View allAll Photos Tagged technological
"Simply Technological"
Bü 131 Jungmann - Journées Portes Ouvertes à l'aérodrome de Vesoul-Frotey (Bourgogne/Franche-Comté 2017)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
Así, casi así es, como me gustas, como más me gustas.
This way, that's almost as, I like, as I like you the most.
Part of Pandora's hub series
Firearm was a notorious, technologically-advanced bounty hunter who continuously threatened the Hero Factory. Firearm is a mercenary more than capable of carrying out assignments but lacking in the ambition to mastermind his own agenda.
Shortly before the betrayal of Von Ness, Firearm came to operate exclusively out of the Delta Quadrant, gaining experience as a mercenary and branching out his services. For some time, Firearm established his headquarters along the edge of the Necron Expanse, a vast region of frontier space with no stars systems for 200 lightyears. Following the success of Hero Factory in the galactic neighborhood, Firearm was able to inflate his service charges exponentially, with bounty hunters coming in short supply.
Over the course of his career, Firearm has utilized a number of weapons and gadgets to carry out his assignments, initially starting with standard issue Meteor Blasters and later diversifying to carry heavily customized gear for each mission. Most prominently, he has been known to carry a modified Combat Rifle looted from a Makuhero Industries factory.
Unlike many of his contemporaries, Firearm has been known to keep several extensive weapons and ammunition caches on planets around the Delta Quadrant, often containing launchers looted from Heroes or other criminals.
15/365
We live in a technological world. A world that I sometimes do not understand, and a world that both isolates us and brings us out of our shells. It promotes instant gratification, and yet it tests our patience at times.
Memorial Gym, on the campus of Tennessee Tech University in Cookeville, TN, is home to the Department of Exercise Science, Physical Education and Wellness. The building includes a large gymnasium with a basketball court, two smaller intramural gymnasiums, handball courts, and a swimming pool. Built on the original Quad, this is one of the older buildings on campus. Most of the university's athletics are held at other facilities around campus these days with this gym being mostly used for intramural games and teaching.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
Národní technické muzeum (National Technological Museum), Prague.
This machine was one of those which was flown from the UK to Czechoslovakia in August 1945 as part of 310 Squadron, RAF marked as seen here as "NN-N". The aircraft later served with the 1st squadron of Aviation Regiment 12 at Prague-Kbely as A-712. Like other Czechoslovak Spitfires, it was originally intended for export to Israel but crashed while landing at Kunovice on 22 April, 1949. It was therefore decided not to export it, but to store it for museum purposes. It was a restored for display in the 1960s
Interestingly, the next Spitfire in this serial sequence, TE566, after Israeli service, survived into the modern era and flew in the UK and South Africa before being lost in a fatal crash in 2002.
Home of the first (record breaking) turbine driven boat and housing the history of Newcastle and Tyneside told through permanent displays and temporary exhibitions, covering the area's martime, scientific and technological importance to Britain and the rest of the world.
And with advance to REALITY COPY there’s certainly no way of changing this perception only enforcing it, nothing in reality is good enough for “REALITY COPY” that is just another paradox that is not futuristic.
We might be still skeptical about the arrival of REALITY COPY, but its only before its sold at the supermarkets.
What would happen after “Reality Copy” when the progress of all possible levels of true “reality copy” (in technical sense, not psychologically-philosophical) are achieved. The reality hence is copied and sealed.
Technology won’t stop there… one wonders. What is next.
In political sense when reality in representation is something embraced by conservative social power than with “reality copy” the conservative power is the dominating from the social point of view having new level of reality and it’s copy to be controlled.
*seems like the only possibly alternative to REALITY COPY could be ultra radical Invisibility)
In principle the artist aims to deform the reality subjectively to create not the “reality copy” lacking such skills but to convey the artistic poetic goal of expressing whatever given artist wants to express.
In a matter of “reality copy” what is left for the artist to argue with and deform… to question and test… Nothing really changes socially except for more pressure applied to the issue of dealing with self-image and tools to “sell” When a person changes the image the higher the technology the more transformed is the final product.
The progress of mental growth is just as conservative as control on the “visual image of reality” and its copy.
The ongoing technological progress is irreversible as it carries percent of good with bad,
It is common knowledge how for instance internet is benefit and at the same time does damage. A person who knows about the addiction and suffers would acquire the knowledge and hope from the place the person suffers the internet of course.
Same thing is with photography and video. Reality copy would add more psychological problems to the present but create more visual attraction of true-life experience with whatever could be rediscovered in Lifecopy style. Probably is benefits pornography since it will continue same as consumption of food. The basic things… Consumerism benefits since it is super-trained for “instant reach” affect and will commercially exploit the “reality copy” to sell more of “reality copy” gadgets the phones, screens, etc.
New generation of people will repeat the cycle in new technological means of having “reality copy” as nothing new but similar to any visual information currently available.
The creative people are the ones BEHIND the time it seems in a matter of “reality copy” and being unable to have anything is an alternative.
The Invisible alternative is the ONLY ONE to question “reality copy”
That is the power of UNKNOWN.
Techno progress can deal in “reality” bringing higher resolution to the fore to sell new generation of phones and gadgets.
But it really doesn’t change the philosophical issue of questions asked by philosophers, what is life, what is art, why do we live. Questions remain unanswered when techno progress veils those questions with the promise that higher technology would bring the end to all unanswered questions and answer them for people.
So far the techno advance puts the artistic, literary and philosophical field out of business. As when people get the toys (gadgets) and the playground (the podium of internet) the art is irrelevant and completely disconnected from the social phenomenon of self-representation. Art is not interested to question something with no philosophical substance to it.
The commercial art is willing to supply more stuff for consumerism. If its reality-copy than someone empowered by financial wealth (born rich) would come up with more decorative solutions that could serve REALITY COPY in needed fashion, add more details to the “reality set” to those who can afford it.
Same way it is now when people with means live with more things.
“Reality Copy” of people without means would look just as it is in reality, gray and unexciting. To help people without means the software would offer “decoration” solutions to add the faux details able to transform the surroundings to less depressing. It would enter the person into “life copy” of vacation at Caribbean resorts… etc.
What in such situation could be philosophically questioned, if nothing changed in human morality, but techno advance manage to involve people into self-entertainment to such degree that a person is no longer interested to read books about other people or watch movies and hear news. Self-promotion is the ongoing and time-consuming thing. One has to research the “popular” topics.
As to participating in reality activities, there’s the issue of not having time for anything that doesn’t deal with self-promotion and earning a living.
ART commerce is growing commercially going Industrial since supplying consumer goods is always rewarding in sales. On the other hand this and techno revolution reduces interest of writers and philosophers to dig in depths where there is no depth. It makes such people disengaged with the process. When there are no critical voices to the established situation or some few art critics pretend to do what is expected of them – know about current situation not only on the art scene but at large - socially, and have strong voice against the trends that contribute to the lowering of culture. There’s no more liberal freedom since nobody reads the newspapers. Even if the working critics were principal enough to write articles and books they know their voice would not be heard. They are not vociferous about anything at all because there’s a concept of supporting and art endavour since art is in decline and anything that relates to art needs their support.
There are no voices to oppose the current situation for many reasons such as no younger people would be interested in such undertaking also for many reasons of being disoriented in expectation of techno changes or living their me-life.
The young ones are the invisibility movers, every day someone who is young, information and internet savvy adds the invisibility statement to their online identity. I saw it on tumblr and Iheart. (samples year web address – source)
Art consumer goods sell and make the seller get the goods since sale is the rule.
Art critics silently agree and actually it seems if they even try to disagree there is nothing in art that presently shows any direction against the established art situation.
