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LICRY BICARD
Retrospectiva
2 de diciembre de 2014 al 28 de febrero de 2015
Haz click aquí para ver el video
Esta exposición retrospectiva de la artista salvadoreña Lilian Cristina Andreu Bicard, conocida conocida en nuestro medio como Licry Bicard, abarca 45 años de producción artística e incluye 81 obras, entre ellas pinturas, dibujos, grabados y esculturas en hierro. Es una producción ligada íntimamente a su vida y sus recuerdos de infancia, al conflicto armado que vivimos como sociedad durante la década de los ochentas al interés por lo esotérico y simbólico, y al paisaje y leyendas nacionales.
La exhibición está organizada en orden cronológico e incluye diversas etapas. Su obra temprana cubre los primeros quince años de producción desde 1970 en pinturas, dibujos y grabados, momentos en que la artista busca y encuentra su propia visión y estilo. Continúa con el tema nostálgico de la niñez, el simbolismo en tótems pintados y su etapa de Abstracción en la que la artista encuentra un nuevo lenguaje visual que la libera de muchos de los estilos previamente utilizados y donde el color renace de manera fulgurante. Pasamos luego a la obra de la década de los noventa, donde predomina el tema prehispánico, las leyendas del Cipitió y el estilo arqueológico Joya de Ceren, en piezas simbólicas y expresivas. En las siguientes secciones, vemos los temas que predominan en su obra madura y actual: paisajes, rayas y texturas, y dibujos y garabatos. En ellos encontraremos la preocupación por la erosión de los suelos plasmada en vistas, en ocasiones bellas y en otras alarmantes; pinturas y dibujos que sin presentar cosa alguna, muestran un horror al vacío, así como colores simbólicos; y muñecos burlones y alegres que comentan sobre la sociedad y la vida diaria.
En su larga trayectoria se le ha visto desarrollarse con esmero desde una pintora y dibujante naif, a una artista propia del medio nacional con obras del realismo mágico durante la década de los ochenta, y una artista de corte abstracto y expresionista en el presente. Ha sido representada por las más importantes galerías del país, entre ellas la Galería El Laberinto, la Galería 1-2-3 y la Galería Espacio. Su obra está en las colecciones públicas y corporativas más importantes del país.
Sus aportes más destacados al arte nacional han sido la inclusión de temas prehispánicos en su arte, sorprendentes grabados en monotipo, sus pinturas del paisaje, una rica exploración de los límites de los materiales plásticos, y una prolífica producción de dibujos que logran hacernos reír en medio de su crítica social.
Jorge Palomo
Curador.
MARTE Museo de Arte de El Salvador
Colonia San Benito Final Avenida. La Revolución San Salvador, El Salvador Centroamérica
Tel.: (503) 2243-6099
Fax: (503) 2243-1726
info@marte.org.sv
Horario
Martes a Domingo: 10:00 a.m a 6:00 p.m.
Lunes (Cerrado)
Todos los domingos la entrada al MARTE es GRATIS.
De martes a sábado entran GRATIS: Adultos mayores, niños menores de 8 años, grupos de escuelas públicas, estudiantes del Centro Nacional de Artes (CENAR), Estudiantes de la Escuela de Artes de la Universidad Nacional, Miembros de Asociación de artistas Plásticos de El Salvador (ADAPES), Miembros de North American Reciprocal Museums Program (NARM), Miembros de El club de lectores de El Diario de Hoy, Visitantes del Museo Forma, Estudiantes y Docentes Universidad Tecnológica, Turistas hospedados en Hotel Hilton Princess San Salvador
Tarifa: (Martes a Sábado 10:00 am a 6:00 pm)
La tarifa normal es:
Adultos $1.50
Estudiantes $0.50
Facilidades para Discapacitados:
MARTE es accesible a personas con discapacidad móvil. Dos sillas de ruedas se encuentran además en la recepción para uso de visitantes que las requieran.
Identidade visual para restaurante especializado em carnes.
Atendimento: Rafaella Schmidt
Direção de Arte: Kadu Fregossi
visuales también a cargo de:
Elian, Seba, Pablo, Lules, Mati, Sol, Valentino, Marcos, Tebez, el Raba y yo.
