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© 2011 David Young-Wolff All rights reserved
davidyoung-wolff.blogspot.com/
Here is what the artist Naomi says about this piece of art,
This mask was created for many coinciding purposes, but most importantly with the intent to
transform. Although clearly not a traditional mask, and indeed to the contrary, a mask that was
designed for war and, arguably, a tool of fear and genocide; it is my intent to recreate the mask
through art. By decorating the mask as I have, I seek to transcend the bleakness of its origin and
to breathe new life into its rigid man-made material through the real and symbolic act of layering it
with the organic life of the deer hide. In some way, the mask has been reborn with its own
power to transform; though perhaps not to transform the wearer into spirit, certainly to alter the
character of the wearer’s spirit.
It's not often you see a sea of construction cranes like this in a Canadian city, or any city of a million people for that matter, but it's happening here.
This is the ICE District, a massive new development covering 25 acres of mainly former parking lots in downtown Edmonton. It is anchored by Rogers Place, the new NHL arena for the Edmonton Oilers, and to be surrounded by three new skyscrapers from 130m (the one rising to the right), one 190m tower, and one 250m tower (both to rise from the pit). There will also be a large public plaza in the centre, and the old Greyhound station will also soon be demolished and replaced with a movie theatre complex, grocery store, and another tower of between 160 to 190m in height.
The 250m tower is also of particular interest: not only will it stand over 100m above the city's current tallest building, but will also be the tallest building in Canada outside of Toronto.
To say that this is transforming our city and downtown would be an understatement, which is why I'm really enjoying documenting the transformation in photos.
This photo is stitched from 20 images into a megapano using Microsoft Image Composite Editor. View All Sizes to get a crazy detailed view.
Transforming the world by pointing the camera straight ahead and then rotating it on its horizontal axis. A slow shutter is also essential for this effect. Another "twist" on the ICM (Intentional Camera Movement) technique.
Chloe has been utterly transformed by me—captioned, styled, and dressed as the cutest little sissy girl in her latest photo. Fancy the same delightful treatment? Send me a message to begin your own sissy makeover. A small fee applies, but the results are priceless!
My sexy transform roommates comics 47
transsexual.silicone-breast.com/2016/08/24/my-sexy-transf...
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Sara Pantuliano, Managing Director, Overseas Development Institute, United Kingdom, and Ion Yadigaroglu, Managing Partner, Capricorn Investment Group, USA, speaking during the session, Transforming Humanitarian Finance, at the Annual Meeting 2018 of the World Economic Forum in Davos, January 25, 2018. Copyright by World Economic Forum / Ciaran McCrickard
Thinking in my M.Sc. Sound Transform, Music, Math, Fourier, FilterBank. This is my first analog collage using a white background.
+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Aeroflot is one of the oldest airlines in the world, tracing its history back to 1923. During the Soviet era, Aeroflot was the Soviet national airline and the largest airline in the world. Following the dissolution of the USSR, the carrier has been transformed from a state-run enterprise into a semi-privatized company which ranked 19th most profitable airline in the world in 2007. Aeroflot is still considered to be the de facto national airline of Russia, being 51%-owned by the Russian Government.
After WWII, Aeroflot's route network had extended to 295,400 kilometers (183,600 mi), and by 1950 it carried 1,603,700 passengers, 151,070 tonnes (333,050,000 lb) of freight and 30,580 tonnes (67,420,000 lb) of mail during the same year. The 20th Communist Party Congress, held in 1956, saw plans for Aeroflot services to be dramatically increased. The airline would see its overall activities increased from its then current levels by 3.8 times, and it was set the target of the carriage of 16,000,000 passengers by 1960. In order to meet these goals, Aeroflot introduced higher capacity turbojet and turbine-prop aircraft on key domestic routes, and on services to Aeroflot destinations abroad.
A major step for Aeroflot occurred on 15 September 1956 when the Tupolev Tu-104 jet airliner entered service on the Moscow-Omsk-Irkutsk route, marking the world's first sustained jet airline service. The airline began international flights with the type on 12 October 1956 with flights from Moscow to Prague. The aircraft placed Aeroflot in an envious position, as airlines in the West had operated throughout the 1950s with large piston-engine aircraft. By 1958 the route network covered 349,200 kilometers (217,000 mi), and the airline carried 8,231,500 passengers, and 445,600 tons of mail and freight, with fifteen percent of all-Union services being operated by jet aircraft.