There isn’t anything not saying a serious claim to deny aesthetic values of the art present and past, to turn away from any influence and history by the fashion avant-garde to question than resuscitate (bring back from death) art that lost vitality and practically is a dead art of dominating taste in an authoritarian culture and conformity.
Bring new blood to reinvent the art into weapon against the outlived old and positioning itself as direct opposition AGAINST art that represents culture of the present time.
Culture of consumerism that turned into visual consumerism with the help of internet is hard to oppose and challenge in any attempt of making bid public art spectacle, won’t challenge any concept but serve certain need for entertainment.
Invisible art of Paul Jaisini stands against all that is dominating and culturally regressive in the present, false visual multiplicity that imply democracy and absence of segregation in visual sphere, all inclusiveness.
On so many levels Paul Jaisini brings knowledge of how the present condition reflect on a mind. (non-linear thinking, information processing, constant analysis is the advanced state of high analytical creative mind /osd, adad is the side effect but there are more worse side effects) Shows the burst to create in manifestation of genius mind (can do any task without training) but unable to maintain the creative process as wholesome, bored with the immediate results. Invisibility is theoretical stability and result of high impact activity that gives fast result of creativity and genius realized in art. Then instability in the fact of the created art un--preserved and lost, destroyed.
On a lower level of people who start building some blog with enthusiasm dedicating time, research than abandoning it to become digital graveyard demonstrates inability to continue and search for new. Inability to face what yesterday seemed interesting and capture someone’s mind to give the creative boost.
(fast life, no sleep, high tech knowledge, constant search for new, unsatisfied… new is old – altogether supports “CONSUMERISM” when buying is haul more than physically needed, quantity is the need for new.
Invisible art as a concept seem to attract wide public and elite in such diametrically opposed combination, of people without high aesthetics in mind or the complete opposite illuminati-culturati. People with average or below average taste and aesthetic requirements are as interested and supportive as the elite. When it comes to someone in the middle- another phenomena, quite often those who are educated and intelligent take a stand against even one mention of the art being possibly somehow invisible.
These people respond very well and willing to agree with the concept as Invisible art is brought to them by mass media. In the beginning I was using internet to send out essays and saw the proof that as avant-garde wanted to reach people who never acquired artistically developed taste the invisible art was and now is more than ever suits their taste even to degree of obsession.
That’s adds insult to injury when nobody even pay attention and there’s nothing to offer as the alternative.
They want something tangible as the alternative, the grown philosophy to brew in the minds of people and artists as the sign of time.
The invisibility is the idea that has the power to antagonize the “reality copy” but not in a sense that is widely used in the present time. To express social isolation in case of the teens as seen on tumblr. (examples and variations of Invisibility trend in primitive pictures shared every day in such huge quantities no art publication ever knew, teens and pre-teens are those with passion among the rest of us, when they spread the word it goes far, same as the early internet time, when the word would go far distances to large number of people)
Historically known of the episodes when many artists tried to create the so-called invis art but it really didn’t involve much creativity except for the concepts they came up with, but in reality it involved the reduction of visual means and performance art when the audience came up with more ideas acting around the non-existent artwork than the artist.
Personally I discovered high interactive value of the “PRESUMED” invisible painting when I was getting a lot of responses with very interesting commentaries from the people who actually insisted I was sending them info about the invisible artworks. I never made any claims when sending written essays. People decided for me and probably this is the best way for the interactive dialogue to let people decide.
The only known versions of invisible artworks would be not something that can turn into a philosophical school of thought but random reductions of visual means of various artists. It all came to same MOA that involved frames etc., not the process of creativity or life long creativity that would show how such artistic philosophy develops and what various periods of the artist’s life produce by his belief in his artistic style.
The known precedents of exhibiting so-called invisible art were always random statements that never continued to develop in a distinct style.
What one usually expects is a blank canvas, a picture with some written ideas which is more a topography art, a picture that is in a wrapping of covered up and is a found object art. The only known artists who continued wrapping is Christo but his art is not considered invisible even though he hides or attempts to hide what is inside the wrapping….
Recently same as in more distant periods in time many artists are trying to reduce their visual means. There’s a difference though. In previous times artists ventured into reduction of visual means with more ease. The artworks from older times with reduced visual means had much less labor and look less worked on.
Now the reduction of visual means is something that doesn’t fall under the artistic philosophy when an artists trying to prevent an overkill of the visual imagery.
If Rothko worked on his abstract painting laboriously than in current standards his work would be considered not sale’s worthy. Now to be sale-worthy the abstraction is worked to show a lot of workmanship. Surely Rothko doesn’t want anyone to see a lot of workmanship quite the opposite, he wanted his paintings to look fresh and not overdone. And in current standards he would have to toil on every dot in his painting to perfect it.
Today’s abstract paintings look like very hard-worked on simulations of surfaces that look like some textures (varieties of plain or distressed surfaces /stone and whatever is the decorative surfaces of abstracts, patterns that are used in interior design.
Overworked, machine-like is expensive looking enough to sell in the gallery but it creates a certain amount of fatigue in time. The commerce knows about it, the fatigue would bring the art buyer to buy more to add some new life to the art collection ed infinitum.
Art commerce wants more art collectors in the times when art is selling and makes money and should be called what it is – decorative luxury items.
Art or luxury decorative items was always meant for people with wealth and they always wanted to get their money worth.
When abstract painting is done in a manner to be worthy of selling price it is not creativity of conceptual thought and has no abstracted meaning. The craft of simulating surfaces is widely known and is used in interior design. When it is unique that no other craftsman can repeat it is recognized nearly as jewelry and rag-making, etc. All the items that cost money due to the high workmanship and hours, months and sometimes years of creation. Same way was built the historical hand-made furniture. Same way the current abstract decorations will hold in time. It is made for someone as rich as royalties but it doesn’t mean that it has anything to do with artistic creativity, the most mysterious and unexplained human phenomenon.
So anyone who is interested to earn money as a maker of such luxury items and be able to place them in the store for sale – the art gallery, can come up with own recipe for surface replica and start working will find a paying job on the art scene nowadays...
It doesn’t involve questioning of morals, times and life. It involves many hours of working and ability to produce varieties of the same surfaces in good taste. Instead of questioning human spirituality, or questioning art means that someone considers irrelevant and outdated, not for any breakthrough to create something revolutionary new.
Pentagon leaders often speak of the need for disruptive technologies in the Fleet to mitigate the risks of shrinking defense budgets, declining U.S. military technological superiority and improving adversary capabilities. Last week, a remarkable example of disruptive innovation occurred. How did the Navy react? It simply reaffirmed its unimaginative plan to send its carrier-launched drone to the boneyard—and potentially sentence the aircraft carrier to a similar fate.
The Navy’s test carrier drone, the X-47B UCAS-D (Unmanned Combat Air System Demonstrator), recently participated in the first-ever fully autonomous aerial refueling at Naval Air Station Patuxent River. Though the implications of this engineering feat are wide-ranging and not wholly known at this point, successful demonstration of unmanned aerial refueling does shed light on several ongoing arguments about the future of U.S. military aviation.
First, the success of X-47B in breaking engineering barriers supports the expansion of unmanned aviation both within the carrier air wing and throughout the military as a whole. This is an autonomous aircraft as opposed to remotely piloted, and it just completed one of the most difficult tasks to perform with another aircraft through refueling. The Department of Defense has been working on developing a stabilized drogue to enable more reliable aerial refueling, but the X-47B did not even use this new system. Rather, the autonomous aircraft did all the work itself, demonstrating incredible feedback sensitivity.