LICRY BICARD
Retrospectiva
2 de diciembre de 2014 al 28 de febrero de 2015
Haz click aquí para ver el video
Esta exposición retrospectiva de la artista salvadoreña Lilian Cristina Andreu Bicard, conocida conocida en nuestro medio como Licry Bicard, abarca 45 años de producción artística e incluye 81 obras, entre ellas pinturas, dibujos, grabados y esculturas en hierro. Es una producción ligada íntimamente a su vida y sus recuerdos de infancia, al conflicto armado que vivimos como sociedad durante la década de los ochentas al interés por lo esotérico y simbólico, y al paisaje y leyendas nacionales.
La exhibición está organizada en orden cronológico e incluye diversas etapas. Su obra temprana cubre los primeros quince años de producción desde 1970 en pinturas, dibujos y grabados, momentos en que la artista busca y encuentra su propia visión y estilo. Continúa con el tema nostálgico de la niñez, el simbolismo en tótems pintados y su etapa de Abstracción en la que la artista encuentra un nuevo lenguaje visual que la libera de muchos de los estilos previamente utilizados y donde el color renace de manera fulgurante. Pasamos luego a la obra de la década de los noventa, donde predomina el tema prehispánico, las leyendas del Cipitió y el estilo arqueológico Joya de Ceren, en piezas simbólicas y expresivas. En las siguientes secciones, vemos los temas que predominan en su obra madura y actual: paisajes, rayas y texturas, y dibujos y garabatos. En ellos encontraremos la preocupación por la erosión de los suelos plasmada en vistas, en ocasiones bellas y en otras alarmantes; pinturas y dibujos que sin presentar cosa alguna, muestran un horror al vacío, así como colores simbólicos; y muñecos burlones y alegres que comentan sobre la sociedad y la vida diaria.
En su larga trayectoria se le ha visto desarrollarse con esmero desde una pintora y dibujante naif, a una artista propia del medio nacional con obras del realismo mágico durante la década de los ochenta, y una artista de corte abstracto y expresionista en el presente. Ha sido representada por las más importantes galerías del país, entre ellas la Galería El Laberinto, la Galería 1-2-3 y la Galería Espacio. Su obra está en las colecciones públicas y corporativas más importantes del país.
Sus aportes más destacados al arte nacional han sido la inclusión de temas prehispánicos en su arte, sorprendentes grabados en monotipo, sus pinturas del paisaje, una rica exploración de los límites de los materiales plásticos, y una prolífica producción de dibujos que logran hacernos reír en medio de su crítica social.
Jorge Palomo
Curador.
MARTE Museo de Arte de El Salvador
Colonia San Benito Final Avenida. La Revolución San Salvador, El Salvador Centroamérica
Tel.: (503) 2243-6099
Fax: (503) 2243-1726
info@marte.org.sv
Horario
Martes a Domingo: 10:00 a.m a 6:00 p.m.
Lunes (Cerrado)
Todos los domingos la entrada al MARTE es GRATIS.
De martes a sábado entran GRATIS: Adultos mayores, niños menores de 8 años, grupos de escuelas públicas, estudiantes del Centro Nacional de Artes (CENAR), Estudiantes de la Escuela de Artes de la Universidad Nacional, Miembros de Asociación de artistas Plásticos de El Salvador (ADAPES), Miembros de North American Reciprocal Museums Program (NARM), Miembros de El club de lectores de El Diario de Hoy, Visitantes del Museo Forma, Estudiantes y Docentes Universidad Tecnológica, Turistas hospedados en Hotel Hilton Princess San Salvador
Tarifa: (Martes a Sábado 10:00 am a 6:00 pm)
La tarifa normal es:
Adultos $1.50
Estudiantes $0.50
Facilidades para Discapacitados:
MARTE es accesible a personas con discapacidad móvil. Dos sillas de ruedas se encuentran además en la recepción para uso de visitantes que las requieran.
United Visual Artists invites you to experience Momentum, a carefully choreographed sequence of light, sound and movement, which responds to the unique space of The Curve.
The Curve, Barbican Centre - until 1 June 2014
Sidd Khajuria - Barbican Centre
unedited-Not part of my personal collection
From Wikipedia, the free encyclopedia
The Dassault Mirage IV was a French supersonic strategic bomber and deep-reconnaissance aircraft. Developed by Dassault Aviation, the aircraft entered service with the French Air Force in October 1964. For many years it was a vital part of the nuclear triad of the Force de Frappe, France's nuclear deterrent striking force. The Mirage IV was retired from the nuclear strike role in 1996, and the type was entirely retired from operational service in 2005.