Aeroflot introduced the Antonov An-10 and Ilyushin Il-18 in 1959, and together with its existing jet aircraft, the airline was able to extend services on modern aircraft to some twenty cities during 1960. The Tupolev Tu-114, then the world's largest airliner, entered service with the Soviet carrier on 24 April 1961 on the Moscow-Khabarovsk route; covering a distance of 6,980 kilometers (4,340 mi) in 8 hours 20 minutes. The expansion of the Aeroflot fleet saw services with modern aircraft being extended to more than forty cities in 1961, with fifty percent of all-Union services being operated by these aircraft. This fleet expansion also saw the number of passengers carried in 1961 skyrocketing to 21,800,000.
Further expansion came in 1962 when various medium and short-haul routes were started and respective aircraft types such as the Tupolev Tu-124, Ilyushin Il-60 and Antonov An-24 entered regular service with Aeroflot. The Tu-124 was a jet airliner, technically an 75% version of the Tu-104, while the An-24 was a lighter twin turboprop aircraft in the class of the Fokker F.27. The Il-60 was the latest addition to the domestic services, falling in between both other types.
Development of the Ilyushin Il-60 dated back to 12 October 1951, when the Soviet Council of Ministers published a specification for a medium-range aircraft carrying 50 to 70 passengers and 1,000 kg (2,200 lb) of cargo on routes up to 2,000 km (1,100 nmi; 1,200 mi) with a cruising speed of about 600 km/h (320 kn; 370 mph). The type was to replace the piston engine Ilyushin Il-14 on domestic routes. The number and type of engines were not specified, but jet or turboprop engines were expected and emphasis was put on ruggedness and ease of operations for operations on rural airstrips with a minimum of infrastructure.
Ilyushin’s OKB-240 responded at first with a scaled-down Il-18 turboprop airliner, somewhat inspired by an idea of Czech manufacturer Avia for a smaller, short-range airliner for the CSA’s Central European routes. This machine had only two engines and overall reduced dimensions, but used many components of the original airliner. But it soon became clear that the Tu-104 with its jet engines had already set higher standards, so that a completely new and more innovative design was started.
Internally known as “Aircraft 60”, the machine introduced some innovations while still being a conservative design. The aircraft was a two turboprop-engine low-wing monoplane with slightly swept (20° at quarter chord) wings, a circular pressurized fuselage and a conventional, yet markedly swept tail (both fin and stabilizer at 45°). The aircraft had two entry doors on the port-side before and after the wing, two overwing emergency exits on each side, and featured a retractable stairway under the rear fuselage so that passengers could directly enter the aircraft from the airfield. An APU was integrated in the rear fuselage, under the fin, for independent operation of the air condition system and starting the engines without external support.
The tricycle landing gear had four wheels fitted on the main leg bogies, which retracted inwards to lie under the fuselage instead of into the engine nacelles. The front wheel also had twin wheels, retracting forward in a well under the cockpit floor, and the aircraft’s low-pressure tires allowed operations even from grass airfields or snowy ground. Another novel feature at the time was the fitting of a weather radar in the nose, a civilian RPSN-2 "Emblema" system, doing away with the typical glazed navigator position of other former Soviet airliner designs. In order to support all-weather operations and ease the pilots’ work, “Aircraft 60” was also outfitted with an automatic approach system, supported by the radar which allowed blind navigation.
Despite vibration and noise problems, experienced with the earlier Il-18 airliner, Ilyushin insisted on turboprop propulsion because it was the more fuel-efficient option. He furthermore expected that no another jet-driven airliner would be politically “allowed” along the Tu-124 short haul airliner, at that time under parallel development.
“Aircraft 60” was powered by a pair of Kuznetsow NK-6K turboprops. This engine was one of several developments after World War II by a team of Russian scientists and deported German engineers under Ferdinand Brandner, which had worked for Junkers previously, evolving from late war German turboprop studies. This the post-war development was based on the wartime Jumo 022 turboprop design that developed 6000 eshp in a 3000 kg engine. The efforts continued with a 5000 ehp engine that weighed in at 1700 kg, completed by 1947, and with further weight savings and more modern materials, the NK-6, one of several development directions, became a large single-spool engine that was optimized for use on board of commercial aircraft like “Aircraft 60”.
