rebuilt. When finished, the corporation of the Church took away the old and dilapidated Lawrence monument and erected a new one in a different form, placing it in the front of the yard on Broadway, at the lower entrance of the Church. When Cross visited the new monument, he expressed great disappointment at the change, saying "it was not half as good as the one they took away!"
These claims of Cross-perhaps made for Cross-to having originated the emblem are disputed. Oliver speaks of a monument but fails to assign an American origin. In the Barney ritual of 1817, formerly in the possession of Samuel Wilson of Vermont, there is the marble column, the beautiful virgin weeping, the open book, the sprig of acacia, the urn, and Time standing behind. What is here lacking is the broken column. Thus it appears that the present emblem, except the broken column, was in use prior to the publication of Cross' work (1819).
The emblem in somewhat different form is frequently found in ancient symbolism. Mackey states that with the Jews a column was often used to symbolize princes, rulers or nobles. A broken column denoted that a pillar of the state had fallen. In Egyptian mythology, Isis is sometimes pictured weeping over the broken column which conceals the body of her husband Osiris, while behind her stands Horus or Time pouring ambrosia on her hair. In Hasting's ENCYCLOPEDIA OF RELIGION AND ETHICS, Isis is said sometimes to be represented standing; in her right hand is a sistrum, in her left hand a small ewer and on her forehead is a lotus, emblem of resurrection. In the Dionysaic Mysteries, Dionysius is represented as slain; Rhea goes in search of the body. She finds it and causes it to be buried. She is sometimes represented as standing by a column holding in her hand a sprig of wheat, emblem of immortality; since, though it be placed in the ground and die, it springs up again into newness of life. She was the wife of Kronus or Time, who may fittingly be represented as standing behind her.
Whoever invented the emblem or symbol of the marble monument, the broken column, the beautiful virgin, the book, the urn, the acacia, Father Time counting the ringlets of hair, could not have thought through all the implications of this attempt-doubtless made in all reverence-to add to the dignity and impressiveness of the story of the Master Builder.
The urn in which "ashes were safely deposited" is pure invention. Cremation was not practiced by the Twelve Tribes; it was not the method of disposing of the dead in the land and at the time of the building of the Temple. rather was the burning of the dead body reserved as a dreadful fate for the corpses of criminals and evil doers. That so great a man as "the widow's son, of the tribe of Naphtali" should have been cremated is unthinkable. The Bible is silent on the subject; it does not mention Hiram the Builder's death, still less the disposal of the body, but the whole tone of the Old Testament in description of funerals and mournings, make it impossible to believe that his body was burned, or that his ashes might have been preserved.
The Israelites did not embalm their dead; burial was accomplished on the day of death or, at the longest wait, on the day following. According to the legend, the Master Builder was disinterred from the first or temporary grave and reinterred with honor. That is indeed, a supposable happening; that his body was raised only to be cremated is wholly out of keeping with everything known of deaths, funeral ceremonies, disposal of the dead of the Israelites.
In the ritual which describes the broken column monument, before the figure of the virgin is "a book, open before her." Here again invention and knowledge did not go hand in hand. There were no books at the time of the building of the Temple, as moderns understand the word. there were rolls of skins, but a bound book of leaves made of any substance-vellum, papyrus, skins-was an unknown object. Therefore there could have been no such volume in which the virtues of the Master Builder were recorded.
No logical reason has been advanced why the woman who mourned and read in the book was a "beautiful virgin." No scriptural account tells of the Master Builder having wife or daughter or any female relative except his mother. The Israelites reverenced womanhood and appreciated virginity, but they were just as reverent over mother and
child. Indeed, the bearing of children, the increase of the tribe, the desire for sons, was strong in the Twelve Tribes; why, then, the accent upon the virginity of the woman in the monument? "Time standing behind her, unfolding and counting the ringlets of her hair" is dramatic, but also out of character for the times. "Father Time" with his scythe is probably a descendant of the Greek Chromos, who carried a sickle or reaping hook, but the Israelites had no contact with Greece. It may have been natural for whoever invented the marble monument emblem to conclude that Time was both a world-wide and a time immemorial symbolic figure, but it could not have been so at the era in which Solomon's Temple was built.
It evidently did not occur to the originators of this emblem that it was historically impossible. Yet the Israelites did not erect monuments to their dead. In the singular, the word "monument" does not occur in the Bible; as "monuments" it is mentioned once, in Isaiah 65 - "A people...which remain among the graves and lodge in the monuments." In the Revised Version this is translated "who sit in tombs and spend the night in secret places." The emphasis is apparently upon some form of worship of the dead (necromancy). The Standard Bible Dictionary says that the word "monument" in the general sense of a simple memorial does not appear in Biblical usage.
Oliver Day Street in "SYMBOLISM OF THE THREE DEGREES" says that the urn was an ancient sign of mourning, carried in funeral processions to catch the tears of those who grieved. But the word "urn" does not occur in the Old Testament nor the New.
Freemasonry is old. It came to us as a slow, gradual evolution of the thoughts, ideas, beliefs, teachings, idealism of many men through many years. It tells a simple story-a story profound in its meaning, which therefore must be simple, as all great truths in the last analysis are simple.
The marble monument and the broken column have many parts. Many of these have the aroma of age. Their weaving together into one symbol may be-probably is-a modernism, if that term can cover a period of nearly two hundred years. but the importance of a great life, his skill and knowledge; his untimely and pitiful death is not a modernism.
Nothing herein set forth is intended as in any way belittling one of Freemasonry's teachings by means of ritual and picture. These few pages are but one of many ways of trying to illuminate the truth behind a symbol, and show that, regardless of the dates of any parts of the emblem, the whole has a place in the Masonic story which has at least romance, if not too much fact, behind it.
THE BROKEN COLUMN AND ITS DEEPER MEANING:
by Bro. William Steve Burkle KT, 32°
Scioto Lodge No. 6, Chillicothe, Ohio.
Philo Lodge No. 243, South River, New Jersey
The meaning of the Broken Column as explained by the ritual of the Master mason degree is that the column represents both the fall of Master Hiram Abif as well as the unfinished work of the Temple of Solomon[i]. This interesting symbol has appeared in some fascinating places; for example, a Broken Column monument marks the gravesite in Lewis County Tennessee[ii] of Brother Meriwether Lewis (Lewis & Clark), and a similar monument marks the grave of Brother Prince Hall[iii]. In China, there is a “broken column-shaped” home which was built just prior to the French Revolution by the aristocrat François Nicolas Henri Racine de Monville[iv]. Today “The Broken Column” is frequently used in Masonic newsletters as the header for obituary notices and is a popular tomb monument for those whose life was deemed cut short. Note that when I speak of The Broken Column here, I am referring to only the upright but shattered Column Base with its detached Shattered Capital, and not to the more extensive symbolism often associated with the figure such as a book resting on the column base, the Weeping Virgin (Isis), or Father Time (Horus) disentangling the Virgin’s hair. In this version the shattered column itself is often said to allude to Osiris[v]. While these embellishments add to the complexity of the allusion, it is the shattered column alone which I intend to address.
The Broken Column is believed to be a fairly recent addition to the symbolism of Freemasonry, and has been attributed to Brother Jeremy L. Cross. Brother Cross[vi] is said to have devised the symbol based upon a broken column grave monument dedicated to a Commodore Lawrence[vii], which was erected in the Trinity Churchyard circa 1813. Lawrence perished in a naval battle that same year between the Frigates Chesapeake and Shannon. The illustration of the broken column was reportedly first published in the “True Masonic Chart” by artist Amos Doolittle in 1819[viii]. There is however little evidence beyond the word of Brother Cross that the symbol was thus created[ix],[x].
Whether the Broken Column is a modern invention or passed down from times of antiquity is of little consequence; regardless of its origins the symbol serves well as a powerful allusion in our Craft, and as will be discussed, may have deeper meanings which align with other Masonic symbols which also incorporate images of columns and pillars.
Freemasonry makes generous reference to columns and pillars of all sorts in the work of the various degrees including the two pillars which stood at the entrance of Solomon’s Temple, the four columns of architectural significance, and the three Great Columns representing strength, beauty, and wisdom[xi]. The first mention of pillars in a Masonic context[xii] is found in the Cooke Manuscript dated circa 1410 A.D. The three Great Pillars of Masonry are of particular interest in this article even though it is the Broken Column and its deeper meanings which I ultimately intend to explore.
Three Great Columns:
The basis for the Three Great Columns can be traced to an ancient Kabalistic concept and a unique diagram found in the Zohar which illustrates the emanations of God in forming and sustaining the universe. The diagram also reflects certain states of spiritual attainment in man. This diagram, called the Sephiroth consists of ten spheres or Sephira connected to one another by pathways and which are ordered to reflect the sequence of creation. In accordance with Kabalistic belief Aur Ein Sof (Light Without End) shines down into the Sephiroth and is split like a prism into its ten constituent Sephira[xiii], eventually ending in the material universe. To discuss the Sephiroth in sufficient depth to impart a good understanding is well beyond the scope of this paper; however, a basic understanding of how the structure of the Sephiroth is related to the Great Columns is manageable, and is in fact essential to the subsequent discussion of the Broken Column. Be aware that the explanations I give are vast oversimplifications of a highly complex concept. In an attempt to simplify the concept, it is inevitable that some degree of inaccuracy will be introduced.
I would like to begin my discussion of the Three Great Columns by discussing the Cardinal Virtues. The Cardinal Virtues are believed to have originated with Plato who formed them from a tripartite division[xiv] of the attributes of man (power, wisdom, reason, mercy, strength, beauty, firmness, magnificence, and base kingship) presented in the Sephiroth. These concepts were later adopted by the Christian Church[xv] and were popularized by the treatises of Martin of Braga, Alcuin and Hrabanus Maurus (circa 1100 A.D.) and later promoted by Thomas Aquinas (circa 1224 A.D.). According to Wescott[xvi] the Four Cardinal Virtues are represented by what were originally branches of the Sepheroth:
“Four tassels refer to four cardinal virtues, says the first degree Tracing Board Lecture, these are temperance, fortitude, prudence, and justice; these again were originally branches of the Sephirotic Tree, Chesed first, Netzah fortitude, Binah prudence, and Geburah justice. Virtue, honour, and mercy, another triad, are Chochmah, Hod, and Chesed.”
broken-column1
Thus we have a connection between the Cardinal Virtues and the Sephiroth. The Three Pillars of Freemasonry (Wisdom, Beauty, and Strength) are associated with the Cardinal Virtues[xvii] and also therefore with the Kabalistic concept of the Sephiroth[xviii]. I have provided an illustration of the Sepiroth in Figure 1. This particular version of the Sephiroth is based upon that used in the 30th Degree or Knight Kadosh Grade[xix] of the ASSR. The Sephiroth, incidentally is also called “The Tree of Life”. Each of the vertical columns of spheres (Sephira) in the Sephiroth are considered to represent a pillar (column). Each pillar is named according to the central concept which it represents; thus in Figure 1 we have the pillars Justice, Beauty, and Mercy left to right, respectively. The Sephiroth is a very elegant system in which balance is maintained between the Sephira of the two outermost pillars by virtue of the center pillar. Note also that traditionally the Sephiroth is divided into “Triads” of Sephira. In Figure 1 the uppermost triad, consisting of the spheres Wisdom, Intelligence, and Crown represent the intellectual and spiritual characteristics of man. The next triad is represented by the Sephira Justice, Beauty, and Mercy; the final triad is Splendor, Foundation, and Firmness (or Strength).
According to S.L. MacGregor Mathers[xx], the word Sephira is best translated to mean (or is best rendered as) “Numerical Emanation”, and each of the ten Sephira corresponds to a specific numerical value. Mathers also asserts that it was through knowledge of the Sephiroth that Pythagoras devised his system of numerical symbolism. While there are additional divisions and subdivisions of the Sephiroth, the concept which is of interest to us here is that God created the Material World or Universe (signified by the lowest Sephira, Kingdom) in a series of ordered actions which proceeded along established pathways (i.e. the connecting lines between the Sephira in our Figure). Each of the Sephira and each pathway are a sort of “buffer” between the majesty and power of God and the material world. Without these buffers, profane man and the material world he inhabits would meet with destruction. On the other hand, enlightened man is able to progress upwards along these pathways to higher level Sephira and to thereby achieve enhanced knowledge of the Divine. Tradition holds that man once was closer to the Divine spirit, but became corrupted by the material world, losing this connection (i.e. The fall of Man from Grace. Note also the reference to the Tree of Knowledge and possible connections to the Tree of Life). God uses the Sephiroth in renewing and sustaining the material universe. Each new soul created is an emanation of God and travels to materiality (physical existence) via the pathways established in the Sephiroth. In a similar fashion, the spirits of the departed return to God via these same pathways, making the Sephiroth the mechanism by which God interacts with the universe.
broken-column2
The Broken Column:
In Figure 2, I have redrawn the Sephiroth as an overlay of the Three Great Columns; however in this version the Pillar of Beauty is Broken. Note especially that the center pillar, the Pillar of Beauty in the Sephiroth has a gap between Beauty and Crown, in effect making this column a Broken Pillar[xxi]. I believe this “fracture” symbolizes Man’s separation from knowledge of the Divine, and an interruption in the Pathway leading from Beauty directly to the Crown (which symbolizes “The Vast Countenance”[xxii]).
I would also like to extrapolate that if the Broken Column indeed represents Hiram Abif as per the explanation given to initiates, then the two remaining columns would then correspond to Solomon and Hiram King of Tyre[xxiii]. Certainly the Sephira (Wisdom, Justice, and Splendor) which comprise the column of Justice align well with the characteristics traditionally associated with King Solomon. Tradition unfortunately does not address Hiram King of Tyre although we can assume that Intelligence, Mercy, and Firmness or Strength would be a likely requirement for a Monarch of such apparent success. The connection between the Three Great Columns and the three principle characters in the drama of the Third Degree does have a certain sense of validity. The “Lost Word” associated with Hiram Abif would then allude to the lost Pathway.
In so many of our Masonic Lessons we initially receive a plausible but quite shallow explanation of our symbols and allusions. Those who sense an underlying, deeper meaning tend to find it (Seek and you will find, knock and the door shall be opened). Perhaps in our ritual of the Third Degree, that which is symbolically being raised (restored) is the Pillar of which resides within us. If so, the Lost Word has then in fact been received by each of us. It only remains lost if we choose to forget it or choose not to pursue it.
[i] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976). ISBN-13: 978-0679506263. pp 157.
[ii] “Meriwether Lewis, Master Mason”. The Lewis and Clark Fort Mandan Foundation.
[iii] “WHo is Prince Hall ?” (1996). Retrieved December 5, 2008 from www.mindspring.com/~johnsonx/whoisph.htm.
[iv] Kenna, Michael. (1988). The Broken Column House at Désert de Retz in Le Desert De Retz, A late 18th Century French Folley Garden. Retrieved December 6, 2008 from Valley Daze. valley-daze.blogspot.com/2007/09/broken-column-house.html
[v] Pike, Albert. (1919) Morals and Dogma. Charleston Southern Jurisdiction. pp. 379. ASIN: B000CDT4T8.
[vi] “The Broken Column”. The Short Talk Bulletin 2-56. The Masonic Service Association of the United States. VOL. 34 February 1956 NO. 2.
