View allAll Photos Tagged zero
Team ZEROs Eivind Hodne Steen takes a break from driving Think and is testing the electric scooters at Vålerbanen during Zero Rally 2011. Foto: Eirik Helland Urke
Sabine Becker, Daimler. ZERO- konferansen arrangeres av den norske miljøstiftelsen Zero Emission Resource Organization (ZERO). Foto: Eirik Helland Urke
ZËRO
Le premier album « Joke box » est né des cendres de Bästard et Narcophony, deux anciens groupes dont faisaient partie ¾ des membres de Zëro. Le EP vinyle « Bobby Fischer » l'annonçait, « Diesel dead machine », second albu...m du groupe le confirme : Zëro accélère le rythme sans rien perdre de ses capacités à le perturber et à développer des arrangements d'une richesse rare. On sent que le groupe a tourné, l’énergie brute des concerts est ici restituée avec ferveur. Le son Zëro s’affirme.
Pas besoin de haute technologie pour bien faire. Ici, tout est fait comme il l’a toujours été, live et en groupe, entre rigueur et totale décontraction, le son étant leur seul motif de perfectionnisme et d’obstination. Il suffit de les voir en concert pour le comprendre. C’est sans doute là que le message de Zëro se révèle, approchant avec une totale liberté d’expression ce que le rock représente à leurs yeux: un métissage de cultures et d’influences où le punk des premiers Devo, le jazz d’un Sun Ra et le blues d’un Captain Beefheart ne sont pas étrangers mais complètement assimilés.
Il est clair que la musique de Zëro s’aventure plus dans des contrées inventives que dansles sentiers battus du rock à identité fixe. On y croise autant Jack Berrocal et Gene Vincent en « Drag Queen blues » sous extasy, que le krautrock de Can et Kraftwerk dans un « Luna Park » ludique où psychédelisme et harmoniques offrent un roller coaster cérébral et addictif. On y croisera également des Cramps ressuscités le temps d’un « Sick to the bones » écorché, des Battles en pleine poussée pour un « Viandox » improbable, tout comme un paquet d’autres freaks qui en marge de tout courant auront constamment réécrit avec singularité et intelligence le langage du rock.
Chaque titre s’évade du précédent, fuyant la routine et l’étiquette comme la peste, un sourire au coin des lèvres, une bonne boite à blague sous le bras. Les disques se dévoilent avec la malice d’une boite d’illusionniste, d’un vice sans fin où le plaisir et la surprise sont sans cesse renouvelés.
Force Béton // 2 avril 2010 // BITCHE, NANTES
Montreal is roundly blaming pedestrians for dying while jaywalking. Of course, many "accidents" happen at crosswalks* and usually involve the driver violating the pedestrian's right of way, so this campaign ("go at the right place and right time") simply cannot cut accidents to the unrealistic goal of zero. The only thing I like about this is that the provincial auto insurance company is paying for the campaign; having a universal insurance pool means that they have a big incentive to reduce systemic risks rather than to try and offload those.
Instead, the city should adopt the Vision Zero concept: "We place the main burden for safety on system design because we recognise human weaknesses and low tolerance to mechanical force. Ultimately, no one should die or suffer serious injury in traffic." This was pioneered in Sweden and is now spreading in the USA (FHWA, Minnesota, Utah).
* Nearly 1,000 pedestrians were killed in America's crosswalks in 2007-08, or 10% of all fatalities; less than 1 in 4 pedestrian fatalities were for people who were explicitly jaywalking despite there being nearby crosswalks. (T4A)
Sir Bob Geldof. ZERO- konferansen arrangeres av den norske miljøstiftelsen Zero Emission Resource Organization (ZERO). Foto: Eirik Helland Urke
Taken at Tokorozawa Aviation Museum in the special event that commemorate 100th anniversary of Japanese aviation. This Zero fighter comes from Planes of Fame.
The lights of my local supermarket, as seen looking up whilst I shopped.
Zero Image 6x9 MF loaded with Fuji Reala 100. Exposure time 4 minutes.
I haven't uploaded in a while, and I found this and thought I'd post it. This was a fun night. It was right before we left for New Orleans.
Impressions at the session Zero Days VR, at the Annual Meeting 2018 of the World Economic Forum in Davos, January 23, 2018
Copyright by World Economic Forum / Mattias Nutt
ZËRO
Le premier album « Joke box » est né des cendres de Bästard et Narcophony, deux anciens groupes dont faisaient partie ¾ des membres de Zëro. Le EP vinyle « Bobby Fischer » l'annonçait, « Diesel dead machine », second albu...m du groupe le confirme : Zëro accélère le rythme sans rien perdre de ses capacités à le perturber et à développer des arrangements d'une richesse rare. On sent que le groupe a tourné, l’énergie brute des concerts est ici restituée avec ferveur. Le son Zëro s’affirme.