For security reasons, the engines were mounted in front and above of the wings’ leading edge. In order to keep the wing structure as clean and simple and possible and not risk collateral damage to the landing gear in case of an engine fire, the landing gear was retracted into wells under the wing roots. This measure also kept the engine nacelle’s dimensions in very compact limits.
In order to minimize noise and vibrations, 2x4-bladed contraprops with an automatic feathering system were mounted, resulting in a characteristic humming noise when the engines were running. Due to the lower speed of these propellers, compared to a standard four- or five-blade propeller, the internal and external noise level could be significantly reduced (compared to the Il-18, which could drone at 110db in the cabin above the wings!), even though the lower frequency caused other problems, mainly vibrations at certain speeds that shook the whole airframe.
The standard seating of the initial version, the Il-60A, was 52 seats at a 90cm distance between the five-seat rows (two seats on port side and three on starboard). Alternatively, a maximum of 72 could be mounted in a cramped “tourist class” configuration with only 78cm distance between the seat rows, which became the late production standard configuration as Il-60B.
The first of two prototypes made its first flight from Zhukovsky airfield on 24 March 1960. The second prototype followed in June 1960. Two other airframes served as a static test cells. Testing was successful, and the aircraft entered production at Machinery Plant No. 30 located at Khodynka, near Moscow, replacing the Il-18 in production. Deliveries to Aeroflot began in August 1962, with the type operating its first scheduled passenger service, between Moscow and Tallinn in Estonia, on 2 October 1962.
The Il-60’s production remained only on a small scale, though: being a pure jet, the Tu-124 was preferred by the Aeroflot for short haul duties, as well as by the Powers That Be. Despite the type’s merits esp. in harsh climate conditions (most Il-60 were allocated to Aeroflot’s feederline services in the Soviet Union’s northern regions), the type was not popular among its crews. While the two turboprops gave sufficient power, had good handling across the whole speed envelope and the aircraft had no trouble remaining airborne with one engine shut down, the asymmetrical drag/thrust in this emergency condition was considerable and navigating the Il-60, and even more landing the aircraft, with only one engine was a challenging task.
Furthermore, the stalky landing gear, which prompted the crews' inofficial nickname "косино́жки" (kosinozhki = daddy longlegs), could start to vibrate under certain conditions and wobble, making a start or landing run a shaky if not dangerous affair, esp. on snow-packed and non-permanent runways. Furthermore, two Il-60 crashed on runways or airfields after hitting obstacles ubnder snow - the long front landing gear collapsed. Nobody on board was seriosuly hurt in both cases, but these accidents did not improve the type's reputation among both pilots and passengers alike.
Only a total of 44 machines were built: 18 Il-60As for selected connections abroad (e. g. to Scandinavia and Poland), plus 26 Il-60Bs with higher seat capacity for purely domestic service. Both machines were identical from the outside, though, and all production aircraft featured a characteristic spinal fin root extension that covered several radio and navigation antennae.
Ilyushin had plans for a stretched version (with two plugs inserted into the fuselage in front of and behind the wings) with a 2.2m longer fuselage and a maximum capacity of 85 passengers, and also worked on a jet-powered update with engine nacelles on pylons under and in front of the wings. But none of these improvements was turned into hardware, since not only the Tu-124 had become the preferred short/medium haul airliner for Aeroflot, the following Tu-134 had also become the political favorite, and OKB-240 focused on its long-range airliner Il-62.
Il-60 production already ended after only two years in 1964, and Aeroflot decommissioned its last twelve Il-60s on 21 January 1980, after more and more structural problems (wing spar cracks, caused by the NK-6’s vibrations) had become apparent and several aircraft had to be grounded.
