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"US$61.8 million of the claim was in compensation for the 248 Iranians killed in the shoot-down ($300,000 per wage-earning victim, $150,000 per non-wage-earner). In total 290 civilians on board (including 38 non-Iranians and 66 children) were killed. It was not disclosed how the remaining $70 million of the settlement was apportioned, though it appears a close approximation of the value of a used A300 jet at the time. Further compensation was paid for the 38 non-Iranian deaths. The payment of compensation was explicitly characterized by the US as being on an ex gratia basis, and the U.S. denied having any responsibility or liability for what happened."

Iran Air Flight 655

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"In a March 15, 2001 interview, Valery Kamensky, then Commander of the Soviet Far East Military District Air Defense Force and direct superior to Gen. Kornukov, opined that such a shootdown of a civilian passenger plane could not happen again in view of the changing political conditions and alliances."

Korean Air Lines Flight 007

crookedindifference:

Read the Apollo 11 Flight Plan in Its 353-Page Entirety

Exactly 45 years ago today, after months of preparation, Apollo 11 embarked on its now-legendary mission to the moon. But what exactly does it take to send three men into the great, vacuous unknown? See for yourself.

This 353-page document is the entire Apollo 11 flight plan in all its scientific glory. And if it gets a little confusing it’s because this is one of those rare cases where, yes, it actually is rocket science.

Thankfully, the National Archives does provide a small amount of decoding of the highly technical literature. This acronym key should be of some help:

  • CSM = Command Service Module
  • CMP = Command Module Pilot (Mike Collins)
  • LM = Lunar Module
  • CDR = Commander of the Mission (Neil Armstrong)
  • LMP = Lunar Module Pilot (Buzz Aldrin)
  • MCC-H = Mission Control Center-Houston.
  • LLM = Lunar Landing Mision
  • S/C = Spacecraft

And as an added bonus, NASA has also kindly made available the entire Apollo 11 onboard voice transcription. Yep—you get to be privy to every last word uttered between our three space heroes as they were making history happen.

(via aleskot)

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THIRTEEN WAYS OF LOOKING AT APOLLO (2)

matthewbattles:

The craft the Apollo astronauts rode to the moon was a capsule of contradictions: an engineering marvel and a jury-rigged bucket of bolts; a pill-like pod of corrugated metal contrived to give its aviator-cum-astronauts the feel of flight in an airless environment; a symbol of existential enigma and loneliness in which each system, no matter how minute, had its operators and monitors and simulation-ready counterparts on Earth. The command module would travel further from home than any vehicle theretofore, its subtlest changes watched and scrutinized to an unprecedented extent. Apollo was a congeries of machines and systems and personnel aimed not only at the moon, but at one of modernity’s primary questions: to what extent will the tools we create come to dominate us?

capcontradict

Instead of answering that question, the Apollo program staged a performance of derring-do and machismo—one which involved a massive assemblage of stage machinery and special effects. The astronauts came from the world of test pilots, the testbed of machismo and consummate skill, the attitude depicted by Wolfe in the Right Stuff. But even for these skilled and talented men, the Newtonian knottiness of space flight proved too complex. The calculations required to maintain attitude even in the simplest trajectories were at once elegant and mind-boggling in their permutations, and the speed with which they needed to be carried out was beyond human possibility. And yet the astronauts demanded control —for the sake of their safety, and for reputation’s sake as well—and they had their swagger, the adulation of the public, and the fact the wager of their own mortality to back up the argument. In the end, Apollo’s systems were designed to produce a simulacrum of control, responding to their instructions, their movements of sticks and switches, while making adjustments at the speed of electronic calculation.

It’s an intoxicating notion, piloting across the star-studded reaches of space. The mechanical and perceptual challenge of the Apollo landings—all of which, in the end, were accomplished under manual override of automatic systems—was evoked by the classic Lunar Lander video game. But Star Wars offered a full measure of the challenge, which was an existential and spiritual as well as mechanical one: when Luke in the climactic battle of Star Wars turns off his targeting computer and dives at the Death Star with eyes closed, The Force merges with The Right Stuff. In fact, Apollo’s computers aided the intuition of their pilots, figuring out in milliseconds how to do what the astronauts wanted to do. 