Perhaps the reason there is not more fanfare or appreciation for the leap ahead in technological advancement is because the successful demonstration of autonomous aerial refueling, for some, supports an argument for replacing more F-35 Joint Strike Fighter carrier variants with X-47B-like platforms. There is a suggestion that such a progression would put the Navy’s sixth-generation fighter (F/A-XX) in jeopardy, a program which enjoys considerable support within the naval tactical aviation community. In this budgetary environment, relying on proven technologies—like those in the X-47B program—is a far better bet than the imagined, untested technologies in the yet-to-begin F/A-XX program.
Further, Pentagon leaders are fighting with Congress—specifically Chairmen John McCain, Mac Thornberry, and Randy Forbes—about what those unmanned combat aircraft should do in a program called the Unmanned Carrier-Launched Airborne Surveillance and Strike (UCLASS). Should the UCLASS merely serve as the eyes and ears of the aircraft carrier with limited strike capability in only non-contested environments, or should it be capable of striking enemies through their denied zones?
Last week, Secretary of the Navy Ray Mabus weighed in, commenting bluntly that the F-35C “almost certainly will be the last manned strike fighter aircraft the Department of the Navy will ever buy or fly.” This would seem to signal his strong support for the transition to unmanned platforms, especially for deep penetrating strike missions. Coincidentally (or not), Secretary Mabus last week also created two new civilian and military positions to focus solely on unmanned systems within the Navy to recognize the untapped potential of these types of platforms.
The UCAS-D’s successful autonomous refueling means that its impressive range of 2,400 miles can now be extended by tanker, thus allowing the carrier drone to carry vastly more ordnance. Already the X-47B carries about 85 percent of the payload of a F-35 Joint Strike Fighter—and carries it three times further. Even if tankers must turn around at 600 miles from the outer edge of an adversary’s denied zone, this breakthrough capability gives the X-47B enough “legs” to deliver true firepower anywhere US commanders want, especially if the ordnance delivered is capable of extended range flight of its own.
Without a refuelable UCLASS in the future carrier air wing, the Navy might as well take the “strike” out of carrier strike group. A key value of an aircraft carrier is its ability to accept new planes when the character of warfare changes, something it has done remarkably well for over seven decades. That change is happening now, and failure to procure a strike version of the UCLASS renders the Navy’s investment in new aircraft carriers far less cost-effective.
Outside of the carrier air wing, autonomous aerial refueling could result in several other force employment changes. For instance, the Marine Corps is currently putting the finishing touches on its program to develop a tanker variant of the V-22 Osprey. Combining tanker Ospreys with refuelable low-end land-based drones could result in much-improved reconnaissance abilities for the austere Special-Purpose Marine Air-Ground Task Forces that have become a staple of American forward presence. The Army has already developed a manned-unmanned teaming system for its Apache helicopters to control drones. Tanker V-22s could implement a version of the same to control and refuel fleets of unmanned aircraft and achieve true persistent surveillance. Even within the Navy—which will soon have V-22s onboard carriers to deliver supplies—the possibilities are enticing and need to be explored further through testing and experimentation.
These are only a small subset of the possibilities that opened up over the skies of Pax River last weekend. To fully exploit such disruptive technology, the Department of Defense should open access to the UCAS-D program to aviators from every service. Despite a long record of achievement, the Navy still maintains that it will shut down the UCAS-D program and send the X-47B to the aircraft boneyard in Arizona with less than a quarter of its rated flight hours used up. This is a true waste. As we suggested in 2013, the Navy should reconsider this policy and allow creative military thinkers to continue experimental testing of the two planes beyond fiscal year 2016.
The rhetoric of Secretary Mabus points the Navy in the right direction for the future. Now, he must follow through with action. Extending the UCAS-D test program and refining UCLASS requirements toward a high-end strike aircraft would cement Mabus’ legacy and truly put the Navy on the path to continued dominance in the future.
And with advance to REALITY COPY there’s certainly no way of changing this perception only enforcing it, nothing in reality is good enough for “REALITY COPY” that is just another paradox that is not futuristic.
We might be still skeptical about the arrival of REALITY COPY, but its only before its sold at the supermarkets.
What would happen after “Reality Copy” when the progress of all possible levels of true “reality copy” (in technical sense, not psychologically-philosophical) are achieved. The reality hence is copied and sealed.
Technology won’t stop there… one wonders. What is next.
In political sense when reality in representation is something embraced by conservative social power than with “reality copy” the conservative power is the dominating from the social point of view having new level of reality and it’s copy to be controlled.
*seems like the only possibly alternative to REALITY COPY could be ultra radical Invisibility)
In principle the artist aims to deform the reality subjectively to create not the “reality copy” lacking such skills but to convey the artistic poetic goal of expressing whatever given artist wants to express.
In a matter of “reality copy” what is left for the artist to argue with and deform… to question and test… Nothing really changes socially except for more pressure applied to the issue of dealing with self-image and tools to “sell” When a person changes the image the higher the technology the more transformed is the final product.
The progress of mental growth is just as conservative as control on the “visual image of reality” and its copy.
The ongoing technological progress is irreversible as it carries percent of good with bad,
It is common knowledge how for instance internet is benefit and at the same time does damage. A person who knows about the addiction and suffers would acquire the knowledge and hope from the place the person suffers the internet of course.
Same thing is with photography and video. Reality copy would add more psychological problems to the present but create more visual attraction of true-life experience with whatever could be rediscovered in Lifecopy style. Probably is benefits pornography since it will continue same as consumption of food. The basic things… Consumerism benefits since it is super-trained for “instant reach” affect and will commercially exploit the “reality copy” to sell more of “reality copy” gadgets the phones, screens, etc.
New generation of people will repeat the cycle in new technological means of having “reality copy” as nothing new but similar to any visual information currently available.
The creative people are the ones BEHIND the time it seems in a matter of “reality copy” and being unable to have anything is an alternative.
The Invisible alternative is the ONLY ONE to question “reality copy”
That is the power of UNKNOWN.
Techno progress can deal in “reality” bringing higher resolution to the fore to sell new generation of phones and gadgets.
But it really doesn’t change the philosophical issue of questions asked by philosophers, what is life, what is art, why do we live. Questions remain unanswered when techno progress veils those questions with the promise that higher technology would bring the end to all unanswered questions and answer them for people.
So far the techno advance puts the artistic, literary and philosophical field out of business. As when people get the toys (gadgets) and the playground (the podium of internet) the art is irrelevant and completely disconnected from the social phenomenon of self-representation. Art is not interested to question something with no philosophical substance to it.
The commercial art is willing to supply more stuff for consumerism. If its reality-copy than someone empowered by financial wealth (born rich) would come up with more decorative solutions that could serve REALITY COPY in needed fashion, add more details to the “reality set” to those who can afford it.
Same way it is now when people with means live with more things.
“Reality Copy” of people without means would look just as it is in reality, gray and unexciting. To help people without means the software would offer “decoration” solutions to add the faux details able to transform the surroundings to less depressing. It would enter the person into “life copy” of vacation at Caribbean resorts… etc.
What in such situation could be philosophically questioned, if nothing changed in human morality, but techno advance manage to involve people into self-entertainment to such degree that a person is no longer interested to read books about other people or watch movies and hear news. Self-promotion is the ongoing and time-consuming thing. One has to research the “popular” topics.
As to participating in reality activities, there’s the issue of not having time for anything that doesn’t deal with self-promotion and earning a living.
ART commerce is growing commercially going Industrial since supplying consumer goods is always rewarding in sales. On the other hand this and techno revolution reduces interest of writers and philosophers to dig in depths where there is no depth. It makes such people disengaged with the process. When there are no critical voices to the established situation or some few art critics pretend to do what is expected of them – know about current situation not only on the art scene but at large - socially, and have strong voice against the trends that contribute to the lowering of culture. There’s no more liberal freedom since nobody reads the newspapers. Even if the working critics were principal enough to write articles and books they know their voice would not be heard. They are not vociferous about anything at all because there’s a concept of supporting and art endavour since art is in decline and anything that relates to art needs their support.