General characteristics:
Crew: 3 (captain, first officer and a flight engineer),
plus another seat for an optional navigator or a radio officer,
plus a three- or four-person cabin crew
Capacity: 52 – 72
Payload: 8.4 t (9.3 short tons)
Length: 32,54 m (106 ft 7 in)
Wingspan: 34.3 m (112 ft 6 in)
Height: 11,74 m (38 ft 5 1/2 in)
Wing area: 146.7 m² (1,579 sq ft)
Empty weight: 22.2 t (24.5 sT)
Max. takeoff weight: 46 t (50.7 sT)
Powerplant:
2× Kusnetzow NK-6K turboprop engines, rated at 3,318 kW (4,612 ehp) each
Performance
Maximum speed: 805 km/h (500 mph/435 knots)
Cruise speed: 665 km/h (424 mph/370 knots)
Range (Typical payload, 2 hr reserve): 2,400 km (1,300 nmi/1,490 mi)
Rate of climb: 2,750 ft/min (14.0 m/s)
Service ceiling: 11,000 m (36,000 ft)
The kit and its assembly:
“In Soviet Union, Aeroflot flies you!” And in order to prove this theory, this whiffy airliner is contribution #3 to the “Soviet Group Build” at whatifmodelers.com in early 2017.
It’s been a very long time that I had built a small-scale airliner, but then I found a (crappy!) 1:144 Mistercraft Caravelle III in my stash (actually, a re-boxed kit from a company called “Ruch” from the Sixties!), that I had originally bought just for the wings as a pure donor kit. This appears to be a blunt copy of the also rather vintage Airfix kit, but the latter has much more crisp details. O.K., the Mistercraft kit was cheap – but you have to pay otherwise…
Anyway, anything Soviet without an elegant Aeroflot airliner would not be complete, so I tackled this idea on short notice. The project had also been fueled by another project idea: a modern short-haul airliner like the Tu-204, but outfitted with turboprops instead of turbofan engines. For this idea (and other uses), I also had a conversion set from a Russian company called “Kompakt Mir” stashed away, with four resin 1:144 NK-14 engines. It’s actually as an aftermarket upgrade set for the Trumpeter Tu-95 model kit, but came in handy – and it is excellent stuff, by the way, with crisp detail, almost no flash or sinkholes.
With these ingredients, work went on quickly and straightforward, and wings and fuselage were started separately. The wings (a combined piece with a mutual underside) received fairings for engine nacelles, made basically from drop tank halves glued to the upper wing surface. Then the resin engines were mounted to the fairings’ front ends the gaps and the nacelles’ underside sculpted with 2C putty, plus some later fine-tuning with NC putty. The Caravelle’s inward-retracting landing gear was retained, keeping the engine fairings rather short and compact.
On the fuselage, the Caravelle's original engines and their attachment points disappeared. The triangular windows were drilled open into circular shape, later, as a final finishing step, filled with Humbrol ClearFix for shiny window panes - this improves the overall look a lot.
Lead was added in the nose, the retractable stairway under the rear fuselage kept (a very Soviet design detail!) and the Caravelle’s characteristic round fin tip was cut away, to be replaced with a square scratch transplant. The stabilizers were moved down and their round tips clipped, too.
On the nose, a scratched thimble radome was added and blended into the fuselage, for an Il-18-ish look. While these were rather simple, cosmetic measures on the fuselage, the look of the whole aircraft was changed into a much more modern design!? This was even more emphasized when the wings and stabilizers were added – the Il-60 looks very contemporary, nothing of the Caravelle’s Fifties flavor remains.
The landing gear is new, bashed from the bogies of the recently slashed Dragon 1:144 B-1B bomber I abused for my Fastback build, and leftover struts from an Acedemy 1:144 Tu-22M. The latter also donated a pair of main wheels for the front leg, which is, again, from the B-1B.
The new arrangement is considerably taller than the Caravelle’s, but with the large propellers this is a convenient and plausible arrangement, despite a rather stalky appearance due to the relatively short wheelbase. The eight main wheels were taken from the RUCH kit, even though the attachment point would not fit the B-1 struts at all...
Painting and markings:
One can argue about Soviet aircraft design or reliability – but I must admit that I liked the Aeroflot aircraft liveries since I can remember them as a child, sometimes even witnessing Tupolev or Yak jets at the local airport. The white-and-blue outfit with almost baroque trim and details was and is IMHO a very elegant design, worthy of a state airline (which had a menacing, if not mysterious Big Brother image during the Cold War times in which I grew up).