During the 1960s, there were plans of export sales for the Mirage IV; in one proposal, Dassault would have entered a partnership with the British Aircraft Corporation to jointly produce a Mirage IV variant for the Royal Air Force and potentially for other export customers, but this project did not come to fruition. The Mirage IV was ultimately not adopted by any other operators.
Development
Origins
During the 1950s, France embarked on an extensive military program to produce nuclear weapons; however, it was acknowledged that existing French aircraft were unsuitable for the task of delivering the weapons. Thus, the development of a supersonic bomber designed to carry out the delivery mission started in 1956 as a part of the wider development of France's independent nuclear deterrent. In May 1956, the Guy Mollet government drew up a specification for an aerially-refuelable supersonic bomber capable of carrying a 3-metric-ton, 5.2-metre-long nuclear bomb 2,000 km (without aerial refuelling). According to aviation authors Bill Gunston and Peter Gilchrist, the specification's inclusion of supersonic speed was "surprising" to many at the time.
The final specifications, jointly defined by government authorities and Dassault staff, were approved on 20 March 1957. Sud Aviation and Nord Aviation both submitted competing proposals, both based on existing aircraft; Sud Aviation proposed the Super Vautour, a stretched Sud Aviation Vautour with 47 kilonewtons (10,500 lbf) thrust Atar engines and a combat radius of 2,700 kilometres (1,700 mi) at Mach 0.9. Dassault's proposal for what became the Mirage IV was chosen on the basis of lower cost and anticipated simpler development, being based upon a proposed early 1956 twin-engined night-fighter derived from the Dassault Mirage III fighter and the unbuilt Mirage II interceptor. In April 1957, Dassault were informed that they had won the design competition.
Dassault's resulting prototype, dubbed Mirage IV 01, looked a lot like the Mirage IIIA, even though it had double the wing surface, two engines instead of one, and twice the unladen weight. The Mirage IV also carried three times more internal fuel than the Mirage III. The aircraft's aerodynamic features were very similar to the III's but required an entirely new structure and layout. This prototype was 20 metres (67 ft) long, had a 11 metres (37 ft) wingspan, 62 square metres (670 sq ft) of wing area, and weighed approximately 25,000 kilograms (55,000 lb). It was considerably more advanced than the Mirage III, incorporating new features such as machined and chem-milled planks, tapered sheets, a small amount of titanium, and integral fuel tanks in many locations including the leading portion of the tailfin.
The 01 was an experimental prototype built to explore and solve the problems stemming from prolonged supersonic flight. The sizable technological and operational uncertainties (no plane had yet been found able to cruise at over Mach 1.8 for long periods of time) were only one part of the problem. The weapon-related issues were the other. It took 18 months to build the 01 in Dassault's Saint-Cloud plant near Paris. In late 1958, the aircraft was transferred to the Melun-Villaroche flight testing area for finishing touches and ground tests. On 17 June 1959, French General Roland Glavany, on a five-year leave from the French Air Force since 1954, took the 01 for its maiden flight.
For its third flight, on 20 June 1959, the 01 was authorised to fly over the Paris Air Show at Le Bourget airport in front of France's President Charles de Gaulle.[citation needed] On 19 September 1960, René Bigand (replacing Glavany as test pilot) increased the world record for speed on a 1000-kilometre closed circuit to 1,822 km/h (1,132 mph) around Paris and the Melun base. Flight 138, on 23 September, corroborated the initial performance and pushed the record on a 500 km closed circuit to an average of 1,972 km/h (1,225 mph), flying between Mach 2.08 and Mach 2.14. The Mirage IV 01 prototype underwent minor modifications during testing in the autumn of 1959, most noticeably, the tail was enlarged (slight reduction in height, large increase in chord).