[vii] Brown, Robert Hewitt. (1892). Stellar Theology and Masonic Astronomy or the origin and meaning of ancient and modern mysteries explained. New York: D. Appleton and Company, 1, 3, and 5 Bond Street. 1892.. pp. 68.
[viii] “Boston Masonic Lithograph”. Retrieved December 5, 2008 from Lodge Pambula Daylight UGL of NSW & ACT No1000. lodgepambuladaylight.org/lithograph.htm.
[ix] Folger, Robert B. Fiction of the Weeping Virgin. Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/art/monument / fiction/fiction.html
[x] Mackey, Albert Gallatin & Haywood H. L. Encyclopedia of Freemasonry Part 2. pp. 677. Kessinger Publishing, LLC (March 31, 2003).
[xi] Claudy, Carl H. Introduction to Masonry. The Temple Publishers. Retrieved December 5, 2008 from Pietre-Stones Review of Freemasonry. www.freemasons-freemasonry.com/claudy4.html.
[xii] Dwor, Mark. (1998). Globes, Pillars, Columns, and Candlesticks. Vancouver Lodge of Education and Research . Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/texts/globes_pillars_columns.html
[xiii] Day, Jeff. (2008). Dualism of the Sword and the Trowel. Cryptic Masons of Oregon – Grants Pass. Retrieved December 6, 2008 from rogue.cryptic-masons.org/dualism_of_the_sword_and_trowel
[xiv] Bramston, M. Thinkers of the Middle Ages. Monthly Packet. Evening Readings of the Christian Church (1893). Ed. Charlotte Mary Yonge, Christabel Rose Coleridge, Arthur Innes. J. and C. Mozley. University of Michigan (2007).
[xv] Regan, Richard. (2005). The Cardinal Virtues: Prudence, Justice, Fortitude, and Temperance. Hackett Publishing.
[xvi] Wescott, William ( ). The Religion of Freemasonry. Illuminated by the Kabbalah. Ars Quatuor Coronatorum. vol. i. p. 73-77. Grand Lodge of British Columbia and Yukon. Retrieved September 29, 2008 from www.freemasonry.bcy.ca/aqc/kabbalah.html.
[xvii] MacKenzie, Kenneth R. H. (1877). Kabala. Royal Masonic Cyclopedia. Kessinger Publishing (2002).
[xviii] Pirtle, Henry. Lost Word of Freemasonry. Kessinger Publishing, 1993.
[xix] Knight Kadosh. The Thirtieth Grade of the Ancient and Accepted Scottish Rite, and the First Degree of the Chivalric Series. Hirams Web. University of Bradford.
[xx] Mathers, S.L. MacGregor. (1887). Qabalah Unveiled. Reprinted (2006) as The Kabbalah: Essential Texts From The Zohar. Watkins. London. pp. 10.
[xxi] Ibid. Dualism of the Sword and the Trowel
[xxii] Ibid. Qabalah Unveiled .Plate III. pp. 38-39.
[xxiii] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976).
Pyramid Books 1960. 160pp. Cover by Victor Kalin.
Venus Plus X is a science fiction novel written by Theodore Sturgeon, published in 1960. It tells the story of Charlie Johns, a man who wakes up in the odd technologically advanced society of Ledom. The main theme is social commentary on the sexes becoming more and more ambiguous which he extrapolates to the final conclusion, a place where people have no gender. -Wiki-
+++ 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 Mikoyan-Gurevich MiG-19 (NATO reporting name: "Farmer") was a Soviet second-generation, single-seat, twin jet-engine fighter aircraft. It was the first Soviet production aircraft capable of supersonic speeds in level flight. A comparable U.S. "Century Series" fighter was the North American F-100 Super Sabre, although the MiG-19 would primarily oppose the more modern McDonnell Douglas F-4 Phantom II and Republic F-105 Thunderchief over North Vietnam. Furthermore, the North American YF-100 Super Sabre prototype appeared approximately one year after the MiG-19, making the MiG-19 the first operational supersonic jet in the world.
On 20 April 1951, OKB-155 was given the order to develop the MiG-17 into a new fighter called "I-340", also known as "SM-1". It was to be powered by two Mikulin AM-5 non-afterburning jet engines, a scaled-down version of the Mikulin AM-3, with 19.6 kN (4,410 lbf) of thrust. The I-340 was supposed to attain 1,160 km/h (725 mph, Mach 0.97) at 2,000 m (6,562 ft), 1,080 km/h (675 mph, Mach 1.0) at 10,000 m (32,808 ft), climb to 10,000 m (32,808 ft) in 2.9 minutes, and have a service ceiling of no less than 17,500 m (57,415 ft).
After several prototypes with many detail improvements, the ministers of the Soviet Union issued the order #286-133 to start serial production on February 17, 1954, at the factories in Gorkiy and Novosibirsk. Factory trials were completed on September 12 the same year, and government trials started on September 30.
Initial enthusiasm for the aircraft was dampened by several problems. The most alarming of these was the danger of a midair explosion due to overheating of the fuselage fuel tanks located between the engines. Deployment of airbrakes at high speeds caused a high-g pitch-up. Elevators lacked authority at supersonic speeds. The high landing speed of 230 km/h (145 mph), compared to 160 km/h (100 mph) for the MiG-15, combined with the lack of a two-seat trainer version, slowed pilot transition to the type. Handling problems were addressed with the second prototype, "SM-9/2", which added a third ventral airbrake and introduced all-moving tailplanes with a damper to prevent pilot-induced oscillations at subsonic speeds. It flew on 16 September 1954, and entered production as the MiG-19S.
Approximately 5,500 MiG-19's were produced, first in the USSR and in Czechoslovakia as the Avia S-105, but mainly in the People's Republic of China as the Shenyang J-6. The aircraft saw service with a number of other national air forces, including those of Cuba, North Vietnam, Egypt, Pakistan, and North Korea. The aircraft saw combat during the Vietnam War, the 1967 Six Day War, and the 1971 Bangladesh War.
However, jet fighter development made huge leaps in the 1960s, and OKB MiG was constantly trying to improve the MiG-19's performance, esp. against fast and high-flying enemies, primarily bombers but also spy planes like the U-2.
As the MiG-19S was brought into service with the Soviet air forces in mid-1956, the OKB MiG was continuing the refinement of the SM-1/I-340 fighter. One of these evolutionary paths was the SM-12 (literally, “SM-1, second generation”) family of prototypes, the ultimate extrapolation of the basic MiG-19 design, which eventually led to the MiG-19bis interceptor that filled the gap between the MiG-19S and the following, highly successful MiG-21.
The SM-12 first saw life as an exercise in drag reduction by means of new air intake configurations, since the MiG-19’s original intake with rounded lips became inefficient at supersonic speed (its Western rival, the North American F-100, featured a sharp-lipped nose air intake from the start). The first of three prototypes, the SM-12/1, was essentially a MiG-19S with an extended and straight-tapered nose with sharp-lipped orifice and a pointed, two-position shock cone on the intake splitter. The simple arrangement proved to be successful and was further refined.
The next evolutionary step, the SM-12/3, differed from its predecessors primarily in two new R3-26 turbojets developed from the earlier power plant by V. N. Sorokin. These each offered an afterburning thrust of 3,600kg, enabling the SM-12/3 to attain speeds ranging between 1,430km/h at sea level, or Mach=1.16, and 1,930km/h at 12,000m, or Mach=1.8, and an altitude of between 17,500 and 18,000m during its test program. This outstanding performance prompted further development with a view to production as a point defense interceptor.
Similarly powered by R3-26 engines, and embodying major nose redesign with a larger orifice permitting introduction of a substantial two-position conical centerbody for a TsD-30 radar, a further prototype was completed as the SM-12PM. Discarding the wing root NR-30 cannon of preceding prototypes, the SM-12PM was armed with only two K-5M (RS-2U) beam-riding missiles and entered flight test in 1957. This configuration would become the basis for the MiG-19bis interceptor that eventually was ordered into limited production (see below).
However, the SM-12 development line did not stop at this point. At the end of 1958, yet another prototype, the SM-12PMU, joined the experimental fighter family. This had R3M-26 turbojets uprated to 3.800kg with afterburning, but these were further augmented by a U-19D accelerator, which took the form of a permanent ventral pack containing an RU-013 rocket motor and its propellant tanks. Developed by D. D. Sevruk, the RU-013 delivered 3,000kg of additional thrust, and with the aid of this rocket motor, the SM-12PMU attained an altitude of 24,000m and a speed of Mach=1.69. But this effort was to no avail: the decision had been taken meanwhile to manufacture the Ye-7 in series as the MiG-21, and further development of the SM-12 series was therefore discontinued.
Nevertheless, since full operational status of the new MiG-21 was expected to remain pending for some time, production of a modified SM-12PM was ordered as a gap filler. Not only would this fighter bridge the performance gap to the Mach 2-capable MiG-21, it also had the benefit of being based on proven technologies and would not require a new basic pilot training.
The new aircraft received the official designation MiG-19bis. Compared with the SM-12PM prototype, the MiG-19bis differed in some details and improvements. The SM-12PM’s most significant shortfall was its short range – at full power, it had only a range of 750 km! This could be mended through an additional fuel tank in an enlarged dorsal fairing behind the cockpit. With this internal extra fuel, range could be extended by a further 200 - 250km range, but drop tanks had typically to be carried, too, in order to extend the fighter’ combat radius with two AAMs to 500 km. Specifically for the MiG-19bis, new, supersonic drop tanks (PTB-490) were designed, and these were later adapted for the MiG-21, too.
The air intake shock cone was re-contoured and the shifting mechanism improved: Instead of a simple, conical shape, the shock cone now had a more complex curvature with two steps and the intake orifice area was widened to allow a higher airflow rate. The air intake’s efficiency was further optimized through gradual positions of the shock cone.
As a positive side effect, the revised shock cone offered space for an enlarged radar dish, what improved detection range and resolution. The TsD-30 radar for the fighter’s missile-only armament was retained, even though the K-5’s effective range of only 2–6 km (1¼ – 3¾ mi) made it only suitable against slow and large targets like bombers. All guns were deleted in order to save weight or make room for the electronic equipment. The tail section was also changed because the R3M-26 engines and their afterburners were considerably longer than the MiG-19's original RM-5 engines. The exhausts now markedly protruded from the tail section, and the original, characteristic pen nib fairing between the two engines had been modified accordingly.
Production started in 1960, but only a total of roundabout 180 MiG-19bis, which received the NATO code "Farmer F", were built and the Soviet Union remained the only operator of the type. The first aircraft entered Soviet Anti-Air Defense in early 1961, and the machines were concentrated in PVO interceptor units around major sites like Moscow, Sewastopol at the Black Sea and Vladivostok in the Far East.
With the advent of the MiG-21, though, their career did not last long. Even though many machines were updated to carry the K-13 (the IR-guided AA-2 "Atoll") as well as the improved K-55 AAMs, with no change of the type’s designation, most MiG-19bis were already phased out towards the late 1960s and quickly replaced by 2nd generation MiG-21s as well as heavier and more capable Suchoj interceptors like the Su-9, -11 and -15. By 1972, all MiG-19bis had been retired.
General characteristics:
Crew: 1
Length: 13.54 m (44 ft 4 in), fuselage only with shock cone in forward position
15.48 m (50 8 ½ in) including pitot
Wingspan: 9 m (29 ft 6 in)
Height: 3.8885 m (12 ft 9 in)
Wing area: 25 m² (269 ft²)
Empty weight: 5,210 kg (11,475 lb)
Loaded weight: 7,890 kg (17,380 lb)
Max. takeoff weight: 9,050 kg (19,935 lb)
Fuel capacity: 2,450 l (556 imp gal; 647 US gal) internal;
plus 760 l (170 imp gal; 200 US gal) with 2 drop tanks
Powerplant:
2× Sorokin R3M-26 turbojets, rated at 37.2 kN (8,370 lbf) thrust each with afterburning
Performance:
Maximum speed: 1,380km/h at sea level (Mach=1.16)
1,850km/h at 12,000m (Mach=1.8)
Range: 1,250 km (775 mi; 750 nmi) at 14,000 m (45,000 ft) with 2 × 490 l drop tanks
Combat range: 500 km (312 mi; 270 nmi)
Ferry range: 2,000 km (1,242 mi; 690 nmi)
Service ceiling: 19,750 m (64,690 ft)
Rate of climb: 180 m/s (35,000 ft/min)
Wing loading: 353.3 kg/m² (72.4 lb/ft²)
Thrust/weight: 0.86
Armament:
No internal guns.
4× underwing pylons; typically, a pair of PTB-490 drop tanks were carried on the outer pylon pair,
plus a pair of air-to air missiles on the inner pair: initially two radar-guided Kaliningrad K-5M (RS-2US)
AAMs, later two radar-guided K-55 or IR-guided Vympel K-13 (AA-2 'Atoll') AAMs
The kit and its assembly:
Another submission for the 2018 Cold War Group Build at whatifmodelers.com, and again the opportunity to build a whiffy model from the project list. But it’s as fictional as one might think, since the SM-12 line of experimental “hybrid” fighters between the MiG-19 and the MiG-21 was real. But none of these aircraft ever made it into serial production, and in real life the MiG-21 showed so much potential that the attempts to improve the MiG-19 were stopped and no operational fighter entered production or service.
However, the SM-12, with its elongated nose and the central shock cone, makes a nice model subject, and I imagined what a service aircraft might have looked like? It would IMHO have been close, if not identical, to the SM-12PM, since this was the most refined pure jet fighter in the development family.
The basis for the build was a (dead cheap) Mastercraft MiG-19, which is a re-edition of the venerable Kovozávody Prostějov (KP) kit – as a tribute to modern tastes, it comes with (crudely) engraved panel, but it has a horrible fit all over. For instance, there was a 1mm gap between the fuselage and the right wing, the wing halves’ outlines did not match at all and it is questionable if the canopy actually belongs to the kit at all? PSR everywhere. I also had a Plastyk version of this kit on the table some time ago, but it was of a much better quality! O.K., the Mastercraft kit comes cheap, but it’s, to be honest, not a real bargain.
Even though the result would not be crisp I did some mods and changes. Internally, a cockpit tub was implanted (OOB there’s just a wacky seat hanging in mid air) plus some serious lead weight in the nose section for a proper stance.
On the outside, the new air intake is the most obvious change. I found a Su-17 intake (from a Mastercraft kit, too) and used a piece from a Matchbox B-17G’s dorsal turret to elongate the nose – it had an almost perfect diameter and a mildly conical shape. Some massive PSR work was necessary to blend the parts together, though.
The tail received new jet nozzles, scratched from steel needle protection covers, and the tail fairing was adjusted according to the real SM-12’s shape.
Ordnance was adapted, too: the drop tanks come from a Mastercraft MiG-21, and these supersonic PTB-490 tanks were indeed carried by the real SM-12 prototypes because the uprated engines were very thirsty and the original, teardrop-shaped MiG-19 tanks simply too draggy for the much faster SM-12. As a side note, the real SM-12’s short range was one of the serious factors that prevented the promising type’s production in real life. In order to overcome the poor range weakness I added an enlarged spine (half of a drop tank), inspired by the MiG-21 SMT, that would house an additional internal fuel tank.