Another interesting fact is that, despite the basic colors were set, each Aeroflot type bore a typical and different paint scheme, plus some exotic designs like the polar service machines with lots of red added.
Consequently, I had a lot of freedom, and work was made even more easy through the Mistercraft Caravelle kit: it actually contains markings for a Caravelle in Aeroflot markings! “Nonsense!”, you might say – but this aircraft actually existed: it was a movie prop (actually Air France’s F-BJTR) for filming “Enigma” at Le Bourget Airport in 1981 (check this for reference: www.airliners.net/photo/Aeroflot-%28Air-France%29/Sud-SE-...). As a side note, there was another Caravelle in fictional Interflug or ČSA colors, too, as well as a camouflaged SMB2 Super Mystère and a NMF Mystère IV with red stars on white discs, both playing the role of Soviet MiG-19s!
Anyway, the OOB decal sheet offered enough material for my plans, even though the blue trim was created from generic decal sheet. But door decals and most Aeroflot markings came from the movie aircraft.
Painting was also a pretty straightforward affair: the fuselage was painted white with acrylic paint from the rattle can, the lower fuselage by brush with Polished Aluminum Metallizer from Humbrol (which creates a very bright and clean finish) on top of a Revell Acrylics Aluminum primer coat.
For some contrast to the white and blue I painted the fixed wing parts with light grey, the rudders in Aluminum and Steel, and orange wing and stabilizer tips were added as small, additional contrasts, later even highlighted with dayglow orange.
In order to add some weirdness to the look, the propeller blades were painted bright blue with yellow tips. Unusual, but a common Soviet/Russian/Chinese practice.
A rather simple conversion, but highly effective. The Caravelle’s traces are almost not to be identified anymore, even though fuselage and wings consist of OOB material with only superficial modifications or re-locations. The engines on the wings change the look, too, and despite being massive NK-12’s they are a good match for the compact airliner – I am very happy with the outcome, even though the overall lines look much more modern than late Fifties design – even though no more modern parts were actually integrated? Weird, but entertaining. J
"Vienna (/viˈɛnə/; German: Wien [viːn]) is the national capital, largest city, and one of nine states of Austria. Vienna is Austria's most populous city, with about 1.9 million inhabitants (2.6 million within the metropolitan area, nearly one third of the country's population), and its cultural, economic, and political center. It is the 6th-largest city by population within city limits in the European Union.
Until the beginning of the 20th century, Vienna was the largest German-speaking city in the world, and before the splitting of the Austro-Hungarian Empire in World War I, the city had 2 million inhabitants. Today, it is the second-largest German-speaking city after Berlin. Vienna is host to many major international organizations, including the United Nations, OPEC and the OSCE. The city is located in the eastern part of Austria and is close to the borders of the Czech Republic, Slovakia and Hungary. These regions work together in a European Centrope border region. Along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city center was designated a UNESCO World Heritage Site. In July 2017 it was moved to the list of World Heritage in Danger. Additionally to being known as the "City of Music" due to its musical legacy, as many famous classical musicians such as Beethoven and Mozart who called Vienna home. Vienna is also said to be the "City of Dreams", because of it being home to the world's first psychoanalyst Sigmund Freud. Vienna's ancestral roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city. It is well known for having played a pivotal role as a leading European music center, from the age of Viennese Classicism through the early part of the 20th century. The historic center of Vienna is rich in architectural ensembles, including Baroque palaces and gardens, and the late-19th-century Ringstraße lined with grand buildings, monuments and parks.
Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first (in a tie with Vancouver and San Francisco) for the world's most livable cities. Between 2011 and 2015, Vienna was ranked second, behind Melbourne. In 2018, it replaced Melbourne as the number one spot and continued as the first in 2019. For ten consecutive years (2009–2019), the human-resource-consulting firm Mercer ranked Vienna first in its annual "Quality of Living" survey of hundreds of cities around the world. Monocle's 2015 "Quality of Life Survey" ranked Vienna second on a list of the top 25 cities in the world "to make a base within." The UN-Habitat classified Vienna as the most prosperous city in the world in 2012/2013. The city was ranked 1st globally for its culture of innovation in 2007 and 2008, and sixth globally (out of 256 cities) in the 2014 Innovation Cities Index, which analyzed 162 indicators in covering three areas: culture, infrastructure, and markets. Vienna regularly hosts urban planning conferences and is often used as a case study by urban planners. Between 2005 and 2010, Vienna was the world's number-one destination for international congresses and conventions. It attracts over 6.8 million tourists a year.