Lunar_Lander

This is the second of fourteen posts; see the original essay in full at HiLobrow, where it first appeared on June 23, 2009.

jobhaver:

jobhaver:

THE GENDER SPECTRUM [a one dimensional graph where one end of the axis is labeled PAIN and the other end of the axis is labelled SUFFERING and a color gradient from lacquer black to matte black to represent all the beautiful variations in the spectrum]

i identify as ANGUISHQUEER: deep black with a light glossy finish

(via 3liza)

*75
fuckyeahanarchopunk:

militia women. Spanish civil war

fuckyeahanarchopunk:

militia women. Spanish civil war

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This is the way that things are. We create art as if our paint could open up a gap in the wall for an ideal space, as perfect as we imagine it, not in the real terms of bricks and mortar. When we write our graffiti on the wall of the massive edifice of our contemporary power structures, we must use words that are of the futile nature of graffiti. This paint will be removed and the wall will remain. We write on the wall because it is there, and because there are only walls, and this is the only architecture we have managed to snatch from the ever-present eye of the cop and the camera. To interfere with steel is to be architectural, but to only paint the walls with criticism, is to be artistic. We are artists because we are not architects; we question the built environment because we are not designing it. In a virtual “safe mode,” we build ideas rather than more walls. Our creation of only ideas in the face of hegemonic systems is our hollow material, in which we stand waist-deep, as it rises towards our throats.
Dancing About Architecture: Artists’ reponses to the built environment

This is the way that things are. We create art as if our paint could open up a gap in the wall for an ideal space, as perfect as we imagine it, not in the real terms of bricks and mortar. When we write our graffiti on the wall of the massive edifice of our contemporary power structures, we must use words that are of the futile nature of graffiti. This paint will be removed and the wall will remain. We write on the wall because it is there, and because there are only walls, and this is the only architecture we have managed to snatch from the ever-present eye of the cop and the camera. To interfere with steel is to be architectural, but to only paint the walls with criticism, is to be artistic. We are artists because we are not architects; we question the built environment because we are not designing it. In a virtual “safe mode,” we build ideas rather than more walls. Our creation of only ideas in the face of hegemonic systems is our hollow material, in which we stand waist-deep, as it rises towards our throats.

Dancing About Architecture: Artists’ reponses to the built environment

*2
Reclaimed by a youth culture without the wealth with which to buy diamonds, the shape of the crystalline, round brilliant cut sketched by Tolkowsky one hundred years ago has become a deterritorialized, flattened symbol of the diamond it was invented to create. In Rihanna’s 2012 performance of her song “Diamonds” on Saturday Night Live, amid other appropriative seapunk computer-generated graphics, the false-screen behind her displayed spinning, flying, overly perfect images of the round brilliant cut gemstone. The heavy geometrics of the cut diagram, portrayed in digital imagery, or in false glimmer on T-shirts, necklaces, and other fashion items, takes the shape of the sigil that creates diamonds’ luster and portrays it flatly. It is literally the geometry of the magic power of diamonds that remains, the word and material itself controlled by the cartels and the millionaires.
There is no magic shine to this symbol, rendered in ink, pixels, or laser cut plastic. And yet there is: within the very shape of economic and colonial power of diamonds that created and concentrated their contemporary magical value, are the physical attributes that allow our awareness to pass through the material, bent, refracted to its angular contours. This pattern cannot be commodified any longer, it has been broken out from De Beers “Four Cs” rubric, made unavailable as a currency for wars. We need no colonialist mines to create this weapon of enlightenment. Our new diamond knife can be drawn with any ink or stencil. We know what diamonds mean. We know where diamonds’ magic comes from. And we may not have those diamonds, because of the systems that have been created to keep that power isolated, in the hands of the few, a false monopoly of enlightenment and actualization in the economy that we live in. But we will still take that magic. We will counterfeit it if necessary, use cheap crystals emblazoned upon our very skin, the pattern of that crystal magic itself as our sigil, GIF blasts of currency symbols at our fingertips in leiu of actual currency. This diamond weapon is only symbol, and in that is its new, lustrous, crystalline power.
Diamond Weapon

Reclaimed by a youth culture without the wealth with which to buy diamonds, the shape of the crystalline, round brilliant cut sketched by Tolkowsky one hundred years ago has become a deterritorialized, flattened symbol of the diamond it was invented to create. In Rihanna’s 2012 performance of her song “Diamonds” on Saturday Night Live, amid other appropriative seapunk computer-generated graphics, the false-screen behind her displayed spinning, flying, overly perfect images of the round brilliant cut gemstone. The heavy geometrics of the cut diagram, portrayed in digital imagery, or in false glimmer on T-shirts, necklaces, and other fashion items, takes the shape of the sigil that creates diamonds’ luster and portrays it flatly. It is literally the geometry of the magic power of diamonds that remains, the word and material itself controlled by the cartels and the millionaires.