Production
In order to increase range, studies were made of a significantly larger Mirage IVB design, powered by two Snecma license-built Pratt & Whitney J75 engines and having a wing area of 120 m² (1,290 sq ft) compared to 70 m² (750 sq ft) of the prototype IV, as well as a speed of Mach 2.4 and a gross weight of 64,000 kilograms (140,000 lb). The Mirage IVB proposal had been instigated as a response to interest by de Gaulle in ensuring that two-way (including the aircraft's return to France) strike missions could be flown. However, development of the aircraft was ultimately cancelled in July 1959 due to the greater cost involved, a decision having been taken to rely upon aerial refueling instead also being a factor.
With the Mirage IVB considered to be too expensive, the medium-sized Mirage IVA, slightly larger than the first prototype, was chosen for three more prototypes to be produced. This aircraft had a wing area of 77.9 square metres (839 sq ft) and weighed about 32,000 kilograms (70,000 lb)[12] On 4 April 1960, a formal order for 50 production Mirage IVA aircraft was issued. The three prototype aircraft were built between 1961 and 1963, with first flights on 12 October 1961, 1 June 1962, and 23 January 1963. By 1962, the second prototype had conducted simulated nuclear bombing runs in the trials range at Colomb-Bechar in southern Algeria. The third prototype was equipped with the navigation/bombing systems and flight refuelling probe. The fourth prototype Mirage IVA-04 was essentially representative of the production aircraft that would follow.
For production, various portions of the aircraft were subcontracted to Sud Aviation (wings and rear fuselage) and Breguet Aviation (tailfin), which was still a separate company from Dassault until 1967; Dassault manufactured the front fuselage and flight-control system internally. Manufacture of both the prototypes and subsequent production aircraft was often hindered by an explicit requirement that there would be no reliance upon foreign suppliers to maintain France's nuclear capabilities; due to this, the Mirage IV initially lacked an inertial navigation system as French industry could not yet produce this device.
On 7 December 1963, the first production Mirage IVA performed its maiden flight. A series of 62 aircraft was built, and they entered service between 1964 and 1968. Although Dassault had designed the Mirage IV for the low-level flight role right from the start, the final batch of 12 aircraft ordered in November 1964 differed from the earlier aircraft in several areas, including the flight controls, avionics, and structural details, for the purpose of providing improved low-level performance. It had been planned for this batch to be powered by the newer Pratt & Whitney/SNECMA TF106 turbofan engine. The improvements featured upon the last 12 Mirage IVs were later retroactively applied to the whole fleet.
In December 1963 Dassault proposed a Mirage IV-106 variant with 2 Snecma TF106 (license-built Pratt and Whitney) engines, an enlarged 105,000 gross-weight fuselage, terrain-avoidance radar, and armed with a proposed French version of the American Douglas GAM-87 Skybolt air-launched ballistic missile. This version would have been very costly, and ultimately was not ordered.
Proposed export variants
In 1963, the Australian government sought a replacement for the Royal Australian Air Force fleet of English Electric Canberra bombers, largely in response to the Indonesian Air Force's purchase of missile-armed Tupolev Tu-16 bombers. Dassault proposed a version of the Mirage IVA with Rolls-Royce Avon engines. Australian Air Marshall Frederick Scherger seriously considered purchase of the IVA in 1961 because it was considered to be proven hardware already in service (in contrast to the BAC TSR-2 which was still in development), before settling on the General Dynamics F-111C. The IVA was one of five aircraft types that were short listed for the role, but the F-111C was eventually selected.
In April 1965, the British Government cancelled the TSR-2 reconnaissance-strike aircraft. In response, Dassault and British Aircraft Corporation (BAC) proposed a modified Mirage IV variant as a replacement in July 1965. The aircraft, known as the Mirage IV* or Mirage IVS (S for Spey) would be re-engined with more powerful Rolls-Royce Spey turbofan engines with a total of 185 kilonewtons (41,700 lbf), larger (fuselage depth increased by 7.6 centimetres (3 in), had an approximately 0.61 metres (2 ft) forward fuselage extension, and was to weigh 36,000 kilograms (80,000 lb)), and use avionics planned for the TSR-2, although BAC preferred the French Antilope radar. Although designed by Dassault, the production was to be carried out jointly between Dassault and its subcontractors (wing, mid-fuselage, and tail) and BAC (front and rear fuselage). The final assembly location was not determined before this proposal was rejected. The Mirage IV* was to carry a bombload of up to 9,100 kilograms (20,000 lb). While the IV* was claimed to meet most of the Royal Air Force (RAF)'s requirements, and to be £1 million cheaper than the American-made F-111K was preferred (only to be cancelled in turn) and the Spey-engined Mirage abandoned.