The R2-SU/K-5 AAMs come from a vintage Mastercraft Soviet aircraft weapon set, which carries a pair of these 1st generation AAMs. While the molds seem to be a bit soft, the missiles look pretty convincing. Their pylons were taken from the kit (OOB they carry unguided AAM pods and are placed behind the main landing gear wells), just reversed and placed on the wings’ leading edges – similar to the real SM-12’s arrangement.
Painting and markings:
No surprises. In the Sixties, any PVO aircraft was left in bare metal, so there was hardly an alternative to a NMF finish.
Painting started with an all-over coat with acrylic Revell 99 (Aluminum), just the spine tank became light grey (Revell 371) for some contrast, and I painted some di-electric covers in a deep green (Revell 48).
The cockpit interior was painted with a bright mix of Revell 55 and some 48, while the landing gear wells and the back section of the cockpit were painted in a bluish grey (Revell 57).
The landing gear was painted in Steel (unpolished Modelmaster metallizer) and received classic, bright green wheel discs (Humbrol 2). As a small, unusual highlight the pitot boom under the chin received red and white stripes – seen on occasional MiG-19S fighters in Soviet service, and the anti-flutter booms on the stabilizers became bright red, too.
After the basic painting was done the kit received a black ink wash. Once this had dried and wiped off with a soft cotton cloth, post shading with various metallizer tones was added in order to liven up the uniform aircraft (including Humbrol’s matt and polished aluminum, and the exhaust section was treated with steel). Some panel lines were emphasized with a thin pencil.
Decals were puzzled together from various sources, a Guards badge and a few Russian stencils were added, too. Finally, the kit was sealed with a coat of sheen acrylic varnish (a 2:1 mix of Italeri matt and semi-gloss varnish).
The K-5 missiles, last but not least, were painted in aluminum, too, but their end caps (both front and tail section) became off-white.
The Mastercraft kit on which this conversion was based is crude, so I did not have high expectations concerning the outcome. But the new nose blends nicely into the MiG-19 fuselage, and the wide spine is a subtle detail that makes the aircraft look more “beefy” and less MiG-19-ish. The different drop tanks – even though they are authentic – visually add further speed. And despite many flaws, I am quite happy with the result of roundabout a week’s work.
Deathangle Absolution Records (2013)
Private edition 3x cassette compilation boxset in vinyl box.
The normal version is 2 tapes of previously released tracks and 3 new ones. It is limited to 100 copies with an insert.
This edition contains an extra tape (titled "Undisclosed Frequencies") with 2 tracks never released to the public and also contains an extra a hand-numbered insert explaining the release and personalized to the original owner. I am not the original owner, so I covered up the name to protect that person's identity.
Limited to 16 copies. Mine is #9.
Tacloban, January 28th, 2014 - In the Rawis and Anibong Bay districts, where 8 boats were washed ashore by the typhoon and killed hundreds of people, the smell is terrible and dead bodies are still being found under the rubble.
The lack of proper housing forced some of the survivors to look for shelter inside the same boats which brought destruction and death just a few months before.
Picture extrapolated from the "Letters to Tacloban" reportage.
LETTERS TO TACLOBAN - Full documentary on
www.youtube.com/watch?v=FI2aVCAsbGA&spfreload=10
8 November 2013, typhoon Haiyan hit the Philippines.
What was left behind was a wounded country with cities such as Tacloban, completely destroyed.
The government received help from many countries and international NGOs, but the reconstruction plan is far from being completed.
The core of this movie is the story of a group of children who relocated to Calabanga after the disaster, and the delivery of their letters to their families in Tacloban.
From Manila to Calabanga, through Legazpi and Tacloban, this documentary highlights the slow and painful process of both physical and emotional reconstruction after the strongest typhoon ever recorded, hit the Philippines.
Check the Trailer on:
www.youtube.com/watch?v=X81Lo0mV0RI&list=UU8wz023WyA9...
For the full story:
This style of fortress was built all over Europe (and far beyond) through the 17th and 18th centuries and into the 19th century. They were, for obvious reason, usually referred to as "star forts". By the time of the Napoleonic War, 150 years after this one was built, they represented the pinnacle of military engineering and the siege and assault of such famous fortress towns as Ciudad Rodrigo and Badajos by Wellington's army in Spain, is the stuff of military legend.
I have shown with red lines where the ramparts and bastions of Ayr Citadel are, or where there are good indications that they originally were. The rest is easy to extrapolate.
Not a single building within the citadel dates back to when it was built, with the exception of the church of St John the Baptist, which was used by Cromwell's soldiers as a look-out tower as well as an armoury and chapel. The congregation had been forced out and the Auld Kirk of Ayr came to be built to house them with some financial assistance from Cromwell. The 'Citadel' church was in public use again between 1687 and 1689, after which it ceased to be used for worship and much of it was demolished, the tower itself only being spared as it was a valuable sea-mark for sailors and a look-out for ships. (The tower stands among the trees beyond Cromwell's all-weather tennis courts!)
With Massimo Vitali at Grieger Lab, Düsseldorf.
In the picture: Massimo comparing some LightJet print proofs from drum scans provided by CastorScan.
When the Lightjet and scan operator of Grieger opened our 2.7 Gb file he exclaimed "WOW" and he told us that he never saw such an high quality of file and scan.
The final LightJet print was amazing, and it matched perfectly the colors and the natural smothness of an analogue print: the color fidelity was absolutely incredible. Also, it showed a detail, a precision, a contrast and a flatness of field much better than any possible analogue print.
Honestly, it's extremely difficult to find a print of comparable quality anywhere.
Considering that Grieger is probably the most famous photo lab in the world and there every day they print pictures by Gursky, Struth, Ruff, Demand, etc etc...not bad.
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
Massimo Vitali // »Landscapes with Figures« & »Natural Habitats« picture books in a slipcase
scans by CastorScan
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
WhatsAppiness:
Ruin: All that praise for restraint, that other horror. I want to be awful, and say “fuck you, sentimentalize this shit”, with my ass in the air, doing a ‘Wife of Bath’, begging. Driven to it, with no idea where the impetus comes from. Overcome and innocent, but completely unapologetic, not Dickens at all. Bugger all that redemption.
Rack: I need to embrace unrestrained. Slough off all that wasted academic shite.
Ruin: I am so tired of moralisers. We are all magnificent. Or at least were until we became old crones, but, if the truth be told, I actually love our cronedom. Therein lies the fun, that dried-out and screaming rebellion of the neutered unashamed crones, at that point where we might have been expected to achieve wizened dignity. I prefer our withered magnificence, so overlooked that if it was to fully manifest it might be more ferocious than it ever could have been in our callow youth. Goya described them beautifully on the walls of his house, the ‘Quinta Del Sordo’, the house of the deaf man, those wizened frightened outrageous characters, appalled, and celebrating their own impotence. Welcome to now.
Rack: I am going to send you, via email, an interesting piece on transgression that Jan alerted me too. Caused quite the furore.
Ruin: Bring it on Rack, bring it on. We are old lushes thoroughly lushed-out with that added benefit of having feck all to lose, a double pandemic, dare we even take time to catch our breath?
Rack: When I mentioned you, he was keen to remind me that he introduced us. I guess it is true.
Ruin: Did he?
Rack: Yes. He maintains he met you in ‘Ludlow Café’ when he was a server. And then we worked on his movie.
Ruin: Yes, it’s probably true, thank him profusely. I had forgotten that part, though I have written about that first day on the shoot and your dropping of that ‘bombshell’ in the ‘Moondance Café’. I was so jealous of him for years, he was so bloody cool and tormented, and handsome. You can tell him I said that. We must immortalise us; we have a story to tell, a pandemic story, whilst negotiating a second one, even.
Rack: We MUST.
Ruin: I don’t care that we were on the edges of everything, more able to have an overview, perhaps. You know I will use all of this, rape and pillage everything.
Rack: Go right ahead.
Exit stage left followed by a slew of hungry, marauding, bears.
You caught me, 'in flagrante', remembering Mayor Koch, in New York. I must be heading back there, back to the first of these two pandemics which I am (we are) currently enjoying. Going by the last few images it would seem to be so, away from the family embrace, that sentimental mire, to another 'reality' completely. It was an utterly different way of being, one that my family had no idea about. That hasn't really changed. But then, as now, we all have our own personal bogs. I know that I don't understand their realities either. That we tolerate each other at all must be one of 'The Glorious Mysteries', relentlessly intoned in childhood family rosaries.
Rack never blurted, she always controlled her output. The effect was precise and Protestant, ‘I found out I am HIV positive a few days ago’
‘Oh Christ’, Ruin blurted, Catholic to the hilt.
Ruin was always an outlet for Rack, almost like a delinquent spokesperson, the stuttering utterer of the unspeakable. He had the ability to take the private into the realm of the universally available with consummate ease. She didn’t. It was something she greatly feared and something she instinctively grasped that early summer morning in 1987, in the 'Moondance Cafe', on 7th Avenue and Broome. She knew she was making the personal public. She was undoing herself. He possessed that strange gift, the one imposed and imprinted, like the mark of Cain, on the sexually molested child, of having no facility to recognise boundaries, no ability to be able to tell the personal and private apart from what could be made universally available. She knew that he was her surrogate broadcaster and momentarily shuddered at the stranger, whom she had spontaneously trusted, sitting opposite her. This understanding hung between them as they ordered breakfast.
Their opening was torturous and drove them scurrying apart. It was more than either of them could handle, Rack racked with regret for exposing this opening wound, and Ruin incapable of carrying this apocrypha alone. Their rehabilitation was slow and arduous. It was a time when to speak these words was a declaration of the almost immediate dissolution of self. It was a time before the hope generated by the misnomered cocktails and the political agitation, which was to burgeon out of despair and become Act- Up. It was a time before anything could be done, other than to grasp at whatever straws were on offer. So, both started grasping and would occasionally find themselves in the same room, drawn to the same possible panacea. Rack’s volition was desperation. Ruin’s was guilt. They acknowledged each other with some embarrassment, and growing affection, and more often than not turned away from each other and left separately. Ruin knew he loved Rack. Rack was not at all sure.
Dear Rack,
“I have often thought that writers do not write; they read what is already written and transcribe. So perhaps they are not complaining about ill health, lack of money, and rejection, but about the bondage of a calling that keeps them laboriously transcribing cryptic messages in rapidly disappearing ink, like the traces of a dream, year after year...."
Thinking of how romantic you are.... even if it all is so appalling to live through.
Love,
Ruin
“I can’t control my destiny. I trust my soul; my only goal is just to be. There’s only now, there’s only here. Give in to love or live in fear. No other path; no other way. No day but today.”
__Jonathan Larson, author of the musical 'Rent'.
This certain Mr Larson and I had crossed paths at the beginnings of a most significant time for us all in New York City. He had been our waiter in the ‘Moondance Diner’. If you Wiki him you will read his strange and wonderful story. He posthumously won a Pulitzer Prize for describing us. But in my ‘story’ he is the waiter he was, as I am the clog seller, perhaps.
He was there serving us breakfast, when Rack told me her news.
That news that she had just discovered that she was HIV positive.
What a long/short time ago! Probably further back than either of us can hope to project forward, unless we defy all odds and celebrate our 'hundredth and someteenths' together, and more.
So, I am sitting here remembering and honouring our waiter, and I am glad that I always treat waiters as, of course, my equal.
I like Mr Larson's "I trust my soul". I trust mine and know you trust yours. He died soon after, still trusting. Now he is a Pulitzer Prize winning playwright, then he was our waiter.
And what is more, I couldn't give a fuck if it is grossly sentimental. What we lived through in those early years of the HIV epidemic in New York City has all that stuff of melodrama, it was destined to generate sentimentality and ferocity as well, it also cemented friendships. It was like being in the trenches. We were younger and we were watching death, at work, amongst us.
It had Puccini writ large.
He was our waiter. He waited on us as Rack told me she had just gotten the results, during those first days I met her. All that time he was 'secretly' writing his 'Swansong'. He died the night before the final dress rehearsal, of a hidden heart problem, with the play going on to, eventually, win him a Pulitzer. He died without ever knowing what he had achieved. He was ‘just’ a waiter all his life. He died not knowing he had written a modern day 'La Boheme'. But then, if the truth be told, of course he knew.
His quote suggests that he held on to his centre regardless, with no acknowledgement he continued, whilst serving coffee to me and Rack, and countless others. He was watching and taking mental notes. An artist has to have that centre (I iterate):
“I can’t control my destiny. I trust my soul; my only goal is just to be. There’s only now, there’s only here. Give in to love or live in fear. No other path; no other way. No day but today.”
He wrote what he wrote, and he died. What else could one possibly hope for? This comes somewhat within that realm of ‘a perfect life’ description.
I greatly respected him, and I hope I tipped excessively. He respected everyone he served. Likewise, I respect myself and, by extrapolation, you. This perhaps is (or at least reflects) the core, and is my reason for making work, that we might increase this acceptance of the essential, that we might disperse tolerance, coupled with negotiation, like a virus, which could, maybe, challenge polarisation.
I was thinking lately as to what might be my favourite word. I considered 'even', but realised eventually, that it is 'perhaps', perhaps. Perhaps not.
Hopefully this might put all ideas of posterity to rest.
I am mythologising us a little, hey, it's 'fiction', I can. David Shields tells us that all fiction is memoir, and all memoirs are fiction. I concur, for what it's worth. Jonathan might, or might not, have been our waiter on that particular day. This seems to be part of a thing that might be going on, a re-evaluation of what we went through. I will be watching the film tonight, 'tik tik boom' set in our meeting place, that diner. 'Moondance' has since been moved to Wyoming, where it managed to survive, just, for 5 years or so. It closed down recently and has now disappeared. There is, perhaps, a wave here happening, this second pandemic might even be adding to its cresting. Either way, the ‘Moondance Diner’ was our meeting place. It was also where I had breakfast most mornings, and where we ate together from time to time. Mr. Larson was our waiter there often, more often than not actually. There is something in this about overlooking each other, missing each other, missing our time, even. I would like somehow to re-encapsulate it. I suspect it is coming, this other wave. Us ‘pandemic-surfers’ might have something to offer.
I know that you surf beautifully, that scaffolding exists, we have our armature. It might be time to start flinging some clay at it to see how much of it actually sticks. Mixing metaphors there, but what the heck, needs must.
Surfing mud-slingers, why I never!
Masonic Broken Column:
www.phoenixmasonry.org/broken_column.htm
THE BROKEN COLUMN:
Short Talk Bulletin - Vol. 34, February 1956,
No. 2 - Author Unknown
The story of the broken column was first illustrated by Amos Doolittle in the "True Masonic Chart" by Jeremy Cross, published in 1819.
Many of Freemasonry's symbols are of extreme antiquity and deserve the reverence which we give to that which has had sufficient vitality to live long in the minds of men. For instance, the square, the point within a circle, the apron, circumambulation, the Altar have been used not only in Freemasonry but in systems of ethics, philosophy and religions without number.
Other symbols in the Masonic system are more recent. Perhaps they are not the less important for that, even without the sanctity of age which surrounds many others.
Among the newer symbols is that usually referred to as the broken column. A marble monument is respectably ancient - the broken column seems a more recent addition. There seems to be no doubt that the first pictured broken column appeared in Jeremy Cross's True Masonic Chart, published in 1819, and that the illustration was the work of Amos Doolittle, an engraver, of Connecticut.