There is no magic shine to this symbol, rendered in ink, pixels, or laser cut plastic. And yet there is: within the very shape of economic and colonial power of diamonds that created and concentrated their contemporary magical value, are the physical attributes that allow our awareness to pass through the material, bent, refracted to its angular contours. This pattern cannot be commodified any longer, it has been broken out from De Beers “Four Cs” rubric, made unavailable as a currency for wars. We need no colonialist mines to create this weapon of enlightenment. Our new diamond knife can be drawn with any ink or stencil. We know what diamonds mean. We know where diamonds’ magic comes from. And we may not have those diamonds, because of the systems that have been created to keep that power isolated, in the hands of the few, a false monopoly of enlightenment and actualization in the economy that we live in. But we will still take that magic. We will counterfeit it if necessary, use cheap crystals emblazoned upon our very skin, the pattern of that crystal magic itself as our sigil, GIF blasts of currency symbols at our fingertips in leiu of actual currency. This diamond weapon is only symbol, and in that is its new, lustrous, crystalline power.

Diamond Weapon

*5
bogosixsekhukhuni:

CRYING CAUSE I JUST REALIZED THAT MY BIOLOGICAL FATHER, WHO I MET ON FACEBOOK SIX YEARS AGO, DELETED ME AFTER I SENT HIM A LINK TO ANSWER…THE PROJECT IM WORKING ON WITH GOOGLE ENGINEERS IS AN INTERACTIVE VIDEO THAT USES CHAT BOT TECHNOLOGY TO RECREATE OR SIMULATE THE CONVERSATION WE HAD, WHICH IS A RECORD OF OUR ENTIRE INTERACTION IN LIFE (AND ITS NOT THAT LONG). THE BOTS WILL BE BASED ON BOTH PERSONALITIES. ITS PART OF A SPECULATIVE CONVERSATION ABOUT AI AND THE BLURRING PARAMETERS OF WHAT WE ACKNOWLEDGE AS CONSCIOUS INTELLIGENCE AND HOW WE ‘VALUE’ EXPERIENCE. MY DNA PROJECT IS ONE PART OF THE CONVERSATION, BUT FOCUSSES ON IDEAS AROUND ‘CONSCIOUSNESS GENERATION’. IM PLANNING ON FRAMING IT AS AN ABSENT BLACK FATHER BOT APP (I KNOW ITS FACEBOOK BUT DONT STEAL THAT).ALSO FUCK YOU FOR BREAKING MY HEART NIGGA.#TEARS4YEARS

bogosixsekhukhuni:

CRYING CAUSE I JUST REALIZED THAT MY BIOLOGICAL FATHER, WHO I MET ON FACEBOOK SIX YEARS AGO, DELETED ME AFTER I SENT HIM A LINK TO ANSWER…THE PROJECT IM WORKING ON WITH GOOGLE ENGINEERS IS AN INTERACTIVE VIDEO THAT USES CHAT BOT TECHNOLOGY TO RECREATE OR SIMULATE THE CONVERSATION WE HAD, WHICH IS A RECORD OF OUR ENTIRE INTERACTION IN LIFE (AND ITS NOT THAT LONG). THE BOTS WILL BE BASED ON BOTH PERSONALITIES. ITS PART OF A SPECULATIVE CONVERSATION ABOUT AI AND THE BLURRING PARAMETERS OF WHAT WE ACKNOWLEDGE AS CONSCIOUS INTELLIGENCE AND HOW WE ‘VALUE’ EXPERIENCE. MY DNA PROJECT IS ONE PART OF THE CONVERSATION, BUT FOCUSSES ON IDEAS AROUND ‘CONSCIOUSNESS GENERATION’. IM PLANNING ON FRAMING IT AS AN ABSENT BLACK FATHER BOT APP (I KNOW ITS FACEBOOK BUT DONT STEAL THAT).
ALSO FUCK YOU FOR BREAKING MY HEART NIGGA.#TEARS4YEARS