There are no voices to oppose the current situation for many reasons such as no younger people would be interested in such undertaking also for many reasons of being disoriented in expectation of techno changes or living their me-life.
The young ones are the invisibility movers, every day someone who is young, information and internet savvy adds the invisibility statement to their online identity. I saw it on tumblr and Iheart. (samples year web address – source)
Art consumer goods sell and make the seller get the goods since sale is the rule.
Art critics silently agree and actually it seems if they even try to disagree there is nothing in art that presently shows any direction against the established art situation.
There isn’t anything not saying a serious claim to deny aesthetic values of the art present and past, to turn away from any influence and history by the fashion avant-garde to question than resuscitate (bring back from death) art that lost vitality and practically is a dead art of dominating taste in an authoritarian culture and conformity.
Bring new blood to reinvent the art into weapon against the outlived old and positioning itself as direct opposition AGAINST art that represents culture of the present time.
Culture of consumerism that turned into visual consumerism with the help of internet is hard to oppose and challenge in any attempt of making bid public art spectacle, won’t challenge any concept but serve certain need for entertainment.
Invisible art of Paul Jaisini stands against all that is dominating and culturally regressive in the present, false visual multiplicity that imply democracy and absence of segregation in visual sphere, all inclusiveness.
On so many levels Paul Jaisini brings knowledge of how the present condition reflect on a mind. (non-linear thinking, information processing, constant analysis is the advanced state of high analytical creative mind /osd, adad is the side effect but there are more worse side effects) Shows the burst to create in manifestation of genius mind (can do any task without training) but unable to maintain the creative process as wholesome, bored with the immediate results. Invisibility is theoretical stability and result of high impact activity that gives fast result of creativity and genius realized in art. Then instability in the fact of the created art un--preserved and lost, destroyed.
On a lower level of people who start building some blog with enthusiasm dedicating time, research than abandoning it to become digital graveyard demonstrates inability to continue and search for new. Inability to face what yesterday seemed interesting and capture someone’s mind to give the creative boost.
(fast life, no sleep, high tech knowledge, constant search for new, unsatisfied… new is old – altogether supports “CONSUMERISM” when buying is haul more than physically needed, quantity is the need for new.
Invisible art as a concept seem to attract wide public and elite in such diametrically opposed combination, of people without high aesthetics in mind or the complete opposite illuminati-culturati. People with average or below average taste and aesthetic requirements are as interested and supportive as the elite. When it comes to someone in the middle- another phenomena, quite often those who are educated and intelligent take a stand against even one mention of the art being possibly somehow invisible.
These people respond very well and willing to agree with the concept as Invisible art is brought to them by mass media. In the beginning I was using internet to send out essays and saw the proof that as avant-garde wanted to reach people who never acquired artistically developed taste the invisible art was and now is more than ever suits their taste even to degree of obsession.
That’s adds insult to injury when nobody even pay attention and there’s nothing to offer as the alternative.
They want something tangible as the alternative, the grown philosophy to brew in the minds of people and artists as the sign of time.
The invisibility is the idea that has the power to antagonize the “reality copy” but not in a sense that is widely used in the present time. To express social isolation in case of the teens as seen on tumblr. (examples and variations of Invisibility trend in primitive pictures shared every day in such huge quantities no art publication ever knew, teens and pre-teens are those with passion among the rest of us, when they spread the word it goes far, same as the early internet time, when the word would go far distances to large number of people)
Historically known of the episodes when many artists tried to create the so-called invis art but it really didn’t involve much creativity except for the concepts they came up with, but in reality it involved the reduction of visual means and performance art when the audience came up with more ideas acting around the non-existent artwork than the artist.
Personally I discovered high interactive value of the “PRESUMED” invisible painting when I was getting a lot of responses with very interesting commentaries from the people who actually insisted I was sending them info about the invisible artworks. I never made any claims when sending written essays. People decided for me and probably this is the best way for the interactive dialogue to let people decide.
The only known versions of invisible artworks would be not something that can turn into a philosophical school of thought but random reductions of visual means of various artists. It all came to same MOA that involved frames etc., not the process of creativity or life long creativity that would show how such artistic philosophy develops and what various periods of the artist’s life produce by his belief in his artistic style.
The known precedents of exhibiting so-called invisible art were always random statements that never continued to develop in a distinct style.
What one usually expects is a blank canvas, a picture with some written ideas which is more a topography art, a picture that is in a wrapping of covered up and is a found object art. The only known artists who continued wrapping is Christo but his art is not considered invisible even though he hides or attempts to hide what is inside the wrapping….
Recently same as in more distant periods in time many artists are trying to reduce their visual means. There’s a difference though. In previous times artists ventured into reduction of visual means with more ease. The artworks from older times with reduced visual means had much less labor and look less worked on.
Now the reduction of visual means is something that doesn’t fall under the artistic philosophy when an artists trying to prevent an overkill of the visual imagery.
If Rothko worked on his abstract painting laboriously than in current standards his work would be considered not sale’s worthy. Now to be sale-worthy the abstraction is worked to show a lot of workmanship. Surely Rothko doesn’t want anyone to see a lot of workmanship quite the opposite, he wanted his paintings to look fresh and not overdone. And in current standards he would have to toil on every dot in his painting to perfect it.
Today’s abstract paintings look like very hard-worked on simulations of surfaces that look like some textures (varieties of plain or distressed surfaces /stone and whatever is the decorative surfaces of abstracts, patterns that are used in interior design.
Overworked, machine-like is expensive looking enough to sell in the gallery but it creates a certain amount of fatigue in time. The commerce knows about it, the fatigue would bring the art buyer to buy more to add some new life to the art collection ed infinitum.
Art commerce wants more art collectors in the times when art is selling and makes money and should be called what it is – decorative luxury items.
Art or luxury decorative items was always meant for people with wealth and they always wanted to get their money worth.
When abstract painting is done in a manner to be worthy of selling price it is not creativity of conceptual thought and has no abstracted meaning. The craft of simulating surfaces is widely known and is used in interior design. When it is unique that no other craftsman can repeat it is recognized nearly as jewelry and rag-making, etc. All the items that cost money due to the high workmanship and hours, months and sometimes years of creation. Same way was built the historical hand-made furniture. Same way the current abstract decorations will hold in time. It is made for someone as rich as royalties but it doesn’t mean that it has anything to do with artistic creativity, the most mysterious and unexplained human phenomenon.
So anyone who is interested to earn money as a maker of such luxury items and be able to place them in the store for sale – the art gallery, can come up with own recipe for surface replica and start working will find a paying job on the art scene nowadays...
It doesn’t involve questioning of morals, times and life. It involves many hours of working and ability to produce varieties of the same surfaces in good taste. Instead of questioning human spirituality, or questioning art means that someone considers irrelevant and outdated, not for any breakthrough to create something revolutionary new.
I chose this shot of the Raptor for this rant because it does not glorify the technological marvel that it is. It shows the culmination of the 20 year+ path it took to get to this picture. Here it shows a Raptor taxing out for a sortie over the Nellis ranges amongst its operational stablemates. The F-22 has come a LONG way to deliver the goods and now, once its capability is just being understood Secretary Gates and the Obama Administration TERMINATED THE PROJECT in favor of the F-35. Here is my response to a fraternity brother who wrote me in response to today's cuts. He stated he is happy that the money is going more towards the troops on the ground and not these flying overpriced techno-dream machines. To his credit he served heroically 18 months in iraq during the worst of the Shiite uprising. Please take the time to read it and tell me your thoughts on today's events.