That Jeremy Cross "invented" or "designed" the emblem is open to argument. But there is legitimate room for argument over many inventions. Who invented printing from movable type? We give the credit to Gutenberg, but there are other claimants, among them the Chinese at an earlier date. Who invented the airplane? The Wrights first flew a "mechanical bird" but a thousand inventors have added to, altered, changed their original design, until the very principle which first enabled the Wrights to fly, the "warping wing", is now discarded and never used.
Therefore, if authorities argue and contend about the marble monument and broken column it is not to make objection or take credit from Jeremy Cross; the thought is that almost any invention or discovery is improved, changed, added to and perfected by many men. Edison is credited with the first incandescent lamp, but there is small kinship between his carbon filament and a modern tungsten filament bulb. Roentgen was first to bring the "x-ray" to public notice-the discoverer would not know what a modern physician's x-ray apparatus was if he saw it!
In the library of the Grand Lodge of Iowa in Cedar Rapids, is a book published in 1784; "A BRIEF HISTORY OF FREEMASONRY" by Thomas Johnson, at that time the Tiler of the Grand Lodge of England (the "Moderns"). In this book the author states that he was "taken the liberty to introduce a Design for a Monument in Honor of a Great Artist." He then admits that there is no historical account of any such memorial but cites many precedents of "sumptuous Piles" which perpetuate the memories and preserve the merits of the historic dead, although such may have been buried in lands far from the monument or "perhaps in the depth of the Sea".
In this somewhat fanciful and poetic description of this monument, the author mentions an urn, a laurel branch, a sun, a moon, a Bible, square and compasses, letter G. The book was first published in 1782, which seems proof that there was
at that time at least the idea of a monument erected to the Master Builder.
There is little historical material upon which to draw to form any accurate conclusions. Men write of what has happened long after the happenings. Even when faithful to their memories, these may be, and often are, inaccurate. It is with this thought in mind that a curious statement in the Masonic newspaper, published in New York seventy-five years ago, must be considered. In the issue of May 10, 1879, a Robert B. Folger purports to give Cross' account of his invention, or discovery, an inclusion, of the broken column into the marble monument emblem.
The account is long, rambling and at times not too clear. Abstracted, the salient parts are as follows. Cross found or sensed what he considered a deficiency in the Third Degree which had to be filled in order to effect his purposes. He consulted a former Mayor of New Haven, who at the time was one of his most intimate friends. Even after working together for a week, they did not hit upon any symbol which would be sufficiently simple and yet answer the purpose. Then a Copper-plate engraver, also a brother, was called in. The number of hieroglyphics which had be this time accumulated was immense. Some were too large, some too small, some too complicated, requiring too much explanation and many were not adapted to the subject.
Finally, the copper-plate engraver said, "Brother Cross, when great men die, they generally have a monument." "That's right!" cried Cross; "I never thought of that!" He visited the burying-ground in New Haven. At last he got an idea and told his friends that he had the foundation of what he wanted. He said that while in New York City he had seen a monument in the southwest corner of Trinity Church yard erected over Commodore Lawrence, a great man who fell in battle. It was a large marble pillar, broken off. The broken part had been taken away, but the capital was lying at the base. He wanted that pillar for the foundation of his new emblem, but intended to bring in the other part, leaving it resting against the base. This his friends assented to, but more was wanted. They felt that some inscription should be on the column. after a length discussion they decided upon an open book to be placed upon the broken pillar. There should of course be some reader of the book! Hence the emblem of innocence-a beautiful virgin-who should weep over the memory of the deceased while she read of his heroic deeds from the book before her.
The monument erected to the memory of Commodore Lawrence was placed in the southwest corner of Trinity Churchyard in 1813, after the fight between the frigates
Chesapeake and Shannon, in which battle Lawrence fell. As described, it was a beautiful marble pillar, broken off, with a part of the capital laid at its base. lt remained until 1844-5 at which time Trinity Church was rebuilt. When finished, the corporation of the Church took away the old and dilapidated Lawrence monument and erected a new one in a different form, placing it in the front of the yard on Broadway, at the lower entrance of the Church. When Cross visited the new monument, he expressed great disappointment at the change, saying "it was not half as good as the one they took away!"
These claims of Cross-perhaps made for Cross-to having originated the emblem are disputed. Oliver speaks of a monument but fails to assign an American origin. In the Barney ritual of 1817, formerly in the possession of Samuel Wilson of Vermont, there is the marble column, the beautiful virgin weeping, the open book, the sprig of acacia, the urn, and Time standing behind. What is here lacking is the broken column. Thus it appears that the present emblem, except the broken column, was in use prior to the publication of Cross' work (1819).
The emblem in somewhat different form is frequently found in ancient symbolism. Mackey states that with the Jews a column was often used to symbolize princes, rulers or nobles. A broken column denoted that a pillar of the state had fallen. In Egyptian mythology, Isis is sometimes pictured weeping over the broken column which conceals the body of her husband Osiris, while behind her stands Horus or Time pouring ambrosia on her hair. In Hasting's ENCYCLOPEDIA OF RELIGION AND ETHICS, Isis is said sometimes to be represented standing; in her right hand is a sistrum, in her left hand a small ewer and on her forehead is a lotus, emblem of resurrection. In the Dionysaic Mysteries, Dionysius is represented as slain; Rhea goes in search of the body. She finds it and causes it to be buried. She is sometimes represented as standing by a column holding in her hand a sprig of wheat, emblem of immortality; since, though it be placed in the ground and die, it springs up again into newness of life. She was the wife of Kronus or Time, who may fittingly be represented as standing behind her.
Whoever invented the emblem or symbol of the marble monument, the broken column, the beautiful virgin, the book, the urn, the acacia, Father Time counting the ringlets of hair, could not have thought through all the implications of this attempt-doubtless made in all reverence-to add to the dignity and impressiveness of the story of the Master Builder.
The urn in which "ashes were safely deposited" is pure invention. Cremation was not practiced by the Twelve Tribes; it was not the method of disposing of the dead in the land and at the time of the building of the Temple. rather was the burning of the dead body reserved as a dreadful fate for the corpses of criminals and evil doers. That so great a man as "the widow's son, of the tribe of Naphtali" should have been cremated is unthinkable. The Bible is silent on the subject; it does not mention Hiram the Builder's death, still less the disposal of the body, but the whole tone of the Old Testament in description of funerals and mournings, make it impossible to believe that his body was burned, or that his ashes might have been preserved.
The Israelites did not embalm their dead; burial was accomplished on the day of death or, at the longest wait, on the day following. According to the legend, the Master Builder was disinterred from the first or temporary grave and reinterred with honor. That is indeed, a supposable happening; that his body was raised only to be cremated is wholly out of keeping with everything known of deaths, funeral ceremonies, disposal of the dead of the Israelites.
In the ritual which describes the broken column monument, before the figure of the virgin is "a book, open before her." Here again invention and knowledge did not go hand in hand. There were no books at the time of the building of the Temple, as moderns understand the word. there were rolls of skins, but a bound book of leaves made of any substance-vellum, papyrus, skins-was an unknown object. Therefore there could have been no such volume in which the virtues of the Master Builder were recorded.
No logical reason has been advanced why the woman who mourned and read in the book was a "beautiful virgin." No scriptural account tells of the Master Builder having wife or daughter or any female relative except his mother. The Israelites reverenced womanhood and appreciated virginity, but they were just as reverent over mother and
child. Indeed, the bearing of children, the increase of the tribe, the desire for sons, was strong in the Twelve Tribes; why, then, the accent upon the virginity of the woman in the monument? "Time standing behind her, unfolding and counting the ringlets of her hair" is dramatic, but also out of character for the times. "Father Time" with his scythe is probably a descendant of the Greek Chromos, who carried a sickle or reaping hook, but the Israelites had no contact with Greece. It may have been natural for whoever invented the marble monument emblem to conclude that Time was both a world-wide and a time immemorial symbolic figure, but it could not have been so at the era in which Solomon's Temple was built.
It evidently did not occur to the originators of this emblem that it was historically impossible. Yet the Israelites did not erect monuments to their dead. In the singular, the word "monument" does not occur in the Bible; as "monuments" it is mentioned once, in Isaiah 65 - "A people...which remain among the graves and lodge in the monuments." In the Revised Version this is translated "who sit in tombs and spend the night in secret places." The emphasis is apparently upon some form of worship of the dead (necromancy). The Standard Bible Dictionary says that the word "monument" in the general sense of a simple memorial does not appear in Biblical usage.
Oliver Day Street in "SYMBOLISM OF THE THREE DEGREES" says that the urn was an ancient sign of mourning, carried in funeral processions to catch the tears of those who grieved. But the word "urn" does not occur in the Old Testament nor the New.
Freemasonry is old. It came to us as a slow, gradual evolution of the thoughts, ideas, beliefs, teachings, idealism of many men through many years. It tells a simple story-a story profound in its meaning, which therefore must be simple, as all great truths in the last analysis are simple.
The marble monument and the broken column have many parts. Many of these have the aroma of age. Their weaving together into one symbol may be-probably is-a modernism, if that term can cover a period of nearly two hundred years. but the importance of a great life, his skill and knowledge; his untimely and pitiful death is not a modernism.
Nothing herein set forth is intended as in any way belittling one of Freemasonry's teachings by means of ritual and picture. These few pages are but one of many ways of trying to illuminate the truth behind a symbol, and show that, regardless of the dates of any parts of the emblem, the whole has a place in the Masonic story which has at least romance, if not too much fact, behind it.
THE BROKEN COLUMN AND ITS DEEPER MEANING:
by Bro. William Steve Burkle KT, 32°
Scioto Lodge No. 6, Chillicothe, Ohio.
Philo Lodge No. 243, South River, New Jersey
The meaning of the Broken Column as explained by the ritual of the Master mason degree is that the column represents both the fall of Master Hiram Abif as well as the unfinished work of the Temple of Solomon[i]. This interesting symbol has appeared in some fascinating places; for example, a Broken Column monument marks the gravesite in Lewis County Tennessee[ii] of Brother Meriwether Lewis (Lewis & Clark), and a similar monument marks the grave of Brother Prince Hall[iii]. In China, there is a “broken column-shaped” home which was built just prior to the French Revolution by the aristocrat François Nicolas Henri Racine de Monville[iv]. Today “The Broken Column” is frequently used in Masonic newsletters as the header for obituary notices and is a popular tomb monument for those whose life was deemed cut short. Note that when I speak of The Broken Column here, I am referring to only the upright but shattered Column Base with its detached Shattered Capital, and not to the more extensive symbolism often associated with the figure such as a book resting on the column base, the Weeping Virgin (Isis), or Father Time (Horus) disentangling the Virgin’s hair. In this version the shattered column itself is often said to allude to Osiris[v]. While these embellishments add to the complexity of the allusion, it is the shattered column alone which I intend to address.
The Broken Column is believed to be a fairly recent addition to the symbolism of Freemasonry, and has been attributed to Brother Jeremy L. Cross. Brother Cross[vi] is said to have devised the symbol based upon a broken column grave monument dedicated to a Commodore Lawrence[vii], which was erected in the Trinity Churchyard circa 1813. Lawrence perished in a naval battle that same year between the Frigates Chesapeake and Shannon. The illustration of the broken column was reportedly first published in the “True Masonic Chart” by artist Amos Doolittle in 1819[viii]. There is however little evidence beyond the word of Brother Cross that the symbol was thus created[ix],[x].
Whether the Broken Column is a modern invention or passed down from times of antiquity is of little consequence; regardless of its origins the symbol serves well as a powerful allusion in our Craft, and as will be discussed, may have deeper meanings which align with other Masonic symbols which also incorporate images of columns and pillars.
Freemasonry makes generous reference to columns and pillars of all sorts in the work of the various degrees including the two pillars which stood at the entrance of Solomon’s Temple, the four columns of architectural significance, and the three Great Columns representing strength, beauty, and wisdom[xi]. The first mention of pillars in a Masonic context[xii] is found in the Cooke Manuscript dated circa 1410 A.D. The three Great Pillars of Masonry are of particular interest in this article even though it is the Broken Column and its deeper meanings which I ultimately intend to explore.
Three Great Columns:
The basis for the Three Great Columns can be traced to an ancient Kabalistic concept and a unique diagram found in the Zohar which illustrates the emanations of God in forming and sustaining the universe. The diagram also reflects certain states of spiritual attainment in man. This diagram, called the Sephiroth consists of ten spheres or Sephira connected to one another by pathways and which are ordered to reflect the sequence of creation. In accordance with Kabalistic belief Aur Ein Sof (Light Without End) shines down into the Sephiroth and is split like a prism into its ten constituent Sephira[xiii], eventually ending in the material universe. To discuss the Sephiroth in sufficient depth to impart a good understanding is well beyond the scope of this paper; however, a basic understanding of how the structure of the Sephiroth is related to the Great Columns is manageable, and is in fact essential to the subsequent discussion of the Broken Column. Be aware that the explanations I give are vast oversimplifications of a highly complex concept. In an attempt to simplify the concept, it is inevitable that some degree of inaccuracy will be introduced.
I would like to begin my discussion of the Three Great Columns by discussing the Cardinal Virtues. The Cardinal Virtues are believed to have originated with Plato who formed them from a tripartite division[xiv] of the attributes of man (power, wisdom, reason, mercy, strength, beauty, firmness, magnificence, and base kingship) presented in the Sephiroth. These concepts were later adopted by the Christian Church[xv] and were popularized by the treatises of Martin of Braga, Alcuin and Hrabanus Maurus (circa 1100 A.D.) and later promoted by Thomas Aquinas (circa 1224 A.D.). According to Wescott[xvi] the Four Cardinal Virtues are represented by what were originally branches of the Sepheroth:
“Four tassels refer to four cardinal virtues, says the first degree Tracing Board Lecture, these are temperance, fortitude, prudence, and justice; these again were originally branches of the Sephirotic Tree, Chesed first, Netzah fortitude, Binah prudence, and Geburah justice. Virtue, honour, and mercy, another triad, are Chochmah, Hod, and Chesed.”
broken-column1
Thus we have a connection between the Cardinal Virtues and the Sephiroth. The Three Pillars of Freemasonry (Wisdom, Beauty, and Strength) are associated with the Cardinal Virtues[xvii] and also therefore with the Kabalistic concept of the Sephiroth[xviii]. I have provided an illustration of the Sepiroth in Figure 1. This particular version of the Sephiroth is based upon that used in the 30th Degree or Knight Kadosh Grade[xix] of the ASSR. The Sephiroth, incidentally is also called “The Tree of Life”. Each of the vertical columns of spheres (Sephira) in the Sephiroth are considered to represent a pillar (column). Each pillar is named according to the central concept which it represents; thus in Figure 1 we have the pillars Justice, Beauty, and Mercy left to right, respectively. The Sephiroth is a very elegant system in which balance is maintained between the Sephira of the two outermost pillars by virtue of the center pillar. Note also that traditionally the Sephiroth is divided into “Triads” of Sephira. In Figure 1 the uppermost triad, consisting of the spheres Wisdom, Intelligence, and Crown represent the intellectual and spiritual characteristics of man. The next triad is represented by the Sephira Justice, Beauty, and Mercy; the final triad is Splendor, Foundation, and Firmness (or Strength).