Pas besoin de haute technologie pour bien faire. Ici, tout est fait comme il l’a toujours été, live et en groupe, entre rigueur et totale décontraction, le son étant leur seul motif de perfectionnisme et d’obstination. Il suffit de les voir en concert pour le comprendre. C’est sans doute là que le message de Zëro se révèle, approchant avec une totale liberté d’expression ce que le rock représente à leurs yeux: un métissage de cultures et d’influences où le punk des premiers Devo, le jazz d’un Sun Ra et le blues d’un Captain Beefheart ne sont pas étrangers mais complètement assimilés.
Il est clair que la musique de Zëro s’aventure plus dans des contrées inventives que dansles sentiers battus du rock à identité fixe. On y croise autant Jack Berrocal et Gene Vincent en « Drag Queen blues » sous extasy, que le krautrock de Can et Kraftwerk dans un « Luna Park » ludique où psychédelisme et harmoniques offrent un roller coaster cérébral et addictif. On y croisera également des Cramps ressuscités le temps d’un « Sick to the bones » écorché, des Battles en pleine poussée pour un « Viandox » improbable, tout comme un paquet d’autres freaks qui en marge de tout courant auront constamment réécrit avec singularité et intelligence le langage du rock.
Chaque titre s’évade du précédent, fuyant la routine et l’étiquette comme la peste, un sourire au coin des lèvres, une bonne boite à blague sous le bras. Les disques se dévoilent avec la malice d’une boite d’illusionniste, d’un vice sans fin où le plaisir et la surprise sont sans cesse renouvelés.
Force Béton // 2 avril 2010 // BITCHE, NANTES
In 1937, the Imperial Japanese Navy issued a requirement for a replacement for the Mitsubishi A5M then entering service. The IJN wanted a carrier-capable fighter with a top speed of 300 mph, an endurance of eight hours, cannon armament, good maneuverability, with a wingspan less than 40 feet—the width of elevators on Japanese aircraft carriers. All of this had to be done with an existing powerplant.
Nakajima promptly declared that the IJN was asking the impossible and did not bother trying to submit a design. Mitsubishi’s chief designer, Jiro Horikoshi, felt differently and began working on a prototype. Using the Nakajima Sakae 12 as the powerplant, he lightened his design as much as physically possible, leaving off crew armor and self-sealing fuel tanks, and using a special kind of light but brittle duralumin in its construction. Though it delayed production, the wing and fuselage were constructed as a single piece for better durability. Using flush riveting also made for an aerodynamically clean design; it had a stall speed below that of any contemporary fighter at 70 mph. Its wide tracked landing gear also made it fairly simple to recover on both carriers and land on unimproved airstrips. Horikoshi had delivered, and the IJN accepted the new fighter into service in July 1940 as the A6M Rei-sen (Type 0), referring to the Imperial calendar date used by the Emperor of Japan; 1940 was Imperial year 2400. Both friend and foe would refer to the A6M simply as the Zero.
The Zero had its first combat encounter with Chinese Polikarpov I-16s in September 1940, a fighter that was the equal of the A5Ms and Ki-27s then in Japanese service, yet 13 Zeroes were easily able to handle 27 I-16s, shooting all of them down without loss in three minutes. Claire Chennault, the American advisor to the Chinese Nationalists, sent reports of this amazing new fighter to the United States, but he was ignored. The Allies would therefore learn of the Zero’s prowess first-hand on 7 December 1941 at Pearl Harbor. Making matters worse for the Allies was that the Zeroes they encountered were flown by IJN pilots, who were among the best in the world. Teaming elite pilots with a supremely maneuverable fighter was a deadly combination that seemed unstoppable in 1942, when Zeroes over New Guinea sustained a kill ratio of 12 to 1 over Allied opponents.
Even at this dark stage of the war for the Allies, however, their pilots were learning the Zero’s weaknesses. Hirokoshi’s sacrifices had given the Japanese an excellent and very long-ranged fighter (A6Ms regularly made the round trip between Rabaul and Guadalcanal in 1942), but it had come at a price. P-40 and F4F Wildcat pilots in China and the Pacific learned that the Zero, lacking any sort of armor or self-sealing fuel tanks, was very prone to catching fire and exploding with only a few hits. They also learned that the best defense against a Zero was to dive away from it, as Japanese pilots could not keep up with either the P-40 or the F4F in a dive, as it would tear their fragile fighter apart. While trying to dogfight a Zero was suicide, Allied pilots could use the vertical to their advantage. Japanese pilots also learned that the rifle-caliber 7.7mm machine guns in the Zero’s cowl were ineffective against armored Allied fighters, and the 20mm cannon often had poor fusing on the shells. The Allies gave the Zero the reporting name “Zeke,” while later models were codenamed “Hamp” and floatplane A6M2-Ns were codenamed “Rufe,” but most pilots continued to call it the Zero.
As World War II continued, the Allies began drawing on those lessons in fighter design, helped immensely when an intact A6M2 was captured in the Aleutians in summer 1942. First to arrive was the F4U Corsair, which still could not turn with the Zero but was faster and better in a climb; the second was the F6F Hellcat, which was also faster and better in the vertical, and could stay with the Zero in a sustained turn. The Allies also benefited from the Japanese losing so many experienced pilots in battles such as Midway and the Guadalcanal campaign: the IJN’s pilot replacement program was too selective, and could not replace the heavy losses of 1942 and 1943. Japanese industry was also slow to come up with a replacement for the A6M. As a result, by late 1943, the Zero menace had been reduced drastically. While the Zero was still deadly in the hands of a good pilot, these pilots were increasingly scarce by 1945.