______________________________
You are right right, our ground troops need a much higher focus going forward. But Gates has not given them that at the expense of the F-22. No he actually cut our battalions from a goal of 48 to 45 and shelved the badly needed Future Combat System that would give the ground guys "netcentric" 21st century technology. OH but he did increase Pentagon bureaucracy by a HUGE margin.
Why is the F-22 needed.
1.) Although 183 airframes seems like a lot, it is NOT. If we were to go to war tomorrow it would only leave a SUSTAINED force of about 30-40 jets that would be combat ready at any given time. The rest believe it or not are stuck in training, upgrades, depot, systems testing or tactics development. Each raptor carries 8 missiles, 6 of which (beyond visual range AIM-120Cs) would be used if everything goes RIGHT. If it does not the other 2 (AIM-9M) plus the 480rds of 20mm are for self defense. In other words after 6 shots the raptor runs. Further they usually volley 2 AIM-120Cs per target. That leaves a real world potential kill probability of 3 airframes per sortie against a serious threat. Raptors fight in divisions of 4 at a time so that is 12 enemy aircraft destroyed before they have to re-arm. This is NOT ENEOUGH CAPABILITY AGAINST THREATS SUCH AS CHINA OR EVEN LOWER TIER FOES WITH CRUISE MISSILES. Enemies will now know that all they have to do is saturate the Raptor to break through to our high value assets (AWACS, JSTARS, TANKERS, NETWORK RELAY AIRCRAFT, CARRIERS, GARRISONS ETC.) it simply is not enough capability for first day of war scenarios.
2.) The Raptor can do things the F-35 cannot. The F-35 can only carry 4 AIM-120s with no close in heaters like the AIM-9X (Infra Red homing and highly maneuverable). That means the F-35 can only kill 2 targets at beyond visual range with high probability of kill. Further only the USAF version of the F-35 will carry and internal gun for self defense close in.
3.) The Raptor can supercruise (obtain sustained supersonic speed without gas guzzling afterburner) the F-35 cannot. The F-35 is a heavy single engine aircraft that is not even as maneuverable as an F-16 in certain areas of the flight envelope. It has no thrust vectoring for super maneuverability and is not as stealthy nor stealthy in all aspects like the F-22. Simply it is not even close to a replacement for air superiority. They are apples and oranges.
4.) The F-15 is old, if we retain 173 "GOLDEN EAGLES" with the new Electronically Scanned Array Radars (APG-63V3) along with other upgrades it will only be ON PAR with the Suckhoi Su-27 derivatives that are being exported by Russia RIGHT NOW. The upgraded F-15s will rely on the F-22 using its supercomputer listening and targeting technology to forward targets to it to shoot beyond visual range. If you don’t have enough F-22s to maintain battlefield persistence then these upgraded Eagles will have a greater possibility of be destroyed.
5.) THE BIG ONE: WHY DO WE NEED THE F-35 IF WE HAVE ENOUGH RAPTORS????????
WE DONT. It is a handout to industry. If we had enough F-22s we could kick down the door of the enemy in the first hours of war, destroying all their aircraft in the air and on the ground as well as the enemy's air defense networks (yes the F-22 is a FANTASTIC bomber too when paired against modern integrated air defense systems). Instead of buying the F-35 we could buy new block F-16s and F/A-18E/Fs at HALF the cost of an F-35. Once air superiority is obtained, you don’t need stealth, you need reliable proven platforms to SUPPORT THE WARFIGHTER ON THE GROUND.
6.) The F-22 is a "known" weapon system. In other words it is PROVEN to be highly effective, flying today, in production and beating all the goals set out in its genesis. The F-35 has only flown 200 hours in a pre-production prototype configuration, yet the DoD and Lockheed have ALREADY put it into full production!!!! Its insane and unprecedented. The F-22 took 8 years of FLIGHT testing in this stage to be validated and reach initial operational capability. DoD has bypassed TESTING because we need it now and partner export countries need it yesterday. In reality the aircraft will be YEARS over schedule and we are throwing HUGE money away building an invalidated aircraft yet alone a vetted integrated weapons system. Remember the grounding of the F-15s last year leaving the US with its pants down do to cracks in the forward "longeron" structural booms? Well these types of flaws can now be tested for over years of evaluation. This is especially scary for the F-35 because they literally lightened up its structure dramatically so it could meet the weight qualification needed for the vertical takeoff version intended for the marines. The F-15 was originally OVER built in true McDonald Douglas fashion and after 30 years it experienced airframe ending cracks. The F-35 is under built from the get-go and UNTESTED and will need to last 30 years!!!! Good luck.
7.) The F-35 is a one size fits all airframe. The F-22 is a thoroughbred built to KILL ANYTHING. The F-35 is a compromise in every since of the word. I mean do you really think the Marines are going to keep such a fragile aircraft flying in dusty desert environment while keeping up the radar absorbent materials? Have you ever seen a deployed USMC AV-8B harrier? They DO NOT win the housekeeping seal of approval! NO WAY. PIPEDREAM. Its an overcomplicated solution for marines especially that will result in low availability rates and high costs.
8.) The F-35 is made to be exported to tens of allied nations like the F-16 was. We will order over 2500, the partner nations another 1000 or more. We don’t need this weapon system, but our industry does. So DoD, instead of buying enough raptors to gain full air supremacy while SAVING money buy purchasing rugged and cost effective F-16s, AV-8Bs, F/A-18E/Fs decides to purchase a high risk, over complicated one size fits all airframe in order to make Lockheed a little bit more wealthy and ensuring our weapons exports for the next couple of decades. In effect saying, SCREW THE WAR FIGHTER WHILE SLEEPING WITH THE BIGGEST OF ALL DEFENSE CONTRACTORS. Its stupid, expensive and a bad choice for America.
9.) As far as costs go, you site a flyaway cost of over 150million, you are right. But what you don’t mention is that the first HUNDREDS of F-35s will cost the US almost as much money for much less capability! Yes that’s right the F-35 will cost well over 125million for first decade of lots! Only after hundreds and hundreds have been built will cost come down to almost twice that of a well equipped F-16!!!!! This is NOT a cost effective piece of machinery. No, very much the opposite! It is a poster child for the DoD’s “capability creep” that is PARALYZING good weapon systems by making them too expensive to field in appropriate numbers.
10.) Does it really make sense to have a stealth techno marvel giving air support to grunts months after the aerial opposition has been dismantled? NO! Why pay the huge premium of an all stealth force when the Raptor, B-2, UCAVs, and cruise missiles can do the job more cost effectively? We need to go back to the classic Hi-lo mix of airframes. The high end to kick down the door, the low end to make sure the forward air controllers always have something with weapons ready to deliver above troops in contact’s heads.
In essence this is not an argument about redistributing funds from the air to the ground but what to BUY for the air! The answer is F-22s AND reliable, tried and trusted platforms that are cheap to build and operate. Instead, we have a one size fits all force for very NOT ONE SIZE FITS ALL threat profiles which we face around the world. Its dangerous, near sighted, distracting, expensive, biased toward corporate America and not the war fighter and its just plane WRONG.
Remember you don’t need an F-22 until you really need an F-22!
My thoughts.
Ty
***NOTE: READ THROUH THIS BLOG, AN AMZING SERIES OF EVENTS THAT HAVE PRETTY MUCH COME TO PASS EXACTLY AS STATED.
The family BIS: The Bank for International Settlements is working with various other crime syndicates (central banks) to build digital financial networks and platforms along with technological tools to support a new era of international monetary cooperation in the digital money ecosystem.