The Mirage IV* met nearly every RAF requirement except for field length, and some claim it exceeded the F-111 slightly in speed and had at least equal range. The estimated cost was 2.321 million pounds per aircraft (for 50) or 2.067 million (for 110), less than the price of the F-111K. BAC claimed that the British government evaluation into the Mirage IV* was "relatively superficial". However, some British government officials, including Parliament members Julian Risdale and Roy Jenkins, questioned the Mirage IV*'s capacity to operate from unprepared airstrips or to operate at low level, or claimed that the F-111 was a superior aircraft "in a class of its own". However, Bill Gunston notes that low-level Mirage IV missions had been planned since 1963 and Mirage IVs operated regularly at low level since 1965, and argues that the ability of a strategic bomber to operate from unprepared airstrips is historically unimportant. RAF pilots who test-flew the Mirage IV were "favourably impressed" with its low altitude performance.
BAC and Dassault had also hoped to sell the Mirage IV* to France and to export the Mirage IV* to various nations, such as India, possibly Israel, and others; the lack of a British sale put an end to such possibilities. Some aviation journalists claim that the rejection of the Mirage IV* may have dampened French interest in joint Anglo-French cooperation.
Design
The Mirage IV shares design features and a visual resemblance to the Mirage III fighter, featuring a tailless delta wing and a single square-topped vertical fin. However, the wing is significantly thinner to allow better high-speed performance and has a thickness/chord ratio of only 3.8% at the root and 3.2% at the tip; this wing was the thinnest built in Europe at that time and one of the thinnest in the world. While being significantly smaller than an expensive medium bomber proposal for the role, the Mirage IV was roughly three times the weight of the preceding Mirage III.
The Mirage IV is powered by two Snecma Atar turbojets, fed by two air intakes on either side of the fuselage that had intake half-cone shock diffusers, known as souris ("mice"), which were moved forward as speed increased to trim the inlet for the shock wave angle. It can reach high supersonic speeds: the aircraft is redlined at Mach 2.2 at altitude because of airframe temperature restrictions, although it is capable of higher speeds. While broadly similar to the model used on the Mirage III, the Atar engine had a greater airflow and an elevated overspeed limit from 8,400 rpm to 8,700 rpm for greater thrust during high altitude supersonic flight. While the first Mirage IV prototype was fitted with double-eyelid engine nozzles, production aircraft featured a complicated variable geometry nozzle that automatically varied in response to the descent rate and airspeed.
The aircraft has 14,000 litres (3,700 gal (US)) of internal fuel, and its engines are quite thirsty, especially when the afterburner is active. Fuel was contained within integral tanks within the wings, as well as a double-skinned section of the fuselage between and outboard of the inlet ducts, underneath the ducts and engines, and forward of the main spar of the tail fin; this provided a total internal capacity of 6,400 kilograms (14,000 lb). A refueling probe is built into the nose; aerial refuelling was often necessary in operations as the Mirage IV only had the fuel capacity, even with external drop tanks, to reach the Soviet Union's borders, thus refuelling was required to allow for a 'round trip'. In the event of nuclear war between the major powers, it was thought that there would be little point in having the fuel to return as the host air bases would have been destroyed; instead, surviving Mirage IVs would have diverted to land at bases in nearby neutral countries following the delivery of their ordnance.
The two-man crew, pilot and navigator, were seated in tandem cockpits, each housed under separate clamshell canopies. A bombing/navigation radar is housed within an oblique-facing radome underneath the fuselage between the intakes and aft of the cockpit; much of the Mirage IV's onboard avionics systems, such as the radar communications, navigational instrumentation, and bombing equipment, were produced by Thomson-CSF. Other avionics elements were provided by Dassault itself and SFENA; one of the only major subsystems not of French origin onboard was the Marconi-built AD.2300 doppler radar. Free-falling munitions could also be aimed using a ventral blister-mounted periscope from the navigator's position.