According to S.L. MacGregor Mathers[xx], the word Sephira is best translated to mean (or is best rendered as) “Numerical Emanation”, and each of the ten Sephira corresponds to a specific numerical value. Mathers also asserts that it was through knowledge of the Sephiroth that Pythagoras devised his system of numerical symbolism. While there are additional divisions and subdivisions of the Sephiroth, the concept which is of interest to us here is that God created the Material World or Universe (signified by the lowest Sephira, Kingdom) in a series of ordered actions which proceeded along established pathways (i.e. the connecting lines between the Sephira in our Figure). Each of the Sephira and each pathway are a sort of “buffer” between the majesty and power of God and the material world. Without these buffers, profane man and the material world he inhabits would meet with destruction. On the other hand, enlightened man is able to progress upwards along these pathways to higher level Sephira and to thereby achieve enhanced knowledge of the Divine. Tradition holds that man once was closer to the Divine spirit, but became corrupted by the material world, losing this connection (i.e. The fall of Man from Grace. Note also the reference to the Tree of Knowledge and possible connections to the Tree of Life). God uses the Sephiroth in renewing and sustaining the material universe. Each new soul created is an emanation of God and travels to materiality (physical existence) via the pathways established in the Sephiroth. In a similar fashion, the spirits of the departed return to God via these same pathways, making the Sephiroth the mechanism by which God interacts with the universe.
broken-column2The Broken Column
In Figure 2, I have redrawn the Sephiroth as an overlay of the Three Great Columns; however in this version the Pillar of Beauty is Broken. Note especially that the center pillar, the Pillar of Beauty in the Sephiroth has a gap between Beauty and Crown, in effect making this column a Broken Pillar[xxi]. I believe this “fracture” symbolizes Man’s separation from knowledge of the Divine, and an interruption in the Pathway leading from Beauty directly to the Crown (which symbolizes “The Vast Countenance”[xxii]).
I would also like to extrapolate that if the Broken Column indeed represents Hiram Abif as per the explanation given to initiates, then the two remaining columns would then correspond to Solomon and Hiram King of Tyre[xxiii]. Certainly the Sephira (Wisdom, Justice, and Splendor) which comprise the column of Justice align well with the characteristics traditionally associated with King Solomon. Tradition unfortunately does not address Hiram King of Tyre although we can assume that Intelligence, Mercy, and Firmness or Strength would be a likely requirement for a Monarch of such apparent success. The connection between the Three Great Columns and the three principle characters in the drama of the Third Degree does have a certain sense of validity. The “Lost Word” associated with Hiram Abif would then allude to the lost Pathway.
In so many of our Masonic Lessons we initially receive a plausible but quite shallow explanation of our symbols and allusions. Those who sense an underlying, deeper meaning tend to find it (Seek and you will find, knock and the door shall be opened). Perhaps in our ritual of the Third Degree, that which is symbolically being raised (restored) is the Pillar of which resides within us. If so, the Lost Word has then in fact been received by each of us. It only remains lost if we choose to forget it or choose not to pursue it.
[i] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976). ISBN-13: 978-0679506263. pp 157.
[ii] “Meriwether Lewis, Master Mason”. The Lewis and Clark Fort Mandan Foundation.
[iii] “WHo is Prince Hall ?” (1996). Retrieved December 5, 2008 from www.mindspring.com/~johnsonx/whoisph.htm.
[iv] Kenna, Michael. (1988). The Broken Column House at Désert de Retz in Le Desert De Retz, A late 18th Century French Folley Garden. Retrieved December 6, 2008 from Valley Daze. valley-daze.blogspot.com/2007/09/broken-column-house.html
[v] Pike, Albert. (1919) Morals and Dogma. Charleston Southern Jurisdiction. pp. 379. ASIN: B000CDT4T8.
[vi] “The Broken Column”. The Short Talk Bulletin 2-56. The Masonic Service Association of the United States. VOL. 34 February 1956 NO. 2.
[vii] Brown, Robert Hewitt. (1892). Stellar Theology and Masonic Astronomy or the origin and meaning of ancient and modern mysteries explained. New York: D. Appleton and Company, 1, 3, and 5 Bond Street. 1892.. pp. 68.
[viii] “Boston Masonic Lithograph”. Retrieved December 5, 2008 from Lodge Pambula Daylight UGL of NSW & ACT No1000. lodgepambuladaylight.org/lithograph.htm.
[ix] Folger, Robert B. Fiction of the Weeping Virgin. Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/art/monument / fiction/fiction.html
[x] Mackey, Albert Gallatin & Haywood H. L. Encyclopedia of Freemasonry Part 2. pp. 677. Kessinger Publishing, LLC (March 31, 2003).
[xi] Claudy, Carl H. Introduction to Masonry. The Temple Publishers. Retrieved December 5, 2008 from Pietre-Stones Review of Freemasonry. www.freemasons-freemasonry.com/claudy4.html.
[xii] Dwor, Mark. (1998). Globes, Pillars, Columns, and Candlesticks. Vancouver Lodge of Education and Research . Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/texts/globes_pillars_columns.html
[xiii] Day, Jeff. (2008). Dualism of the Sword and the Trowel. Cryptic Masons of Oregon – Grants Pass. Retrieved December 6, 2008 from rogue.cryptic-masons.org/dualism_of_the_sword_and_trowel
[xiv] Bramston, M. Thinkers of the Middle Ages. Monthly Packet. Evening Readings of the Christian Church (1893). Ed. Charlotte Mary Yonge, Christabel Rose Coleridge, Arthur Innes. J. and C. Mozley. University of Michigan (2007).
[xv] Regan, Richard. (2005). The Cardinal Virtues: Prudence, Justice, Fortitude, and Temperance. Hackett Publishing.
[xvi] Wescott, William ( ). The Religion of Freemasonry. Illuminated by the Kabbalah. Ars Quatuor Coronatorum. vol. i. p. 73-77. Grand Lodge of British Columbia and Yukon. Retrieved September 29, 2008 from www.freemasonry.bcy.ca/aqc/kabbalah.html.
[xvii] MacKenzie, Kenneth R. H. (1877). Kabala. Royal Masonic Cyclopedia. Kessinger Publishing (2002).
[xviii] Pirtle, Henry. Lost Word of Freemasonry. Kessinger Publishing, 1993.
[xix] Knight Kadosh. The Thirtieth Grade of the Ancient and Accepted Scottish Rite, and the First Degree of the Chivalric Series. Hirams Web. University of Bradford.
[xx] Mathers, S.L. MacGregor. (1887). Qabalah Unveiled. Reprinted (2006) as The Kabbalah: Essential Texts From The Zohar. Watkins. London. pp. 10.
[xxi] Ibid. Dualism of the Sword and the Trowel
[xxii] Ibid. Qabalah Unveiled .Plate III. pp. 38-39.
[xxiii] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976).
PRESS RELEASE
March 2009 sees the 30th anniversary of the original Classic Space sets from LEGO. Now, three decades on, it’s time for a celebration of spacey goodness at www.neoclassicspace.com.
Neo-Classic Space is a reimagining of the LEGO Classic Space range, using modern building techniques and parts. More than just inspired by the Classic Space sets, Neo-Classic Space is an extrapolation of the line into the 21st century and beyond. We aim to follow a carefully thought standard, which we feel is in keeping with the original designs.
The culmination of a top-secret project planned over many months, www.neoclassicspace.com will present a new model every day throughout March, many from builders you already know and love, some from new talent you may not have discovered.
This is only the beginning. It is time to retake space. We hope you'll come along for the ride!
END
Edit: Almost forgot... thanks to Carl Greatrix for the cartoon spaceman, and to James Brophy for the "Classic Space 30" Logo.
duration: 25 secs. - with audio
Jubilee Square.
Even on White Night, boring old "noise abatement" laws apply. After the InCANdescent event was smartly cleared away by the City's cleaning crew, this "proof of concept" kinetic light sculpture was installed in the early hours. The organisers were not keen on photography.
What is said in hotel bars should stay in hotel bars (especially when said over breakfast sake / nihonshu), but really - this is so interesting. Named after Alexander Calder, the inventor of the mobile, the structure follows similar dynamics - except upside down! Stability is of course aided by myriad gyroscopes embedded in the structure, and balance maintained by internal weights, continuously adjusted by stepper motors - hence the odd buzzing sounds. Each major component (arm or egg-flower) has a processor running a complete real time model of the structure. (This is done at a very sophisticated level. A library of air resistance and slight aerofoil lift behaviours for 58,000 different variations of petal positions is accessible by the software, for instance.) Accelerometers and accurate force measurement at the joints of the structure enable any deviation between predicted and actual behaviour to be instantly detected. Typically this will be caused by either wind currents, or incredulous drunk people poking the structure. The distributed processing enables near instantaneous compensatory correction for these events. (The stability is of course partially illusory. Designed to be displayed primarily in an indoor environment, a strong enough air current, or a hard enough shove will cause catastrophic failure, and collapse of the structure - in a manner perhaps analogous to ABS related accidents.) The project was created to showcase the video display panels, the product a secretive joint venture by a Consortium in response to (as generally perceived within the industry) an "over dominance" in the sector by a large South Korean manufacturer of OLED displays. Based also on OLED technolgy, there is no addressing matrix. Instead, video data "bumbles" or "pinballs" between pixel units using very high frequency, very short range radio - the data being stored or passed on as required. (The pixel units can also interpolate and extrapolate missing data - both spatially and temporally - but in practice, despite the haphazard data distribution method, there is a high level of reliability, and thus seldom the need for this function to be invoked.) Accordingly, the panels can be cut, and the edges planed and sanded to any shape, a boon to artists. Power is distributed via two fine fibrous conducting planes just below each surface. The material of the conductors is "self-healing". On exposure to both water vapour and oxygen in the air, the fibres react to become an insulator to prevent shorting and power leakage. The fibres also swell during the reaction, forming a seal, and preventing further ingress of water or oxygen molecules, and thus preventing deeper deterioration of the conducting layers from the cut edges. Intentional power connections - to transfer power between the light panels and also to power the electric motors - are made using vampire connectors that bite into opposites sides of the sheets, through to the conducting layers. A small amount of conductive hydrophobic gel must be used in these situations, to inhibit the self healing properties of the conducting layers, and to prevent the power connections thus failing. (This method is anticipated to ensure securely conductive connections "for at least 80 years", although with a material that has only been in production for 5 weeks, it is difficult to be sure for certain!) The cigar shaped pixel units are aligned at right angles to the surfaces (apparently by simple buoyancy during the manufacturing process when the resin substrate is still liquid and thinly spread horizontally by gravity), with the ends touching and drawing power from the embedded conducting fibrous mesh. The thermoplastic resin base can also be heated and then bent or moulded by presses into curved surfaces without affecting operation. Acoustic transducers in the pixel units automatically determine the geometry of the panels (including any curvature) and the placement of adjacent pixel units by generating and timing the travel time of a chatter of clicks, each time a panel is powered up. This information is used to assist in placing the projection of the video. (In the example above, the video images of "coloured walls of flame" are wrapped using a cylindrical projection around each of the egg-flowers in their closed positions.) Each pixel unit can generate colours using a palate of seven colours - as opposed to the usual (RGB) three. This provides an ultra rich gamut easily capable of accommodating tetrachromacy. Unfortunately this richness of colour is not reproduced in this set, because obviously standard bayer filtered CCD cameras were used, and so the colours appear blandly oversaturated. When the South Korean manufacturer eventually found out about the project, they got very cross and decided to throw a spanner in the works big time and in an act of monstrous hypocrisy they lodged an "anti-trust" complaint with the European Commission, and the Consortium was embarrassed into taking the route of scoundrels and bounders everywhere by filing for bankruptcy in a court in Texas on the weekend of the festival, to contain any contingent liabilities. (Hence the sudden reluctance to have the installation photographed.) This caused problems for the Installation Engineers, because their Hotel's hyper sharp credit agency service flagged up a problem. Fortunately the Hotel's manager was by then an ecstatic fan of the sculpture, even helping out with assembly and disassembly - a process that requires many hands. (Once powered up the structure is reasonably stable - but getting there is tricky - think about it.) In the best grand tradition of arts patronage the Hotel manager cheerily faxed off a Japanese Language Only Purchase Order to the Hotel group's Director of Finance to puzzle over when he eventually came back from holiday, and continued to buy everyone drinks. With high production investment and development costs, poor yield rates, low margins, near commodity prices and very short technology life cycles, who would get involved in electronic displays?
See also enhanced video details of the spherical fulcrum connectors and egg-flower petal mechanisms.
Part of a set / slideshow documenting in photographs and video the White Night / Nuit Blanche festival held in Brighton and Hove at the end of October 2010.
See also these related flickr galleries: White Night Brighton +Silhouettes +Light +Colours +People and from the sister festival in Picardie Nuit Blanche Amiens.
The set description contains additional related external links.
Yes, that is a two story high version of Renoir's 'Dance at Bougival'. Why? I really am at a loss to explain Mr. Johnson's obsession with extrapolating elements of Impressionist paintings and sculpting them, sometimes on a gargantuan scale.
still preserved by the alejandro jodorowsky foundation from a lost short by the director. en la guarida de la reina liquen was only partially filmed and probably never meant to be finished, existing primarily as a technical experiment and extrapolated from a comic book written and drawn by the director years earlier (the film dates from 1968, at best guess).
film historians note the homage to the comic/short film/vegetable in the third act of the director's doomed attempt at filming an adaptation of some dusty sci-fi rubbish, apparently all about a war far in the future between planets over a psychic drug. jodorowsky is rumoured to have been drawn to the material by a very large worm.
“Around the time that this issue appears, science fiction will experience one of its gayest landmark-events, the Broadway opening of Gore Vidal’s urbane and delightful comedy, VISIT TO A SMALL PLANET, starring the incomparable Cyril Ritchard – an event which F&SF celebrates by bringing you the complete original television play which gave birth to the stage version.
“S. F. has been shoddily treated by the dramatic media of stage, screen and TV. On the stage it has, up till this season, been simply ignored – and neglect is, I suppose, a happier fate than being represented by the grotesque parodies which label themselves, ‘science fiction’ in films or in TV-except-by-Vidal.
“Mr. Vidal is no stranger to our field. In addition to a large number of serious novels, an even larger number of teleplays, and a brief venture into the sexy whodunit (as Edgar Box), this incredible young man (barely over 30!) has written the memorable MESSIAH (Dutton 1954), probably science fiction’s most effective extrapolation of religious cultism. VISIT was, he reports, his most successful television play. . . and by far the hardest to sell. Its tone of witty iconoclasm, of ‘poking fun at so much that was gloriously sacred’—a tone so taken for granted by all s. f. readers – was poison to the advertising agencies. Obviously even its popularity did not influence the Madison Avenue mind; it has had no successors. Perhaps the prestige of Broadway may bring about some enlightenment. . . and meanwhile you can enjoy at least this one charming satiric adventure, here presented for the first time in any magazine.” [Editor’s Note]
"A Visit to a Small Planet" was quite popular during its run from February 7, 1957 through January 11, 1958, at the Booth Theatre in New York City. The New York Herald-Tribune even described it as "gloriously funny" with "an almost endless barrage of freshly-minted quips to keep the merriment rolling". Audiences really enjoyed the lighthearted and whimsical nature of the play in which an alien comes from another planet to do a bit of sightseeing and to see or start a war. He thinks he has arrived in time to see the Civil War, which he expects will be jolly, but he has misjudged his landing and gets here in 1957. [Source: ConcordTheatricals.com]
[Note: “Visit to a Small Planet” was also the basis for a 1960 Paramount Picture starring Jerry Lewis]
Massimo Vitali, Drum Scan by CastorScan (SMALL CROP)
Original picture: www.flickr.com/photos/castorscan/10738367025/
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
If you think about it, this IS kind of deep stuff. And it did get me to thinking. Perhaps one could extrapolate and say, “In a perfect world, there are no people.”