Evidence has been found of continuous habitation in the Vienna area since 500 BC, when Celts settled the site on the Danube. In 15 BC the Romans fortified the frontier city they called Vindobona to guard the empire against Germanic tribes to the north.
Close ties with other Celtic peoples continued through the ages. The Irish monk Saint Colman (or Koloman, Irish Colmán, derived from colm "dove") is buried in Melk Abbey and Saint Fergil (Virgil the Geometer) served as Bishop of Salzburg for forty years. Irish Benedictines founded twelfth-century monastic settlements; evidence of these ties persists in the form of Vienna's great Schottenstift monastery (Scots Abbey), once home to many Irish monks.
In 976, Leopold I of Babenberg became count of the Eastern March, a district centered on the Danube on the eastern frontier of Bavaria. This initial district grew into the duchy of Austria. Each succeeding Babenberg ruler expanded the march east along the Danube, eventually encompassing Vienna and the lands immediately east. In 1145 Duke Henry II Jasomirgott moved the Babenberg family residence from Klosterneuburg in Lower Austria to Vienna. From that time, Vienna remained the center of the Babenberg dynasty.
In 1440 Vienna became the resident city of the Habsburg dynasty. It eventually grew to become the de facto capital of the Holy Roman Empire (800–1806) in 1437 and a cultural center for arts and science, music and fine cuisine. Hungary occupied the city between 1485 and 1490.
In the 16th and 17th centuries Christian forces twice stopped Ottoman armies outside Vienna, in the 1529 Siege of Vienna and the 1683 Battle of Vienna. The Great Plague of Vienna ravaged the city in 1679, killing nearly a third of its population.
In 1804, during the Napoleonic Wars, Vienna became the capital of the newly formed Austrian Empire. The city continued to play a major role in European and world politics, including hosting the Congress of Vienna in 1814/15. After the Austro-Hungarian Compromise of 1867, Vienna remained the capital of what became the Austro-Hungarian Empire. The city functioned as a center of classical music, for which the title of the First Viennese School (Haydn/Mozart/Beethoven) is sometimes applied.
During the latter half of the 19th century, Vienna developed what had previously been the bastions and glacis into the Ringstraße, a new boulevard surrounding the historical town and a major prestige project. Former suburbs were incorporated, and the city of Vienna grew dramatically. In 1918, after World War I, Vienna became capital of the Republic of German-Austria, and then in 1919 of the First Republic of Austria.
From the late-19th century to 1938 the city remained a center of high culture and of modernism. A world capital of music, Vienna played host to composers such as Brahms, Bruckner, Mahler and Richard Strauss. The city's cultural contributions in the first half of the 20th century included, among many, the Vienna Secession movement in art, psychoanalysis, the Second Viennese School (Schoenberg, Berg, Webern), the architecture of Adolf Loos and the philosophy of Ludwig Wittgenstein and the Vienna Circle. In 1913 Adolf Hitler, Leon Trotsky, Josip Broz Tito, Sigmund Freud and Joseph Stalin all lived within a few kilometres of each other in central Vienna, some of them becoming regulars at the same coffeehouses. Austrians came to regard Vienna as a center of socialist politics, sometimes referred to as "Red Vienna"(“Das rote Wien”). In the Austrian Civil War of 1934 Chancellor Engelbert Dollfuss sent the Austrian Army to shell civilian housing such as the Karl Marx-Hof occupied by the socialist militia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
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2022: RM Sotheby Auction Preview, Monterey: 1920 Packard 3-35 Twin Six Transformable Town Car by Fleetwood
Quite a lot going on in this one.
Had an interesting chat with a homeless person whilst taking this shot. "I live round here y'see. Well, I'm homeless like, but I still live round here. Hey, you don't want a shot of a homeless person do you?"