The Mirage IV has two pylons under each wing, with the inboard pylons being normally used for large drop tanks of 2,500-litre (660 gal (US)) capacity. The outer pylons typically carried ECM and chaff/flare dispenser pods to supplement the internal jamming and countermeasures systems. On later aircraft, this equipment typically included a Barax NG jammer pod under the port wing and a Boz expendables dispenser under the starboard wing. No cannon armament was ever fitted aboard the type. The early Mirage IVA had a fuselage recess under the engines which could hold a single AN-11 or AN-22 nuclear weapon of 60 kt yield. The Mirage IV can carry 12 solid-fuel rockets diagonally down below the wing flaps, for rocket-assisted take off (RATO).
From 1972 onward, 12 aircraft were also equipped to carry the CT52 reconnaissance pod in the bomb recess. These aircraft were designated Mirage IVR for reconnaissance. The CT52 was available in either BA (Basse Altitude, low-level) or HA (Haute Altitude, high-altitude) versions with three or four long-range cameras; a third configuration used an infrared line scanner. The CT52 had no digital systems, relying on older wet-film cameras. The first operational use of the system took place during missions in Chad in September 1974.
During the 1980s, a total of 18 Mirage IVs were retrofitted with a centreline pylon and associated equipment to carry and launch the nuclear ASMP stand-off missile. The Mirage IVA could theoretically carry up to six large conventional bombs at the cost of drop tanks and ECM pods, such armament was rarely fitted in practice.
Operational history
Introduction and early operations
"We don't have fighter aircraft, we have fear-inducing aircraft"
French President Charles de Gaulle, speaking of the Mirage IV in 1963.
In February 1964 deliveries of the Mirage IV to the French Air Force started, with the first French Mirage IV squadron being declared operational on 1 October that year. The Mirage IV bomber force soon consisted of nine squadrons of four aircraft (2 pairs – one aircraft carrying the nuclear bomb, one a buddy-refuelling tanker) each. When fully built up, the force consisted of three wings. These wings were each divided into three bomber squadrons, each equipped with a total of four Mirage IVs, with each deployed at a different base to minimise the potential for an enemy strike to knock out the entire bomber force.
After establishment of its own deterrent force, the Force de Dissuassion, more commonly known as the Force de frappe, France withdrew from the military command structure of NATO in 1966. De Gaulle viewed the operational establishment of the Mirage IV fleet, a critical component of the independent Force de frappe, as highly influential to his decision to withdraw France from NATO, and that an independent French nuclear deterrent was necessary to ensure independence as a nation. From 1964 to 1971, the Mirage IV was France's sole means of delivering nuclear ordnance. At this point they were each armed with a single 60 kiloton nuclear bomb.
Alert status consisted of an active inventory of 36 Mirage IVs. At any one time 12 aircraft would be in the air, with a further 12 on the ground kept at four minutes' readiness and the final 12 at 45 minutes' readiness, each equipped with an onboard functional nuclear weapon. These 36 active aircraft would be rotated with 26 reserve aircraft; the latter were kept in an airworthy condition or were otherwise subject to maintenance activities. Within the first decade of the type entering service, in excess of 200,000 hours were flown and 40,000 aerial refuelling operations were performed by the Mirage IV fleet alone; at one point, Mirage IV operations were consuming up to 44 per cent of the French Air Force's total spare parts budget.
The primary objectives of the Mirage IVA force were major Soviet cities and bases. With aerial refueling], the plane was able to attack Moscow, Murmansk or various Ukrainian cities when sortieing from French bases. A justification of the Mirage IV given by Armée de l'air Brigadier General Pierre Marie Gallois, an architect of the French nuclear deterrent, was that: "France is not a prize worthy of ten Russian cities".
In order to refuel the Mirage IVA fleet, France purchased 14 (12 plus 2 spares) U.S. Boeing C-135F tankers. Mirage IVAs also often operated in pairs, with one aircraft carrying a weapon and the other carrying fuel tanks and a buddy refueling pack, allowing it to refuel its partner en route to the target. Even so, some sources state that some of the mission profiles envisioned were actually one-way, with the crew having no chance of returning after bombing a Soviet city. The inability for the Mirage IV to return after missions had been a point of controversy during the aircraft's early development.
Both flight and grounds crews received training principally by Strategic Air Forces Command 328, stationed at Bordeaux. Several Nord Noratlas were specially modified, having received the Mirage IV's radar, control consoles, and additional electrical generators, for the purpose of training navigators; these were later replaced by a pair of customised Dassault Falcon 20 outfitted with much of the Mirage IVP's avionics.