Now, John Lennon’s song “Imagine” includes these lines:
"Imagine there's no countries
It isn't hard to do
Nothing to kill or die for
And no religion too ..."
But the only way I can imagine such a state of being is if there were no people. So, there it is again ...
“In a perfect world, there are no people.”
I made this drawing from photos in Steve Ginter's Naval Fighters #40, F11F-1. Its a dandy point of departure for making an accurate seat for your Hasegawa 1/72 F11F-1, Lindberg's 1/48 "Tiger" or improving the seat in the FM 1/48 F11F1.
Building on the previous effort, the outline of the major bits, here I've refined that outline, broken-out the headrest, head cushion, face-curtain grab-handle, the "D" ring on the headrest, the wheels the seat rolls on going up its guide rail, two doublers on the seat at the pilot's shoulder, a bracket holding the knee guard to the foot-rest extension of the seat, and all the rivets, holes, seams and panel lines on the sides.
Of course, any errors are my own. But for the purposes of building plastic models, I think this is pretty reasonable extrapolation, based on what I can actually see in the half-tone photo.
Students of old ejection seats will note a similarity to the ejection seat in later North American Furys. Not the same, but not very different either. A family resemblance based on common sub-contractor.
Working in a camera store gave me access to a great Nikon scanner for film. I would experiment with scanning between doing manipulations and touchups. This looks like a photo'd Nissan taillights and extrapolated from there -- I don't remember how this one "began", but it did not come from photographing automotive equipment. I couldn't duplicate this effort if I tried. It seems to be tagged as the product of a Nikon D70 - not to my knowledge.
Free-roaming pet cats wreak havoc on wildlife.
I gathered the scattered feathers of the Mockingbird that had been serenading me and liked to hop around and feed in the leaf litter, where the neighbor's cat was lying in wait one morning, and pounced on it, bringing an end to the morning songs I'd been enjoying...
And so I gathered its feathers to take this picture. So long birdy!
No matter how well-fed, no matter how enticing "the cat's meow," the domestic pet cat is a natural hunter, and many will catch & kill anything they can, including some insects, reptiles, rodents, rabbits, and birds.
Birds are the most difficult prey for cats, but (I think) this pile of feathers used to be the resident male mockingbird; certainly, his song has been absent in recent days.
Pet cats also love to raid mockingbird nests to eat not only the nestlings, but also the eggs. Research shows 95% of these nest raids occur at night.
Felines are among nature's supreme predators. Most are able to sneak up on their prey, and seize it with an explosive burst of speed, or powerful leap, but sometimes the cat simply lies in wait.
Research with Kitty Cams shows that birds account for about 13% of cat kills.
“If we extrapolate the results of this study across the country and include feral cats, we find that cats are likely killing more than 4 billion animals per year, including at least 500 million birds. Cat predation is one of the reasons why one in three American bird species are in decline,” said Dr. George Fenwick, President of American Bird Conservancy, the only organization exclusively conserving birds throughout the Americas.
abcbirds.org/article/kittycam-reveals-high-levels-of-wild...
Sword in the Stone (1963)
Merlin
Original Graphite Pencil Drawings Used to Make The 1963 Film
Certificate of Authenticity (COA) from The Cricket Gallery
16 Field Animation Paper
Beautifully Framed (some minor dings and scratches)
Production Drawings are the building blocks of animation; through these drawings, the animator carefully plans the look and movement of each character. Drawings are refined (often using different colored pencils) until the animator is satisfied with the look, detail, and degree of motion for each character; at this point, cels are created by tracing drawings onto clear acetate. Production Drawings provide perhaps the most intimate look in the animation process.
The Sword in the Stone is a 1963 animated fantasy comedy film, produced by Walt Disney originally released to theaters on December 25, 1963. The eighteenth animated feature in the Walt Disney Animated Classics, it was the last Disney animated feature released while Walt Disney was alive.
It is part of the 'English Cycle' of Disney animated films, which include Alice in Wonderland, Peter Pan, 101 Dalmatians, The Jungle Book, Robin Hood, The Many Adventures of Winnie the Pooh and The Rescuers.
The film is based on the novel of the same name, at first published in 1938 as a single novel. It was then later republished in 1958 as the first book of T. H. White’s tetralogy The Once and Future King. From Merlin’s statement that The Times will not come out for another 1200 years, it may be extrapolated that the film is set circa A.D. 558.
This animated feature is set in medieval times. After the English king dies leaving no heir, in the churchyard of a cathedral in London, a sword appears imbedded in a stone inscribed, "Who so pulleth out this sword of this stone and anvil is rightwise king born of England." Although many try, no one can budge the sword from the stone. Deep in the dark woods, kind, but absent-minded Merlin the Magician begins to teach 11-year-old Arthur, who is called Wart, and lives in the castle of Sir Ector where he's an apprentice squire to burly, oafish Sir Kay -- when he's not washing stacks of pots and pans in the scullery. By being changed by Merlin into various animals, Wart learns the basic truths of life, but he also runs into the evil Madam Mim, who tries to destroy him. Merlin and Mim have a Wizards' Duel, during which each changes into various creatures, with Merlin using his wits to win. On New Year's Day, a great tournament is held in London to pick a new king. Wart, attending as Kay's squire, forgets Kay's sword, and runs back to the inn to get it, but the inn is locked. Wart, seeing the sword in the stone, innocently, and easily, pulls it out. When the knights marvel at the wondrous sword and question where he got it, Wart has to prove himself all over again, and again he pulls the sword from the stone. Wart is proclaimed king by the marveling warriors. Wart as King Arthur is apprehensive of his ability to govern, but Merlin returns to reassure him. Written by Corinne Shetter.
I was reading in The Guardian, that (non red-topped) pulsating organ, that no one starts out wanting to be a narcissist. Obviously I was reading it to see if I had graduated from common or garden narcissist to this newly emerging creature, the 'Subtle Narcissist'. I think I have that one down pat too, but more of that later. I just wanted to extrapolate here, a little, before I ate my morning slice of 'duck', and had my coffee.
No one sets out to be a dick. But that's doubly bad, as no one actually sets out to have a dick either. Happenstance forces it upon you, unless you believe, as some do, that you choose your parents, and by extension, choose your own penis. If this were true why wouldn't everyone choose a huge one? (These questions need to be asked). I don't believe we choose anything. I don't believe in 'Freedom of Choice'. It's just a shoddy leftover from religions of every ilk.
Unfortunately by the time you realise you have a dick, it has mesmerised you. The one eyed trouser, or nappy in this case, snake has hypnotised you. This is also true of assholes, no one ever started off making the decision to become one of those either (or to even have one, for that matter), and they too hypnotise a sizeable subset of people. That they have the tendency to wink at you only makes it worse.
I could go on, and I will, but me coffee is getting cold. No one sets out to be an exhibitionist, mass murderer, objectifier, artist, 'Spine-sucker', dictator, petty thief, employee at Goldman Sachs, or whatever. There is always that horror to face, that Tabula Rasa. This suggests that nothing is in need of pardoning or punishing. That might be the point that I want to start from.
I have known some gloriously exhibitionistic women too, I am thinking the likes of Annie Sprinkle, one amongst many. I have also known hesitant exhibitionists, those who love the frisson and the ensuing uproarious laughter shared on long walks.
My preference is for the latter of these two, but that's just me, and I never set out to be me.
What does a person from Synecdoche, New York call themselves anyway? A fictional everyone, great title, great film. Gays never set out to take over either. Thankfully, I won't be around by the time we pull it out and off.
I feel like I have been a giant Scolaro all my life, in my dreams, an exposed dick in training. I also like the idea of a 'Private Dick', those wonderful 'Film Noir' staples, but have never managed to be one myself.
I am suspicious of the very notion of 'privacy'. It is possibly over-rated, and secretly we might know everything about each other anyway. Everybody does, it's no secret at all, perhaps.
Might I add, that your admittance to having straight friends is testament to you tolerance, and to be admired. I admit that I do also still have some straight friends, but I do try their patience, so who knows how long that will continue.
I hope they remember that no one sets out to be objectionable (at birth), well hardly anybody anyway.
And finally (like heck), I might add that this young stripling had a very attractive member, as far as I can remember (unfortunately it's a very dim memory, but that's more age related), and I would not like to disparage it in any way. It was, however, enough of a memorable pecker to inspire a sort of reverie in me, and that's nothing to shake one's appendage at. That sexually it did nothing for me had nothing to do with its attractiveness or otherwise. This is something youth often misunderstands completely, They get the wrong end of the stick, or prick, as in this case. I hope this young man, and his todger, founder a happy home, wherever that dark lair might be.
As far as I am concerned all 'front bottoms' and 'back bottoms' will always be equal.
I am still struggling to find the opening line for this monumental act of 'subtle narcissism' I seem to be working on. I am also not editing at all, at all. Shoot one's wad and clean it up later seems to be my modus operandi. I might just leave all that for time to sort out, in its own peculiar way. Why change the habit of a lifetime, eh?
This is an excerpt of a longer on-line video, see the address below. This composition machine was mentioned by David MacMillan in his extensive on-line reference blog "circuitousroot", as follows:
"The Koike firm actually made what might be the widest range of type- and line-casting machinery of any company, including the K.M.T. Automatic Typesetting Machine (a Monotype-style composing type caster with matrix cases of up to 4,992 matrices)".
A lot of things jump out from the full-length video; the machine uses "modern" six row punched tape and off-the-shelf punching equipment. The matrix case layout (MCA) is shown at 00:14 (all time references are from the on-line full length video), with the hole punching scheme on the borders. Common characters are grouped together to reduce matrix case travel. Katagana in one group, Roman caps in one row, etc. This matrix case appears to have groups of 16 characters in an arrangement 11 by 11, or 1,936 characters by my count (a 44 x 44 case).
Extrapolating this, if a 15 x 17 Monotype matrix case has 255 characters, a theoretical Japanese case would hold seven times the number of mats. Thinking that, they could offer Garamond, say, all sizes from six point to twelve point, no need to change the matrix case.
Do I see square type nicks at 00:30? Would Koike not have used English Monotype composition moulds, why re-invent something if the best is available right now off-the-shelf?
At 01:00, is the machine doing composition and sorts casting at the same time, or what?
At 1:07, the paper tape is being fed from the inside of the roll as opposed to Monotype paper rolls that unwind from the outside, so the cast is in reverse where the line spacing information is accessed for each line prior to casting the text.
I don't see a tall spring assembly for the pump; is this machine hydraulic like the final Lanston Monomatic design?
The title roughly translates as the following:
"Record of operation of Japanese Monotype & Intel Casting Machine at Nagase Ranshin Factory"
The Lapita Voyage Project
I have always been fascinated by the Pacific cultures and the multitude of different type of canoes associated with them, in particular those carved within the Polynesian Triangle, Micronesia and Melanesia. So my interest, as a canoe modeler, does not simply rest in re-creating ancient types of Hawaiian canoes or reproduce the Hokule’a, but also to make models of some of the most amazing vessels that were constructed long ago within Oceania but have all but disappeared from its islands .
More over, and this is always a particular and exciting challenge, I love to reproduce
those larger voyaging canoes that have recently been built in the South Pacific.
What ever the type of canoe I decide to reproduce; it is a task that requires in depth
research and my lasting gratitude goes towards the late Herb Kane without whom we
would not be able to know the beautiful shape of some Oceanic canoes. I also like to refer to the works of Hadden & Hornell as well as the beautifully illustrated volumes of Jean Neyret .
The internet has replaced books and it is while reading online about the Lapita culture, which is at the root of Polynesian culture and famous for its pottery style, that I became
interested in the Lapita Voyage Project whose principals were Klaus Hympendahl, a German author and photographer, explorer, sailor and ship architect of catamarans James
Wharram, and Hanneke Boon who is Wharram’s design partner. The objective of the Lapita Voyage Project was to built two double hull canoes and sail them from the Philippines to the island of Anuta , a route of 4,000 miles which is believed to be the one used by the Lapita culture during their expansion eastwards. The name of the two canoes would be ‘Child of the Sea” or “TAMA MOANA” and they would be based on the construction style of Hawaiian voyaging canoes but also
incorporate design principles from the island of Anuta and Tikopia. Their size would
be 37’9” in total length with beam overall 14’11”. The model was executed not with the help of a studyplan but by extrapolating sizes and scales on the basis of 3 original sizes; lenght, width of beams, height of hulls.
The model was on exhibition at the Gallery Martin & Macarthur , Ala Moana, Honolulu, until it
was sold.
To see more check www.hawaiiancanoes.com
This is a great production drawing of Merlin from Walt Disney's "The Sword in the Stone" 1963. This drawing is #99 in the sequence and has two animation key charts on the left hand side and the word "LAD" unnderlined.
(All sizes W X H)
Paper Size: 15.5" X 12.5"
Image Size: 8" X 9"
The Sword in the Stone is a 1963 animated fantasy comedy film, produced by Walt Disney originally released to theaters on December 25, 1963. The eighteenth animated feature in the Walt Disney Animated Classics, it was the last Disney animated feature released while Walt Disney was alive.
It is part of the 'English Cycle' of Disney animated films, which include Alice in Wonderland, Peter Pan, 101 Dalmatians, The Jungle Book, Robin Hood, The Many Adventures of Winnie the Pooh and The Rescuers.
The film is based on the novel of the same name, at first published in 1938 as a single novel. It was then later republished in 1958 as the first book of T. H. White’s tetralogy The Once and Future King. From Merlin’s statement that The Times will not come out for another 1200 years, it may be extrapolated that the film is set circa A.D. 558.
The film begins in England with the death of the king, Uther Pendragon. The "Sword in the Stone" appears in London, with an inscription proclaiming that whomever pulls it out is the rightful King of England. None succeed in removing the sword, which is soon forgotten.
Some years later, Arthur (a.k.a. Wart), a 12-year-old orphan training to be a squire, accompanying his older foster brother Kay on a hunting trip, accidentally prevents Kay from shooting a deer. Wart goes to retrieve the arrow, and falls into Merlin's cottage. Merlin announces he will be Wart's tutor, packs up and the two return to Wart's home, a castle run by Sir Ector, one of Uther's knights. Ector does not believe in magic, and refuses to allow Merlin to tutor Wart. Merlin creates a blizzard, which persuades Ector to let Merlin stay, albeit in a decrepit old tower with countless leaks. Ector's friend and fellow knight, Sir Pellinore, arrives with news about the annual jousting tournament to be held on New Year's Day in London, only this time whose winner would be crowned King of England. Ector proposes that Kay be knighted and compete for the title, despite Kay's obvious ineptitude in both jousting and sword fighting.