I’m gonna make you a deal you can’t refuse. It’s not personal, it’s strictly business. The banker with the briefcase can steal more money than the man with a gun.
The future is a tokenized world. The tokenization of real-world assets (RWAs) will enable the buying and selling of digital assets through blockchain technology. Blockchain is a digital ledger, a digital list of records, a digital database that records financial transactions in a business network. Most payment systems are designed for domestic use; therefore, Central Bank Digital Currencies (CBDCs) must be interlinked to a shared global platform. Distributed Ledger Technology (DLT) must be combined with Fast Payment Systems (FPS) in order to calculate various exchange rates for real-time cross-border transactions. CBDCs will then be transferred via digital bridges between domestic platforms and transnational networks. This transnational blockchain network will act like an interbank foreign exchange.
There are two main forms of CBDCs: retail CBDCs and wholesale CBDCs. Retail CBDCs are used by the general public and wholesale CBDCs are used by the banking industry. Principles for Financial Market Infrastructures (PFMIs) will be the international standard for this distributed ledger wholesale interbank financial market infrastructure payment settlement system. Indeed, collaboration between global partners will push the boundaries of central bank innovation and efficiency.
“Give me control of a nation’s money and I care not who makes its laws.” The banking mafia will extort your money and assets. You’ll own nothing and be happy. You’ll be controlled by a Social Credit Score system. You’ll be given an allowance: Universal Basic Income (universal welfare/socialism). The mob will control you.
The Godfather will eventually consolidate the family business, creating a One World Digital Currency (OWDC) called the MARK. The Godfather’s symbol will be a number, and his number will be 666.
2 Thessalonians 2:3-4 “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of lawlessness is revealed, the man doomed to destruction. He will oppose and will exalt himself over everything that is called God or is worshiped, so that he sets himself up in God’s temple, proclaiming himself to be God.”
(Reuters) – “The first human patient implanted with a brain-chip from Neuralink appears to have fully recovered and is able to control a computer mouse using their thoughts, the startup’s founder Elon Musk said late on Monday.” (One day they’ll be able to do this on an industrial scale: The Fourth Industrial Revolution).
Firearm was a notorious, technologically-advanced bounty hunter who continuously threatened the Hero Factory. Firearm is a mercenary more than capable of carrying out assignments but lacking in the ambition to mastermind his own agenda.
Shortly before the betrayal of Von Ness, Firearm came to operate exclusively out of the Delta Quadrant, gaining experience as a mercenary and branching out his services. For some time, Firearm established his headquarters along the edge of the Necron Expanse, a vast region of frontier space with no stars systems for 200 lightyears. Following the success of Hero Factory in the galactic neighborhood, Firearm was able to inflate his service charges exponentially, with bounty hunters coming in short supply.
Over the course of his career, Firearm has utilized a number of weapons and gadgets to carry out his assignments, initially starting with standard issue Meteor Blasters and later diversifying to carry heavily customized gear for each mission. Most prominently, he has been known to carry a modified Combat Rifle looted from a Makuhero Industries factory.
Unlike many of his contemporaries, Firearm has been known to keep several extensive weapons and ammunition caches on planets around the Delta Quadrant, often containing launchers looted from Heroes or other criminals.
Photo:Fpurkhalter, modèle:Leeloo Wayne, Design/Retouche:Montage:AXIA Agence de communication (Stéphane Benedetti)
Technological progress in the air, and in the hand, as a traveler converses on his mobile telephone while passing by an exhibit on the history of United Airlines at San Francisco International Airport.
The technological magic of opening a car door without fumbling for my key which is always at the bottom of my bag.
43/52 in 2022 challenge: technological
Las zonas de aguas profundas o de geología compleja son lugares en los que se localizan hidrocarburos y a los que se puede acceder en la actualidad gracias a la innovación tecnológica y a las nuevas técnicas de Exploración y Producción.
Más info en:
www.repsol.com/es_es/corporacion/conocer-repsol/nuestra-a...
Complex areas of deepwater geology are places where certain hydrocarbons are accessible today thanks to technological innovation and the new techniques of exploration and production.
More info on :
www.repsol.com/es_es/corporacion/conocer-repsol/nuestra-a ...
Classic Motorshow, Bremen
Not only a very rare Porsche 959, but one of the original prototypes Porsche used for development testing of the components that would be fitted to these technological marvels. The ad below can tell you the specific history of this prototype so I won’t regurgitate that here, but the short version is that this prototype was involved in ABS and tire testing at the high-speed ring in Nardo, Italy. Once 959 production was completed and the prototype was retired from testing service it was returned to the Porsche factory for a full refurbishment before making its way to its first private owner. Its ownership history appears to be fully documented, with much of that history spent in collections in Japan, prior to its current availability. The 959, of course, is one of Porsche’s most historic cars, most famously for the way in which it challenged the Ferrari F40 for supercar supremacy in its day. The two car makers took very different approaches to their supercars with Porsche following its generally tack of combining the best of luxury, technology, and performance in a single package while the F40 stripped out seemingly everything to offer the purest driving expression Ferrari could manage in a road car. While never really the prettiest of machines, the 959 served as a testament to Porsche’s engineering capabilities and provided a testing bed for many features that would make their way to the 911 over the years that followed. The 959 prototypes, like the one seen here, were built off of the 930 chassis and used in a variety of development settings. Reportedly 29 total were built and it is believed that 10 have survived.
Text from the ad:
This is the most advanced road Porsche ever built and one of the most impressive in the automotive history. « Porsche engineers were given a goal and set free, the 959 put Porsche on the map when it came to innovative automotive technology. There were 934s and 935s, and even the 956/962, but to put it all together in a street car was unheard of. It was a major factor in moving Porsche’s racing prowess from the track to the street. ». How come a better explanation from the 959’s genesis could be ? This is the one from Dieter Landenberger, the head of Porsche historical archives.
In 1981 there was a big change at the head of Porsche with the replacement from Ernst Fuhrmann by Peter Schultz, a new direction and strategy were given then. Fuhrmann in the mid 70s thought the 911 was going to an end and stopped its development to focus on the front engined cars ( 924/928/944 ) but Schultz thought very different. In 1981 he gave the green light to work on the project of a « Super » 911 with the aim of building a Group B racing version complying with the all-new FIA regulations. The car was designed and built at the Porsche Motorsport department at Weissach and a prototype called « Gruppe B » shown at the 1983 Frankfurt show. It was an immense success with its amazing specifications and design, many though this could never be turned into a road car. It took another two years of development and testings to have the production car ready and to list a few of the « world premieres » it had : four wheels drive, ABS 4 channels, twin turbos, tyre pressure monitoring, adjustable torque balance front/rear from 20 to 80%, 17 inches wheels, adjustable ride height, 6 speeds gearbox and so on. The 959 was so advanced technologically that it immediately sat new standards in terms of performance and drivability. The production car launched in 1986 had 450 HP and 317km/h as top speed and ran the standing km in only 21,7 sec, beating the 288 GTO by 2secs. Porsche always have the habit of validating a new technology via Motorosport and in 1986, Jacky Icks won the Paris – Dakar race and René Metge / Claude Ballot Léna won their class at Le Mans and finished 7th OA with race prepared 959s, which other car did it ? The fabulous 959 is the first step and rolling laboratory of the 911’s rebirth. According to Porsche only 292 of them were built ( as per comparaison Ferrari built 1311 F40s ) and all sold on pre order. This is one of the rarest Porsche ever built and probably the most charismatic of their road cars.