Transition and upgrades
Initially, the basic attack flight profile was "high-high-high" at a speed of Mach 1.85, engaging targets up to a maximum radius of 3,500 km (2,175 mi). In the late 1960s, when the threat of surface-to-air missile defences made high-altitude flight too hazardous, the Mirage IVA was modified for low-altitude penetration. Flying low, the maximum attack speed was reduced to 1,100 km/h (680 mph) and the combat radius was also decreased. By 1963, the majority of missions involving the Mirage IV were being planned as low-level flights. By 1964, Mirage IVAs were conducting training penetration runs at an altitude of 200 ft, without the assistance of terrain-following radar, which subjected pilots to considerable workload and those on board to high levels of turbulence.
To improve survivability, the French Air Force began dispersing Mirage IVs to pre-prepared rough strips during the 1960s; while the use of hardened bunkers had been assessed, it was found to be financially impractical. By the 1970s, it had become clear that vulnerability of the Mirage IV to air defences, even while flying at low altitudes, had made the delivery of gravity bombs such as the AN-11 or AN-22 impractical. Thus, it was decided to pass a greater share of the deterrent role onto land-based missiless and submarine-launched ballistic missiles alternatives; as a result, a single wing of Mirage IVs was stood down in 1976, partially due to fleet-wide attrition losses.
In 1973, it was reported that a force of 40 Mirage IVs would continue to perform as a part of France's nuclear deterrent until the 1980s, and that steady improvements were to be undertaken. In 1975, all Mirage IVs were progressively painted in a new green/grey camouflage scheme. In 1979, in response to the decreasing effectiveness of free-fall bombs used by both its strategic and tactical nuclear forces, development of the ASMP stand-off missile was initiated; the ASMP would possess a range of up to 400 km (250 mi) and was alternative armed with either a single 150 or 300 kiloton nuclear warhead. Various test launches of dummy and later live ASMPs were performed using the Mirage IV as the launch platform between 1981 and 1983.
In July 1984, a contract was formally issued for the upgrade of a total of 18 Mirage IVAs to carry the ASMP missile in the place of traditional bombs; these aircraft were redesignated Mirage IVP (Penetration). The conversion of Mirage IVAs to IVPs involved a large number of modifications and re-workings of the aircraft. A deep centerline pylon was added, which could accommodate either a single ASMP missile or a CT52 reconnaissance pod. The main radar and electronics suite were removed and replaced by newer counterparts; other modified systems included the navigation system, flight control system, and various elements of the cockpit. On 12 October 1982, the first modernised Mirage IVP performed its first flight; it re-entered active service on 1 May 1986.
In August 1985, a French proposal that would have seen Mirage IVPs stationed at air bases inside neighbouring West Germany was made public; this deployment would have marked a significant philosophical departure from traditional French nuclear defence policy. Aviation authors Bill Gunston and Peter Gilchrist allege that French officials had historically discounted the option of recovering Mirage IVs in friendly territory as unduly optimistic, as those nations might become unfriendly or hostile in the aftermath of a French nuclear attack.
Phase-Out
On 31 July 1996, the Mirage IVP was formally retired in its bomber capacity, the nuclear mission having been transferred from the Mirage IV to the newer Dassault Mirage 2000N. EB 2/91 was disbanded and EB 1/91 was redesignated Escadron de Reconnaissance Stratégique (Strategic Reconnaissance Squadron),[citation needed] using five remaining Mirage IVPs based at Mont-de-Marsan; the remaining aircraft were stored at Chateaudun. In the reconnaissance role, the Mirage IVP has seen service over Bosnia, Iraq, Kosovo and Afghanistan.
ES 1/91 Gascogne's surviving Mirage IVPs were retired in 2005 and are conserved and stored at the Centre d'Instruction Forces Aériennes Stratégiques (CIFAS) at Bordeaux Mérignac. The retirement of all reconnaissance-configured Mirage IVPs in 2005 meant that the French Air Force's Mirage F1CRs were for some time the only aircraft capable of carrying out aerial reconnaissance missions. The long term replacement for the Mirage IVP was Mirage 2000N aircraft outfitted with a modern PRNG Pod de Reconnaissance Nouvelle Génération (New Generation Reconnaissance Pod), equipped with digital camera equipment.