Merlin begins his tutoring by transforming Wart and himself into fish and going into the palace's moat. Wart is chased and attacked by a pike, and is saved by Archimedes, Merlin's owl. Wart is sent to the kitchen as punishment after he tried to relate his lesson to a disbelieving Ector. Merlin arrives magics the dishes to wash themselves. He then takes Wart for another lesson, wherein he transforms Wart and himself into squirrels. Merlin teaches Wart about gravity, and about male-female relationships (as two female squirrels become infatuated with them). When they return, Ector accuses Merlin of using black magic on the dishes. Wart defends Merlin, and Ector punishes Wart by setting him with a mountain of chores, grounding him and giving Kay a different squire.
For his 3rd lesson, Merlin transforms Wart into a sparrow. Wart is attacked by a hawk and flies down the witch Madam Mim's chimney. Mim's magic uses trickery, as opposed to Merlin's scientific skill. Mim turns into a cat and chases Wart around her cottage. Merlin arrives and challenges Madame Mim to a Wizard's Duel (in which the combatants try to defeat each other by changing themselves into various non-imaginary animals to destroy one another). Mim immediately breaks the rules by disappearing, and eventually transforms into a dragon. Merlin returns the favour by transforming himself into a germ and infecting her, effectively defeating her.
At Christmas Kay is knighted, but his squire comes down with the mumps, and so Ector reinstates Arthur as Kay's squire. Merlin is disappointed that Wart still prefers war games to academics. Wart tries to explain that he cannot become a knight as he is an orphan, so a squire is the best position he can attain. This aggravates Merlin, who transports himself to 20th-century Bermuda in anger.
Ector, Kay, Pellinore, Wart and Archimedes travel to London for the tournament. Moments before Kay's match, Wart realizes that he has forgotten Kay's sword at their inn, which is closed because of the tournament. Archimedes notices a sword in a stone in a nearby churchyard, and points it out to Wart. Arthur pulls the sword from the stone, unwittingly fulfilling the Sword in the Stone’s prophecy.
When Arthur returns with the sword, Ector and Sir Bart recognize it as the Sword in the Stone, and the tournament is stopped. Demanding that Arthur prove he pulled it, Ector replaces the sword in its anvil. None of the other men succeed in removing it, but Wart manages to pull it out a second time with ease. The knights all proclaim, "Hail!! King Arthur!!", as the crowd, Sir Ector and Kay kneel to Arthur.
Next the film cuts to Arthur, crowned king, sitting in the throne room with Archimedes, feeling unprepared to take the responsibility of royalty. Overwhelmed by the cheering crowd outside, Arthur calls out to Merlin for help, who arrives (in Bermudan attire) and is elated to find that Arthur is King that he had seen in the future. Merlin tells the boy that he will rise and lead the Knights of the Round Table, accomplishing many amazing feats and becoming one of the most famous figures in literature and even in motion pictures (such as this film and the 2004 film. Original Frank Thomas
museumPASSmusees 2024 - Wiels - Jana Euler - Alexis Blake
Jana Euler?s exhibition Oilopa, a contraction of the terms Oil (painting) and Europa, unfolds into a semi-utopian land, reversing the ascendant flows of financial figures while extrapolating on cycles of surplus and vacuity.
Originally conceived as a performance, Crack Nerve Boogie Swerve embraces concepts such as transparency, resistance, resonance and disruption?breaking free from norms, liberating oneself from the constraints of oppression and stretching the boundaries of art institutions. At WIELS, Alexis Blake (b. 1981, US/NL) expands the scope of a live work into a performative exhibition that encapsulates its past iterations while slowly transforming the present one.
WIELS est l'une des plus d?importantes institutions d'art contemporain en Europe. Sans constituer de collection permanente, WIELS se consacre a la presentation et a la production d?expositions temporaires d?artistes nationaux et internationaux, aussi bien des talents emergents que des valeurs etablies.
( Le pass musees, comment ca marche ?
1 pass pour 244 musees
Tant de choses a vivre avec le pass musees
Le pass musees est l?abonnement le plus genereux aux musees belges. Cela signifie :
*Acces a tous les musees participants de notre pays, pendant une annee entiere. Quand vous le voulez et aussi souvent que vous le souhaitez.
*Visiter les expositions temporaires gratuitement ou avec une jolie reduction.
*Beneficier d?Avantages extra comme des billets de train a moitie prix, des reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux detenteurs de pass musees.
*Recevoir et sauvegarder les meilleurs conseils en matiere de musees : tous les quinze jours, recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. Vous pouvez sauvegarder vos expositions preferees dans l?app pass musees en prevision de votre prochaine visite.
+++ 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 Gloster Glaive was basically a modernized and re-engined variant of the successful, British-built Gloster Gladiator (or Gloster SS.37), the RAF’s final biplane fighter to enter service. The Gladiator was not only widely used by the RAF at the dawn of WWII and in almost every theatre of operations, but also by many other nations. Operators included Norway, Belgium, Sweden, Greece, Latvia, Lithuania or Nationalist China, and while the RAF already opted for more modern monoplanes, Gloster saw the opportunity to sell an updated Gladiator to countries which were not as progressive.
Originally designated Gladiator Mk. IV, the machine received many aerodynamic refinements and the motor was changed from a draggy radial to a liquid-cooled inline engine. The latter was the new Rolls Royce Peregrine, a development of the Kestrel. It was, in its original form, a 21-litre (1,300 cu in) liquid-cooled V-12 aero engine ), delivering 885-horsepower (660 kW). The engine was housed under a streamlined cowling, driving a three blade metal propeller, and was coupled with a ventral radiator bath, reminiscent of the Hawker Fury biplane’s arrangement.
Structural improvements included an all-metal monocoque fuselage and stabilizers, as well as new wings and streamlined struts with reduced bracing. The upper wing was enlarged and of all-metal construction, too, while the lower wings were reduced in span and area, almost resulting in a sesquiplane layout. The total wing area was only marginally reduced, though.
The fixed landing gear was retained, but the main wheels were now covered with spats. The pilot still sat in a fully enclosed cockpit, the armament consisted of four machine guns, similar to the Gladiator. But for the Glaive, all Browning machine guns were synchronized and mounted in the fuselage: one pair was placed on top of the cowling, in front of the cockpit. Another pair, much like the Gladiator’s arrangement was placed in the fuselage flanks, below the exhaust outlets.
Compared with the Gladiator, the design changes were so fundamental that Gloster eventually decided to allocate a separate designation – also with a view to the type’s foreign marketing, since a new aircraft appeared more attractive than another mark of a pre-war design. For the type’s virgin flight in late 1938 the name “Glaive” was unveiled to the public, and several smaller European air forces immediately showed interest, including Greece, Croatia, Turkey, Portugal and Egypt.
Greece was one of the initial customers, and the first of a total of 24 aircraft for the Hellenic Air Force was delivered in early 1939, with 24 more on order (which were never delivered, though). The initial batch arrived just in time, since tension had been building between Greece and Italy since 7 April 1939, when Italian troops occupied Albania. On 28 October 1940, Italy issued an ultimatum to Greece, which was promptly rejected. A few hours later, Italian troops launched an invasion of Greece, initiating the Greco-Italian War.
The Hellenic Gloster Glaives were split among three Mirae Dioxeos (Fighter Squadrons): the 21st at Trikala, 22nd at Thessaloniki and 23rd at Larissa. When Italy attacked in October 1940, the British fighter was, together with the PZL 24, the Greeks' only modern type in adequate numbers. However, by late 1940, the Gloster Glaive was already no longer a front-runner despite a powerful powerplant and satisfactory armament. It had no speed advantage over the Fiat Cr.42 nor could it outfly the nimble Italian biplane, and it was much slower than the Macchi MC.200 and the Fiat G.50 it was pitted against. Its agility was the only real advantage against the Italian fighters, whose reliance on the slow firing Breda-SAFAT 12.7mm machine guns proved detrimental.
Anyway, on 5 April 1941, German forces invaded Greece and quickly established air superiority. As the Allied troops retreated, British and Hellenic forces covered them, before flying to Crete during the last week of April. There, the refugee aircraft recorded a few claims over twin-engine aircraft before being evacuated to Egypt during the Battle of Crete.
Overall, the Glaives performed gallantly during the early period of the conflict, holding their own against impossible numerical odds and despite the fact that their main target were enemy bombers which forced them to fight at a disadvantage against enemy fighters. Italian claims of easy superiority over the Albanian front were vastly over-rated and their kill claims even exceeded the total number of operational fighters on the Greek side. Total Greek fighter losses in combat came to 24 a/c with the Greek fighter pilots claiming 64 confirmed kills and 24 probables (about two third bombers).
By April 1941, however, lack of spares and attrition had forced the Hellenic Air Force to merge the surviving seven Glaives with five leftover PZL.24s into one understrength squadron supported by five Gloster Gladiators Mk I & II and the two surviving MB.151s. These fought hopelessly against the Luftwaffe onslaught, and most aircraft were eventually lost on the ground. None of the Hellenic Gloster Glaives survived the conflict.
General characteristics:
Crew: two
Length: 8.92m (29 ft 3 in)
Wingspan: 34 ft 0 in (10.36 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 317 ft² (29.4 m²)
Empty weight: 1,295 kg (2,855 lb)
Max takeoff weight: 1,700 kg (3,748 lb)
Powerplant:
1× Rolls Royce Peregrine II liquid-cooled V12 inline engine, rated at 940 hp (700 kw)
Performance:
Maximum speed: 405 km/h (252 mph; 219 kn) at 4,400 m (14,436 ft)
Cruise speed: 345 km/h (214 mph; 186 kn)
Stall speed: 60 mph (52 knots, 96 km/h)
Range: 373 mi (600 km; 324 nmi)
Endurance: 2 hours
Service ceiling: 10,600 m (34,800 ft)
Rate of climb: 2,982 ft/min (15.15 m/s)
Time to altitude: 10.000 ft (3.050 m) in 3 minutes 20 seconds
Armament:
4× 0.303 calibre (7.7 mm) M1919 Browning machine guns in the fuselage
Provisions for 6× 10 kg (22 lb) or 4x 20 kg (44 lb) bombs under the lower wings
The kit and its assembly:
The fictional Gloster Glaive started quite simple with the idea of replacing the Gladiator’s radial with an inline engine. But this soon did not appear enough for an update – the Peregrine hardly delivered much more power than the former Mercury, so I considered some structural updates, too. Most of them comprised the replacement of former fabric-covered structures, and this led conceptually to a kitbash with only some Gladiator fuselage and tail parts left.
The basis is (once more) the very nice Matchbox Gloster Gladiator, but it was heavily modified. As an initial step, fuselage, fin and stabilizers (all OOB parts) lost their rib-and-fabric structure, simply sanded away. A minor detail, but it changes the overall look of the aircraft a lot, making it appear much more modern.
The fuselage was left without the OOB radial, and instead a leftover Merlin front end from an Airfix Hurricane (ca. 1cm long, left over from one of my first whif builds ever, a Hurricane with a radial engine!) was added. The lines match pretty well: the side profile looks sleek, if not elegant, but the Gladiator fuselage turned out to be wider than expected. Some major body work/PSR was necessary to integrate the new nose, but the result looks very good.
The liquid-cooled engine necessitated a radiator somewhere on the airframe…! Since I wanted the nose to remain slim and streamlined I eventually placed the radiator bath under the fuselage, much like the arrangement of the Hawker Fury biplane. The radiator itself comes from a late Spitfire (FROG kit).
The exhaust was taken from the Hurricane kit, too, and matching slits dug into the putty nose to take them. The three blade propeller is a mash-up, too: the spinner belongs, IIRC, to an early Spitfire (left over from an AZ Models kit) while the blades came from a damaged Matchbox Brewster Buffalo.
The Gladiator’s fuselage flank machine guns were kept and their “bullet channels” extrapolated along the new cowling, running under the new exhaust pipes. Another pair of machine guns were placed on top of the engine – for these, openings were carved into the upper hull and small fairings (similar to the Browning guns in the flanks) added. This arrangement appeared plausible to me, since the Gladiator’s oil cooler was not necessary anymore and the new lower wings (see below) were not big enough anymore to take the Gladiator’s underwing guns. Four MGs in the fuselage appears massive – but there were other types with such an arrangement, e.g. the Avia B-534 with four guns in the flanks and an inline engine.
The wings are complete replacements: the upper wing comes from a Heller Curtiss SBC4, while the lower wings as well as the spats (on shortened OOB Gladiator struts) come from an ICM Polikarpov I-153. All struts were scratched. Once the lower wings were in place and the relative position of the upper wing clear, the outer struts were carved from 1mm styrene sheet, using the I-153 design as benchmark. These were glued to the lower wing first, and, once totally dry after 24h, the upper wing was simply glued onto the top and the wing position adjusted. This was left to dry another 24h, and as a final step the four struts above the cowling (using the OOB struts, but as single parts and trimmed for proper fit) were placed. This way, a stable connection is guaranteed – and the result is surprisingly sturdy.
Rigging was done with heated sprue material – my personal favorite for this delicate task, and executed before painting the kit started so that the glue could cure and bond well.
Painting and markings:
The reason why this aircraft ended in Greek service is a color photograph of a crashed Hellenic Bloch M.B. 152 (coded ‘D 177’, to be specific). I guess that the picture was post-colored, though, because the aircraft of French origin sports rather weird colors: the picture shows a two-tone scheme in a deep, rather reddish chestnut brown and a light green that almost looks like teal. Unique, to say the least... Underside colors couldn’t be identified with certainty in the picture, but appeared like a pale but not too light blue grey.
Anyway, I assume that these colors are pure fiction and exaggerated Photoshop work, since the few M.B. 152s delivered to Greece carried AFAIK standard French camouflage (in French Khaki, Chestnut Brown and Blue-Grey on the upper surfaces, and a very light blue-grey from below). I’d assume that the contrast between the grey and green tones was not very obvious in the original photograph, so that the artist, not familiar with WWII paint schemes, replaced both colors with the strange teal tone and massively overmodulated the brown.
As weird as it looked, I liked this design and used it as an inspirational benchmark for my Hellenic Glaive build. After all, it’s a fictional aircraft… Upper basic colors are Humbrol 31 (RAF Slate Grey) and 160 (German Camouflage Red Brown), while the undersides became French Dark Blue Grey (ModelMaster Authentics 2105). The result looks rather odd…
Representing a combat-worn aircraft, I applied a thorough black ink wash and did heavier panel shading and dry-brushing on the leading edges, along with some visible touches of aluminum.
The Hellenic roundels come from a TL Modellbau aftermarket sheet. The tactical code was puzzled together from single letters, and the Greek “D” was created from single decal strips. For better contrast I used white decals – most Hellenic aircraft of the time had black codes, but the contrast is much better, and I found evidence that some machines actually carried white codes. The small fin flash is another free interpretation. Not every Hellenic aircraft carried these markings, and instead of painting the whole rudder in Greek colors I just applied a small fin flash. This was created with white and blue decal strips, closely matching the roundels’ colors.
Finally, after some soot stains around the guns and the exhausts, the kit was sealed with matt acrylic varnish.
Modified beyond recognition, perhaps…? The fictional Gloster Glaive looks IMHO good and very modern, just like one of those final biplane designs that were about to be outrun by monoplanes at the brink of WWII.