This is a quite a unique opportunity in a dealer career to offer a Porsche factory prototype, considering they normally don’t come to the market, being destroyed or keep at the museum. This mind boggling 959, chassis number WPOZZZ93ZFS010067 was built in 1985, given the internal code « V1KOM » and registered BB-PW481. In 1985 Helmutt Bott ( head of the 959 development ) has taken 29 930 chassis from the Porsche factory to turn them in Weissach ( Porsche Motorsport dept ) into the 959 Pre-production prototypes and these were called « F,N or V ». These 29 prototypes were the latest ones and used for media coverage, crash tests and road tests. This car is one of the the 7 « V – Series » which were assigned to the road tests, this particular one was used for ABS and tyre development. Unfortunately most of the 29 Prototypes were destroyed and scrapped at the end of the 959 program.
« 10067 » is one of the 4 959 prototypes survivor and one of the only two road going ones. Interestingly enough, the first owner was Professor Tachio Saito, who happened to be a close friend of Ferry Porsche. He noticed chassis 10067 during a visit to the factory whilst translating a book that Dr Porsche had written (Helmut Bott’s personal 959 was the preceding chassis, number 10066). As the founder of the Porsche Owners’ Club of Japan, as well as its first president, Professor Saito was more than qualified as one of Porsche’s preferred customers. A copy of factory correspondence, dated 4 December 1989 and addressed to Saito, refers to certain tasks to be undertaken by the factory prior to his acquisition of this prototype. The letter was written by Herr Willrett, believed to be Elmar Willrett, who was a Porsche engineer who was deeply involved in the development of both the 935 and 935 racing engines and who worked under Rolf Sprenger in the « Sonderwisches » (Special Wishes) Program. The document suggests that this car was to be prepared for display purposes, with functional brakes and steering. Once an agreement was settled, Porsche A.G. completed the restoration of the car, and after 16 months, Professor Saito took delivery of his prototype 959.
The professor maintained the 959 for only a short period of time, until noted collector Hideyasu Ohba, of Tokyo, Japan, acquired it for his collection of historic Porsches. In 2000, Mr Ohba sold this car to Minoru Miura, of Chiba, Japan. In 2006, still in Japan, the 959 was then acquired by Mr Shigeru from the Miura Collection. The car went to another 2 hands before coming up to the market via Art & Revs.
Being an original Protoype, this car comes with its pre-production magnesium wheels, « Denloc » Dunlop tires, brakes and some lightweight panels. All the production 959s were delivered with Bridgestone RE71 tires, the Dunlops were not retained though they incorporated a world premiere with a kind of « Run Flat » technology. The car is now only 400km and can only be described as being in new condition. It is fully working and was the subject to a recent overhaul and driven for 5 km.
Porsche factory no longer releases any Prototype to the public, this is a unique opportunity to acquire one.
My 2013 Go Pro Hero 3 Black Edition and my 1984 JVC GR-C1.
The JVC was actually the smallest VHS camcorder you could buy back in 1984, with basic retail price of £1500, about £4000 in todays money.
for july 26th 2011, sooc. a little behind again.... woopppsss. this is my film camera, it's getting a lot of usage seeing as my t3i is with canon (:
Digital cameras of today are technological marvels, and capable of capturing images that even the human eye can't see. This thirty second exposure was shot at 6:30 am, well before sunrise and in nearly complete darkness - but the camera's sensor captured enough light to render the scene as if it were shot in broad daylight.
Location: Jensen Beach, Florida
For daily photos, updates and musings on all things photography - please like my Facebook page via the link below.
www.facebook.com/thuncherphotography
You can also visit my website at:
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© All rights reserved. Please do not use or repost - words and images, intellectual property of Florida Life / Thüncher Photography.
Classic Motorshow, Bremen
Not only a very rare Porsche 959, but one of the original prototypes Porsche used for development testing of the components that would be fitted to these technological marvels. The ad below can tell you the specific history of this prototype so I won’t regurgitate that here, but the short version is that this prototype was involved in ABS and tire testing at the high-speed ring in Nardo, Italy. Once 959 production was completed and the prototype was retired from testing service it was returned to the Porsche factory for a full refurbishment before making its way to its first private owner. Its ownership history appears to be fully documented, with much of that history spent in collections in Japan, prior to its current availability. The 959, of course, is one of Porsche’s most historic cars, most famously for the way in which it challenged the Ferrari F40 for supercar supremacy in its day. The two car makers took very different approaches to their supercars with Porsche following its generally tack of combining the best of luxury, technology, and performance in a single package while the F40 stripped out seemingly everything to offer the purest driving expression Ferrari could manage in a road car. While never really the prettiest of machines, the 959 served as a testament to Porsche’s engineering capabilities and provided a testing bed for many features that would make their way to the 911 over the years that followed. The 959 prototypes, like the one seen here, were built off of the 930 chassis and used in a variety of development settings. Reportedly 29 total were built and it is believed that 10 have survived.
Text from the ad:
This is the most advanced road Porsche ever built and one of the most impressive in the automotive history. « Porsche engineers were given a goal and set free, the 959 put Porsche on the map when it came to innovative automotive technology. There were 934s and 935s, and even the 956/962, but to put it all together in a street car was unheard of. It was a major factor in moving Porsche’s racing prowess from the track to the street. ». How come a better explanation from the 959’s genesis could be ? This is the one from Dieter Landenberger, the head of Porsche historical archives.
In 1981 there was a big change at the head of Porsche with the replacement from Ernst Fuhrmann by Peter Schultz, a new direction and strategy were given then. Fuhrmann in the mid 70s thought the 911 was going to an end and stopped its development to focus on the front engined cars ( 924/928/944 ) but Schultz thought very different. In 1981 he gave the green light to work on the project of a « Super » 911 with the aim of building a Group B racing version complying with the all-new FIA regulations. The car was designed and built at the Porsche Motorsport department at Weissach and a prototype called « Gruppe B » shown at the 1983 Frankfurt show. It was an immense success with its amazing specifications and design, many though this could never be turned into a road car. It took another two years of development and testings to have the production car ready and to list a few of the « world premieres » it had : four wheels drive, ABS 4 channels, twin turbos, tyre pressure monitoring, adjustable torque balance front/rear from 20 to 80%, 17 inches wheels, adjustable ride height, 6 speeds gearbox and so on. The 959 was so advanced technologically that it immediately sat new standards in terms of performance and drivability. The production car launched in 1986 had 450 HP and 317km/h as top speed and ran the standing km in only 21,7 sec, beating the 288 GTO by 2secs. Porsche always have the habit of validating a new technology via Motorosport and in 1986, Jacky Icks won the Paris – Dakar race and René Metge / Claude Ballot Léna won their class at Le Mans and finished 7th OA with race prepared 959s, which other car did it ? The fabulous 959 is the first step and rolling laboratory of the 911’s rebirth. According to Porsche only 292 of them were built ( as per comparaison Ferrari built 1311 F40s ) and all sold on pre order. This is one of the rarest Porsche ever built and probably the most charismatic of their road cars.
This is a quite a unique opportunity in a dealer career to offer a Porsche factory prototype, considering they normally don’t come to the market, being destroyed or keep at the museum. This mind boggling 959, chassis number WPOZZZ93ZFS010067 was built in 1985, given the internal code « V1KOM » and registered BB-PW481. In 1985 Helmutt Bott ( head of the 959 development ) has taken 29 930 chassis from the Porsche factory to turn them in Weissach ( Porsche Motorsport dept ) into the 959 Pre-production prototypes and these were called « F,N or V ». These 29 prototypes were the latest ones and used for media coverage, crash tests and road tests. This car is one of the the 7 « V – Series » which were assigned to the road tests, this particular one was used for ABS and tyre development. Unfortunately most of the 29 Prototypes were destroyed and scrapped at the end of the 959 program.