Though Mitsubishi kept upgrading the Zero throughout World War II, the design simply was too specialized to do much with. By 1945, it was being used mainly as a kamikaze suicide aircraft, flown by half-trained former college students. While the kamikazes did a great deal of damage and killed thousands of Allied sailors, it was a desperation tactic that only lengthened a war that Japan had already lost. The Zero had exacted a price, however: it was responsible for the loss of 1550 Allied aircraft, a conservative estimate.
By war’s end, 10,939 A6Ms had been built and Mitsubishi was working on a replacement, the similar A7M Reppu. Of these, the aircraft that survived the war were mostly scrapped and few preserved, and no flyable aircraft were left; directors attempting to make World War II movies were forced to convert a number of T-6 Texan trainers to look something like Zeroes. A few have since been restored to flying condition. Today, about 17 Zeroes remain, though some are being recovered from wartime wreck sites and restored to museum display.
This A6M5 was built by Nakajima under license from Mitsubishi (note the propeller color) and was delivered to the 261st Kokutai of the Imperial Japanese Naval Air Force in July 1943, where it was given the tail number of 61-120. It was transferred to Saipan in March 1944, in anticipation of American landings in the Marianas later in the year. When US Marine troops overran Aslito airfield in June 1944, several Zeroes were captured intact, including 61-120. The Zeroes were shipped back to the United States, and 61-120 was extensively tested--it may have had more flight hours as a captured Zero than it had with the IJNAF; one of the test pilots was none other than Charles Lindbergh.
After World War II ended, the Navy no longer had any use for 61-120, so it was declared surplus. Planes of Fame was quick to acquire it in 1950, especially as most Zeroes had already been smelted down. As the aircraft was completely intact, it was made flyable in 1978, and at the time was the only flyable Zero. It has also made a few appearances in movies, notably "Pearl Harbor," where it was flown at very low level in some shots. As it is still powered by its original Sakae engine, 61-120 is considered the most complete A6M left in the world. I got to see it in May 2021.
Hey all! Jack here again, and this time I'm here to show you all my LEGO MOC of an F4U-4 Corsair, used by the U.S. Navy during the latter parts of World War II.
The F4U Corsair was a fighter aircraft used by the U.S. Navy and the U.S. Marine Corps during World War II, continuing to serve even after the Korean War. During the Second World War, it was a fierce opponent to aircraft such as the Mitsubishi A6M Zero, obtaining a 12:1 kill ratio over the previously dominant fighter. The variant I built is the F4U-4, primarily seeing action in 1945 against aircraft like the Nakajima Ki-84, Kawanishi N1K, and the Mitsubishi J2M -- over which Corsairs still retained a 6:1 kill ratio over, combined. The F4U-4 had a more powerful engine relative to its predecessors, and attained further aerodynamic performance. It was indeed a legendary, formidable fighter during the last leg of World War II.
The model itself features working landing gear, a cockpit with room for a minifigure, folding wings and dihedral. This is a model I worked hard at for a while, but as of now I'm relatively happy with the result thus far. However, don't hesitate to let me know what you think! Comments, faves, and constructive critiques -- as always, are highly appreciated!
'District Zero' tells the story of Maamun Al-Wadi, a Syrian refugee who begins a new life in Jordan’s Zaatari camp fixing mobile phones. He is one of nearly 60 million refugees and displaced person worldwide.
People from all over the camp come to his shop and through each customer they see the contents of their memory cards: their past lives in Syria (happiness, daily routine and family life) as well as the war, destruction, fear and flight.
The documentary has been presented at film festivals since September 2015.
© Pablo Tosco / Oxfam Intermón
I took a 24-megapixel jpeg that was 14 megabytes in size and exported it (using Gimp) as a zero-percent quality jpeg. This is the result. It is 295 kilobytes in size. (original jpeg here: flic.kr/p/KYikwr )
PHOTO BY MARIA TRAN
Director: Corrie Chen
Writer: Corrie Chen, Lawrence Leung
Producer: Bryony McLachlan
Director of Photography: Johnny Maloney
Fight Choreography: Dong Tam Martial Arts
CAST
Lawrence Leung
Maria Tran
Andy Minh Trieh
Vyom Neha Sharma
Participants during the Session "Zero Days VR" at the Annual Meeting 2018 of the World Economic Forum in Davos, January 26, 2018.
Copyright by World Economic Forum / Manuel Lopez
It doesn't happen very often, but I was finally able to clear through my email inbox after the trip and get it down to zero messages. That's right, it's clear.
New orange branding on Oregon’s West Coast Electric Highway stations means upgrades! All 44 EV charging stations on the highway will receive upgrades in 2022. The upgrades will add more charger types and update existing ones to serve a wider range of electric vehicles, according to EV Charging Solutions, owner/operator of the WCEH stations in Oregon.