The Mizner Mansion was a very nice domicile, but the front porch with it's marble table looked quite inviting in the afternoon... Fort Myers, Florida
Doctor Who is owned by the BBC. No copy right infringement intended. Please give credit if you use any of these designs.
-
Specimen: Homosapien
Gender: Female
Age: Undetermined
Respiratory: Online- 75 %
Circulatory: Online- 83%
Conscious: fluctuating- 43-57%
Specimen: Homosapien
Gender: Male
Age: Undetermined
Respiratory: Online- 75 %
Circulatory: Online- 83%
Conscious: Offline- 36%
The short surges of an electrical pulse stirred Amy from her temporary sleep. Groggily, she slowly became aware of a growing sickness in her stomach. looking down through hazy vision, she came to understand that (a) she was standing, (b) she was attached to some sort glowing red constrainment, and (c) she was really, really hungry. A sharp kicking and in her stomach pulled the rest of her consciousness together, as well as an involuntary groan that eventually formed into words.
"....hurph-murble-murwhere am I?" she managed groggily. fully aware of her surroundings now, she experimentally pulled on one of the (what appeared to be) plasma brackets clutched to her wrists. this was met with a jolt of pain sending up her arm, as well at a yell from around the wall.
"AAaaaaaah-nd I'm awake."
Conscious: Online- 99%
"Rory?" whispered Amy. There was a pause of silence, and simultaneously shocks of energy shot up both of their arms, as both of them had tried to move towards each other at once.
"Ok, so we won't be going anywhere anytime soon," murmured Rory.
"Yeah, I think that the fact that we're shocked like a car jumper every time we move a muscle is probably a good hint to tell us to stay put," replied Amy. Suddenly, to the Pond's left came the clicking racket of metal gears grinding upwards, and one of the blue soldiers- Sontarans, they remembered- walked through the now open door way. The sound was repeated in reverse as the door closed and the sontaran walked forward. removing his helmet, he sneered at his two captives.
"Good, the specimen are awake," he barked sharply as he turned toward the computer banks. Amy and Rory looked at each other (or rather, looked at the wall between them). uncertainly, Rory cleared his voice.
"What do you mean, specimen?" he asked. turning around, the sontaran gave them an evil grimace.
"For the molecule disruptors. Our last subjects didn't survive the electrical shock, but you two are travelers of time! Perhaps you will." He said this with a slight chuckle at the end that made Amy tense slightly and rory's knees buckle a bit. however, when he was finished laughing he continued.
"Unfortunately, I have orders to keep you alive for the time being. A mild inconvenience, but one necessary. Once your usefulness, or should i say, HIS usefulness is done-"
"Who do you mean, HIS usefulness?" Amy interjected quickly. She already knew the answer, but validation would help her nervous mental state. The sontaran stopped abruptly and gave her the eye.
"Who do you think?"
Amy's heart sank, lifted, and ached at the same time. Rory just groaned internally.
"As I was saying," their captor continued, "Once his usefulness is over with, you two are to be extrapolated protein by protein for our nursery banks, for we are rather short on calcium and iron."
Amy's heart skipped a beat. the sontaran laughed at their terrified faces before turning back to his work. Rory shifted uncomfortably, once again sending jolts up both of their arms. Holding back a tear, Amy looked forward at the dull, grey wall opposite of her. Dark stains dripped down the wall, collecting around a drain plate on the floor. Amy felt her stomach jump to her throat. Rory hung his head back, waiting, for that was all they could do.
Wait, and hope their friend did something extremely clever to get them out of this situation.
Vincenzo Castella, Milano, 2012. Installation view.
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
+++ 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 Gloster Glaive was basically a modernized and re-engined variant of the successful, British-built Gloster Gladiator (or Gloster SS.37), the RAF’s final biplane fighter to enter service. The Gladiator was not only widely used by the RAF at the dawn of WWII and in almost every theatre of operations, but also by many other nations. Operators included Norway, Belgium, Sweden, Greece, Latvia, Lithuania or Nationalist China, and while the RAF already opted for more modern monoplanes, Gloster saw the opportunity to sell an updated Gladiator to countries which were not as progressive.
Originally designated Gladiator Mk. IV, the machine received many aerodynamic refinements and the motor was changed from a draggy radial to a liquid-cooled inline engine. The latter was the new Rolls Royce Peregrine, a development of the Kestrel. It was, in its original form, a 21-litre (1,300 cu in) liquid-cooled V-12 aero engine ), delivering 885-horsepower (660 kW). The engine was housed under a streamlined cowling, driving a three blade metal propeller, and was coupled with a ventral radiator bath, reminiscent of the Hawker Fury biplane’s arrangement.
Structural improvements included an all-metal monocoque fuselage and stabilizers, as well as new wings and streamlined struts with reduced bracing. The upper wing was enlarged and of all-metal construction, too, while the lower wings were reduced in span and area, almost resulting in a sesquiplane layout. The total wing area was only marginally reduced, though.
The fixed landing gear was retained, but the main wheels were now covered with spats. The pilot still sat in a fully enclosed cockpit, the armament consisted of four machine guns, similar to the Gladiator. But for the Glaive, all Browning machine guns were synchronized and mounted in the fuselage: one pair was placed on top of the cowling, in front of the cockpit. Another pair, much like the Gladiator’s arrangement was placed in the fuselage flanks, below the exhaust outlets.
Compared with the Gladiator, the design changes were so fundamental that Gloster eventually decided to allocate a separate designation – also with a view to the type’s foreign marketing, since a new aircraft appeared more attractive than another mark of a pre-war design. For the type’s virgin flight in late 1938 the name “Glaive” was unveiled to the public, and several smaller European air forces immediately showed interest, including Greece, Croatia, Turkey, Portugal and Egypt.
Greece was one of the initial customers, and the first of a total of 24 aircraft for the Hellenic Air Force was delivered in early 1939, with 24 more on order (which were never delivered, though). The initial batch arrived just in time, since tension had been building between Greece and Italy since 7 April 1939, when Italian troops occupied Albania. On 28 October 1940, Italy issued an ultimatum to Greece, which was promptly rejected. A few hours later, Italian troops launched an invasion of Greece, initiating the Greco-Italian War.
The Hellenic Gloster Glaives were split among three Mirae Dioxeos (Fighter Squadrons): the 21st at Trikala, 22nd at Thessaloniki and 23rd at Larissa. When Italy attacked in October 1940, the British fighter was, together with the PZL 24, the Greeks' only modern type in adequate numbers. However, by late 1940, the Gloster Glaive was already no longer a front-runner despite a powerful powerplant and satisfactory armament. It had no speed advantage over the Fiat Cr.42 nor could it outfly the nimble Italian biplane, and it was much slower than the Macchi MC.200 and the Fiat G.50 it was pitted against. Its agility was the only real advantage against the Italian fighters, whose reliance on the slow firing Breda-SAFAT 12.7mm machine guns proved detrimental.
Anyway, on 5 April 1941, German forces invaded Greece and quickly established air superiority. As the Allied troops retreated, British and Hellenic forces covered them, before flying to Crete during the last week of April. There, the refugee aircraft recorded a few claims over twin-engine aircraft before being evacuated to Egypt during the Battle of Crete.
Overall, the Glaives performed gallantly during the early period of the conflict, holding their own against impossible numerical odds and despite the fact that their main target were enemy bombers which forced them to fight at a disadvantage against enemy fighters. Italian claims of easy superiority over the Albanian front were vastly over-rated and their kill claims even exceeded the total number of operational fighters on the Greek side. Total Greek fighter losses in combat came to 24 a/c with the Greek fighter pilots claiming 64 confirmed kills and 24 probables (about two third bombers).
By April 1941, however, lack of spares and attrition had forced the Hellenic Air Force to merge the surviving seven Glaives with five leftover PZL.24s into one understrength squadron supported by five Gloster Gladiators Mk I & II and the two surviving MB.151s. These fought hopelessly against the Luftwaffe onslaught, and most aircraft were eventually lost on the ground. None of the Hellenic Gloster Glaives survived the conflict.
General characteristics:
Crew: two
Length: 8.92m (29 ft 3 in)
Wingspan: 34 ft 0 in (10.36 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 317 ft² (29.4 m²)
Empty weight: 1,295 kg (2,855 lb)
Max takeoff weight: 1,700 kg (3,748 lb)
Powerplant:
1× Rolls Royce Peregrine II liquid-cooled V12 inline engine, rated at 940 hp (700 kw)
Performance:
Maximum speed: 405 km/h (252 mph; 219 kn) at 4,400 m (14,436 ft)
Cruise speed: 345 km/h (214 mph; 186 kn)
Stall speed: 60 mph (52 knots, 96 km/h)
Range: 373 mi (600 km; 324 nmi)
Endurance: 2 hours
Service ceiling: 10,600 m (34,800 ft)
Rate of climb: 2,982 ft/min (15.15 m/s)
Time to altitude: 10.000 ft (3.050 m) in 3 minutes 20 seconds
Armament:
4× 0.303 calibre (7.7 mm) M1919 Browning machine guns in the fuselage
Provisions for 6× 10 kg (22 lb) or 4x 20 kg (44 lb) bombs under the lower wings
The kit and its assembly:
The fictional Gloster Glaive started quite simple with the idea of replacing the Gladiator’s radial with an inline engine. But this soon did not appear enough for an update – the Peregrine hardly delivered much more power than the former Mercury, so I considered some structural updates, too. Most of them comprised the replacement of former fabric-covered structures, and this led conceptually to a kitbash with only some Gladiator fuselage and tail parts left.
The basis is (once more) the very nice Matchbox Gloster Gladiator, but it was heavily modified. As an initial step, fuselage, fin and stabilizers (all OOB parts) lost their rib-and-fabric structure, simply sanded away. A minor detail, but it changes the overall look of the aircraft a lot, making it appear much more modern.
The fuselage was left without the OOB radial, and instead a leftover Merlin front end from an Airfix Hurricane (ca. 1cm long, left over from one of my first whif builds ever, a Hurricane with a radial engine!) was added. The lines match pretty well: the side profile looks sleek, if not elegant, but the Gladiator fuselage turned out to be wider than expected. Some major body work/PSR was necessary to integrate the new nose, but the result looks very good.
The liquid-cooled engine necessitated a radiator somewhere on the airframe…! Since I wanted the nose to remain slim and streamlined I eventually placed the radiator bath under the fuselage, much like the arrangement of the Hawker Fury biplane. The radiator itself comes from a late Spitfire (FROG kit).
The exhaust was taken from the Hurricane kit, too, and matching slits dug into the putty nose to take them. The three blade propeller is a mash-up, too: the spinner belongs, IIRC, to an early Spitfire (left over from an AZ Models kit) while the blades came from a damaged Matchbox Brewster Buffalo.
The Gladiator’s fuselage flank machine guns were kept and their “bullet channels” extrapolated along the new cowling, running under the new exhaust pipes. Another pair of machine guns were placed on top of the engine – for these, openings were carved into the upper hull and small fairings (similar to the Browning guns in the flanks) added. This arrangement appeared plausible to me, since the Gladiator’s oil cooler was not necessary anymore and the new lower wings (see below) were not big enough anymore to take the Gladiator’s underwing guns. Four MGs in the fuselage appears massive – but there were other types with such an arrangement, e.g. the Avia B-534 with four guns in the flanks and an inline engine.
The wings are complete replacements: the upper wing comes from a Heller Curtiss SBC4, while the lower wings as well as the spats (on shortened OOB Gladiator struts) come from an ICM Polikarpov I-153. All struts were scratched. Once the lower wings were in place and the relative position of the upper wing clear, the outer struts were carved from 1mm styrene sheet, using the I-153 design as benchmark. These were glued to the lower wing first, and, once totally dry after 24h, the upper wing was simply glued onto the top and the wing position adjusted. This was left to dry another 24h, and as a final step the four struts above the cowling (using the OOB struts, but as single parts and trimmed for proper fit) were placed. This way, a stable connection is guaranteed – and the result is surprisingly sturdy.
Rigging was done with heated sprue material – my personal favorite for this delicate task, and executed before painting the kit started so that the glue could cure and bond well.
Painting and markings:
The reason why this aircraft ended in Greek service is a color photograph of a crashed Hellenic Bloch M.B. 152 (coded ‘D 177’, to be specific). I guess that the picture was post-colored, though, because the aircraft of French origin sports rather weird colors: the picture shows a two-tone scheme in a deep, rather reddish chestnut brown and a light green that almost looks like teal. Unique, to say the least... Underside colors couldn’t be identified with certainty in the picture, but appeared like a pale but not too light blue grey.
Anyway, I assume that these colors are pure fiction and exaggerated Photoshop work, since the few M.B. 152s delivered to Greece carried AFAIK standard French camouflage (in French Khaki, Chestnut Brown and Blue-Grey on the upper surfaces, and a very light blue-grey from below). I’d assume that the contrast between the grey and green tones was not very obvious in the original photograph, so that the artist, not familiar with WWII paint schemes, replaced both colors with the strange teal tone and massively overmodulated the brown.
As weird as it looked, I liked this design and used it as an inspirational benchmark for my Hellenic Glaive build. After all, it’s a fictional aircraft… Upper basic colors are Humbrol 31 (RAF Slate Grey) and 160 (German Camouflage Red Brown), while the undersides became French Dark Blue Grey (ModelMaster Authentics 2105). The result looks rather odd…
Representing a combat-worn aircraft, I applied a thorough black ink wash and did heavier panel shading and dry-brushing on the leading edges, along with some visible touches of aluminum.
The Hellenic roundels come from a TL Modellbau aftermarket sheet. The tactical code was puzzled together from single letters, and the Greek “D” was created from single decal strips. For better contrast I used white decals – most Hellenic aircraft of the time had black codes, but the contrast is much better, and I found evidence that some machines actually carried white codes. The small fin flash is another free interpretation. Not every Hellenic aircraft carried these markings, and instead of painting the whole rudder in Greek colors I just applied a small fin flash. This was created with white and blue decal strips, closely matching the roundels’ colors.
Finally, after some soot stains around the guns and the exhausts, the kit was sealed with matt acrylic varnish.
Modified beyond recognition, perhaps…? The fictional Gloster Glaive looks IMHO good and very modern, just like one of those final biplane designs that were about to be outrun by monoplanes at the brink of WWII.
This Massimo Vitali's dyptich consists of 2 pictures from 11x14 inches Kodak Portra color negatives, to be printed 180x225 cm (71x89") each one (the final dyptich size is about 180 x 500 cm).
When the photolab processed the negatives it didn't fix the second one correctly: after some months we found out that the negative was completely damaged,
it lost a lot of contrast, and on the whole surface it was full of sposts and stripes of several different colors, magenta, red, etc...
We decided to restore it working digitally.
I did n2 scans on my Dainippon Screen 8060p Mk II drum scanner, each one was 1.4 Gb; I matched perfectly all the colors of the negatives, because they were completely different.
Then I corrected every color spot and stripe.
The final file was about 2.7 Gb. We printed it at the world famous Grieger Lab in Dusseldorf; the technicians at the lab told us that they never saw before a file of higher quality from a color film:
the LightJet print that came out was absolutely extraordinary.
(Original shot taken in Sicily, Italy)
-----
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.