« 10067 » is one of the 4 959 prototypes survivor and one of the only two road going ones. Interestingly enough, the first owner was Professor Tachio Saito, who happened to be a close friend of Ferry Porsche. He noticed chassis 10067 during a visit to the factory whilst translating a book that Dr Porsche had written (Helmut Bott’s personal 959 was the preceding chassis, number 10066). As the founder of the Porsche Owners’ Club of Japan, as well as its first president, Professor Saito was more than qualified as one of Porsche’s preferred customers. A copy of factory correspondence, dated 4 December 1989 and addressed to Saito, refers to certain tasks to be undertaken by the factory prior to his acquisition of this prototype. The letter was written by Herr Willrett, believed to be Elmar Willrett, who was a Porsche engineer who was deeply involved in the development of both the 935 and 935 racing engines and who worked under Rolf Sprenger in the « Sonderwisches » (Special Wishes) Program. The document suggests that this car was to be prepared for display purposes, with functional brakes and steering. Once an agreement was settled, Porsche A.G. completed the restoration of the car, and after 16 months, Professor Saito took delivery of his prototype 959.
The professor maintained the 959 for only a short period of time, until noted collector Hideyasu Ohba, of Tokyo, Japan, acquired it for his collection of historic Porsches. In 2000, Mr Ohba sold this car to Minoru Miura, of Chiba, Japan. In 2006, still in Japan, the 959 was then acquired by Mr Shigeru from the Miura Collection. The car went to another 2 hands before coming up to the market via Art & Revs.
Being an original Protoype, this car comes with its pre-production magnesium wheels, « Denloc » Dunlop tires, brakes and some lightweight panels. All the production 959s were delivered with Bridgestone RE71 tires, the Dunlops were not retained though they incorporated a world premiere with a kind of « Run Flat » technology. The car is now only 400km and can only be described as being in new condition. It is fully working and was the subject to a recent overhaul and driven for 5 km.
Porsche factory no longer releases any Prototype to the public, this is a unique opportunity to acquire one.
DDC-Technological Dog!
Poetography-Dog
I had to use this photo and quote because with Shizandra it isn't true! She is very aware of the camera. Whenever I set her up for a photo she goes into her "pose mode!" She is so aware of what's going on around her. So perhaps Border Collies are the exception to this rule? She posed for me with my Fuji X-30. She got a cookie too!
for show in L.A. at Junc. This is connected to part two but it's 11x17 so both sides had to be scanned separately.
Video footage of the TSSAA 5A State Championship game was shot throughout the evening by an older gentleman sitting near the top of the stands on the Farragut Admirals side of the field. I imagine he had a son or grandson playing for the Admirals who eventually came from behind to beat the Independence Eagles for a 5A State Title.
This image was focused directly on the screen of the video camera with a shallow enough depth of field to have a defocused background where the actual game was taking place.
Technical Information:
Camera - Nikon D7200 (handheld)
Lens – Nikkor 18-300mm Zoom
ISO – 2000
Aperture – f/8
Exposure – 1/60 second
Focal Length – 100mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
July 20, 2019
Tony Thomas, Chris Brose
Moderator: David Sanger
Property of the Aspen Institute / Photo Credit: Dan Bayer
Jessie sez:
"We live in amazing times of technological advance where there is even new kinds of munny being produced!
I has just sent Porshie Beetle under the door into Brushtail's headquarters at 1 Rodent Way, The Skirting Board, Vienna, whose door is marked "Strictly No Admittance to the Public", 'cos I can hear machinery inside running 24/7 and am curious to know what is going on in there.
I has just received his official report back and it makes fascinating reading. The machines there are turning out a new type of bank note that have a duck's head printed on them instead of pictures of the Queen! Each banknote also has a little microchip that can be scanned by a special reader to check if it is counterfeit or not. If you scan the note through the reader, it makes a Quack-Quack sound LOL! Now, what's the point of all this you may well ask - hmmmm ..... let me think now -----
Oh. I see! IF IT LOOKS LIKE A DUCK AND QUACKS LIKE A DUCK; THEN IT IS A DUCK!
This is simply another illegal get-rich-quick scam perpetrated by that AWFUL and irrepressible but creative BRUSHTAIL MOUSIE!" 🐭
P.S. there is already a queue of naive BunBuns forming outside of Brushtail's secret H.Q. They are all clutching their precious Bitecoins in their little front paws ready to exchange for their allocation of the new Duck-Quack currency. Would you invest your hard-earned cash in this new scam - SORRY! - investment opportunity? This new Duck-Quack currency nonsense makes even crypto-currency look like a world-class stable currency! Will they ever learn? 😂
Amanda-Yolanda Mousie, Brushtail's personal assistant, is standing at the door exchanging Bitecoin for this new marvellous financial instrument. Amanda tests each individual Bitecoin using her sharp little teethy-pegs to bite them. If the coins survive the test, she then exchanges them for HUGE wads of the new Duck-Quack currency in denominations of 1, 5, 10, 20 and 100 Gazillion notes!
Disclaimer:
"Careful now little Bunbuns!!
Brushtail Mousie Holdings is NEITHER regulated by the Financial Services Authority NOR the Securities and Exchange Commission and the value of your investment is NOT guaranteed. The value of your investment can fall as well as rise and your eventual returns may amount to less than your original investment. It is recommended therefore that you consult a qualified financial adviser BEFORE you fall for this scam - SORRY! - invest in this wonderful get-rich-quick opportunity!"
The 1930s was a decade when bus design advanced rapidly. There were technological dead ends and mistakes, but every year brought buses the design of buses a step further until by the end of the decade, buses were highly reliable and comfortable, and assumed generally the same layout for the next twenty years.
This bus – number 240 in the Lancashire United fleet – was the only double deck chassis by Dennis of Guildford to join the fleet until after the second world war, and it carried one of the very first ‘all metal’ bodies made by the Metropolitan-Cammell Carriage, Wagon and Finance Co Ltd. Obviously the body wasn’t 100% metal as it included glass for the windows, foam for the cushions and wood interior trim: but the ‘all metal’ label applied to the body structural framework, which until thgis date was usually made from a hard wood such as teak. The metal type was very successful, and quickly became the norm. After some much-needed tidying up of the appearance, the company (as Metro-Cammell Weymann) went on to become one of the biggest bus coachwork and complete bus builders in the UK until its doors closed in 1989.
Meanwhile bus number 240 led a humdrum, useful life until it was withdrawn at the end of the war in 1945, no doubt worn out after carrying heavy loads of factory workers through the war years. Fortunately you can still see Lancashire United buses such as at the Museum of Transport Greater Manchester, where two are on display plus the company’s breakdown lorry. If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to www.gmts.co.uk.
© Greater Manchester Transport Society. All rights reserved. Unauthorised reproduction is strictly prohibited and may result in action being taken to protect the intellectual property interests of the Society.
- Sir, Can I ask you a thing!
- Well Lomax I am in the middle of a fight with the Pirat captain, but sure, why not!
- Now I know we are in a movie, since this is the very same room we were in at last mission, only slightly altered with different props, and also we caught them of guard so the director didn´t have time to dress the enemies as proper space-pirates these guys suits look like 17th century, I bet they were filming a pirat movie before!
This happened in the previous episode:
- Sir, can I ask you a thing?
- Lomax, why now when we have narrowed down the nasty boss in his throne room!
- eh Sorry boss, it is just that I start to see a theme in this work, I know I am just a rookie, but I have started to see this theme!
First we board a ship or venture in to a base, then we fight all the foot soldiers and evade the traps then we find the big boss in some purple, red or similar throne room just waiting for us...
why? then he has a small speech and we start fighting him and then he dies and we win!
- (Big Boss) Welcome my Heros, so you found me at last, you have been fighting well.....