"Errr... It wasn't really on my list..."
Robo Fett: transforms fluidly from a Nintendo 64 game cartridge of Star Wars: Shadows of the Empire, to robotic Boba Fett, and back! Thanks to the advent of Mixels ball and socket joints, I can make my LEGOformers much more articulated and compact. When in cartridge mode, this can fit snugly into the game slot of Ultra Hexacon: the transforming Nintendo 64. When Ultra Hexacon was first released, I created two transforming game cartridges to accompany it: Mecha Kong and Hot-Shot (Donkey Kong 64 and GoldenEye 007, respectively). However a third transforming game cartridge was built but never released: Link 2.0, who transformed into a gold cartridge of Legend of Zelda: Ocarina of Time. Although Link 2.0 was completed, I ran into problems with applying his game label, which interfered with inserting his cartridge into Hexacon’s game slot. For some reason, his sticker kept peeling off when inserting the game, thus I omitted from the photo shoot due to time constraints. My idea was to eventually retool Link 2.0 to have better clearance for the game slot, but unfortunately I abandoned the project
In early 2016 I decided to pick up where I left off and complete Link 2.0 — however, with its new retooling and transformation cycle, it was impossible for me to have the creation made predominantly of metallic gold pieces, thus I was stuck with having the outer cartridge mainly with the traditional light grey. This meant I had no choice but to base this off a different Nintendo 64 title; after debating back and forth between using Castlevania 64 and Star Wars: Shadows of the Empire (two of my favorite titles), I opted to build games of both — hence, the creation of the Hell Knight.
For making this model in particular, one of the toughest obstacles was making the arches on top of the cartridges: when transformed into robot mode, the arches are on the bottom of the feet, which make the robot have trouble standing up. To fix this, the robot’s legs have retractable toes built with hinge plates. The game’s labels were printed on glossy card stock paper and cut apart with scissors, then glued onto the outer tiles.
Chassis n° 58S-3358
Coachwork by Koeng
2.443 cc
4 Cylinder
100 hp
Techno Classica 2012
Essen
Deutschland - Germany
March 2012
My sexy transform roommates comics 30
sissy.silicone-breast.com/2016/07/26/my-sexy-transform-ro...
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Notice : Releasing this comic on every Moday to Thursday !
Men’s Attractive Adjusted Straps Lace Corset ( L- 6XL size available) 43%OFF
Specification
Color: RED WITH BLACK
Size: S, M, L, XL, 2XL, 3XL, 4XL, 5XL, 6XL
Category: Men’s Corset & Bustiers
Material: Poly
This Image was chosen as one of the Images of the week on Life in LoFi. 05/02/12.
Taken with Vintage B&W and edited in Snapseed.
The entire text of the pdf version of Kenneth Goldsmith's Uncreative Writing imported into a text editor, saved as a txt document, converted to an mp3 with Audacity, saved as raw; the text version imported into Microsoft Word, saved as a pdf, and page 111 of the pdf overlaid on the raw mp3 using GIMP, with some additional color enhancement and distortion. All to demonstrate Goldsmith's point on page 16 of his work "...the text in play on the network is subject to untold changes: it can be cracked, password protected, stripped of its textual character, converted into plain text, remixed, written into, translated, deleted, eradicated, converted to sound, image, or video, and so forth. If a version of that text were somehow to find its way back to me, it might very well be more unrecognizable than my [original]."
Big and blue. Very big, actually, and hence very heavy and prone to toppling over. BUT far more stable than the prototype Decepticon 'Seekers' I built earlier in the summer and with a very sturdy jet mode (everything clips together without the need to add any supports. Hazzah!
Normally, I build Skywarp (the black and purple one). I built the blue one for a change but don't have that many blue 1x2x3 slopes. So I improvised with some wing patterns!
See the whole movie here: www.youtube.com/watch?v=64AW-5ao40g
or here: mocpages.com/moc.php/202735
here's a little video to show you how it transforms from a little BumbleBee to a huge monster ;) Sorry for the bad quality...
My sexy transform roommates comics 46
travesti.silicone-breast.com/2016/08/23/my-sexy-transform...
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Sale!
Men’s Attractive Adjusted Straps Lace Corset ( L- 6XL