The Mirage IV had been popular with its crews, who found it enjoyable to fly. In addition, it required surprisingly little maintenance considering its age and complexity.
MSU Denver students take notes during a Visual Design class in the Central Classroom building. The instructor makes use of new SMART Boards and other high-tech teaching tools to present a hands-on lecture.
VISUAL LIBRARIES - Leave your Mark.
A collaborative, visual project which encourages you to sign out a Visual Library Book and ‘Leave Your Mark’.
A Visual Library Book is whatever you want it to be, a sketchbook, a journal, a diary, a notepad.
You can ‘Leave Your Mark’ in whatever way you want, ranging from drawing, writing, sewing, adding photographs, markings, printing and sticking. How you make your marks is entirely up to you. All we ask is that you have fun with the different themes. Just borrow it on your library card with other books and materials. If you are not already a member, just ask the staff to help you.
45 Visual Library Books have been placed in Portsmouth Central Library and each has its own theme ranging from; Portsmouth, My City, When I Open My Eyes, Whilst I Was Waiting, Love, What’s in My Pocket and Memories. The intention is for you to feel free to explore the Visual Library Books and choose a theme that you like.
In Association with: Rhodia, Seawhite, Portsmouth City Council, University of Portsmouth, COPIC Pens
For Further Details: claire.sambrook@port.ac.uk
Esqueci de comentar q esse visual e o do soldadinho é um só, um é feito no verso do outro.Esse visual uso na escola dominical para cantar a musiquinha: Florzinha de Jesus.Conforme cantamos o disco central da flor é girado e ela canta coma gente, esse visual vi na APEC, feito de colorset...
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
Natalie Noble and Brandon Snowden, UIS seniors and communication majors, record students playing video games in the Student Life Building as part of an assignment for their Visual Storytelling and Reporting course, taught by Professor Ann Strahle.
read about my epi-lasik journey on the blog: www.beautifuladieu.com/2015/03/my-journey-towards-clearer...
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Essa é a linha criativa que fizemos com o logotipo e a identidade visual da dupla sertaneja Beto e Barreto.
The original Mercedes-Benz W110 'Fintail' model was launched in 1961. It adopted a modified version of the W111 'S' model of 1959, though with a 50mm reduced wheelbase and shortened front overhang. These changes were made possible due to the W110 being fitted exclusively with 4-cylinder engines (1.9L and 2.0L).
The term 'Fintail' or in German 'Heckflosse' , referred to the (modest by US standards) tailfins which had become a feature of vehicle styling, particularly in 1950s USA.
The W110 was updated in 1965, in a second series, including new engines. At this time, the 'S' Series was replaced by anew car, the W108/109. The second series W110 had modet visual changes, including the fitment of turn-signals and parking lights below the main headlamps. At this time, the 2.3L six-cylinder was added to the range, but without the need to increase the wheelbase.
Though the primary body type of the W110 was a four-door saloon a small number of wagon models, with the sub-type name 'Universal' were built in both Series 1 and 2 forms by independent coachbuilders some of whom also built ambulance conversions.
Description from website: "Visual Kei is a very bright pink, with a nearly matte finish. Temporary staining is likely (keep off of fabric). *Reformulated in October 2011: Brighter, more intense colour saturation. * 9/2012: Colour amped up a notch yet again.*"
Color: Intense bright blue-pink, medium-dark, not quite purple enough to be fuchsia. Strawberry pink on steroids? It's not bright enough to be considered neon, but it is definitely a bright, statement lipstick.
Finish: Very pigmented but rather sheer satin finish, no shimmer.
Other notes: Like Glamorous Rebel, it is highly pigmented but on the sheer side, giving a stain effect rather than the look of a heavy lipstick. Surprisingly wearable for a hot pink lipstick.
If you look at the four previous photographs, you'll be able to see how the the framework of notes on the whiteboard, and the drawn images, became this final page of notes. You can read more about this in this entry on my blog at andrewbwatt.wordpress.com
Original Sources of the images:
1. Olmec head: based on picture in class textbook, p. 12.
2. Maya Worker
3. Aztec Warrior from the Florentine Codex
4. Inca — Emperor Pachacuti and Wiracocha
