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Bugatti subjects its chassis to nonstop, week-long testing that simulates an entire year of real-world driving. The Bugatti Chiron stands as one of the most extreme hypercars ever built—a triumph of engineering designed to redefine what a road car can achieve. At its heart lies an 8.0-liter quad-turbo W16...

509,888 Aufrufe • vor 4 Monaten •via X (Twitter)

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The Airbus A350 is, without question, the most beautiful airliner gracing the skies today. A masterpiece of modern engineering and design, it combines elegance with efficiency. From every angle, the A350 is perfectly proportioned. Its long, graceful fuselage flows seamlessly into a set of gently curved wings that flex in flight like a bird in motion—an iconic silhouette that instantly sets it apart. The wingtips, with their signature upturned ‘sharklets,’ don’t just look stunning—they whisper of aerodynamic excellence and fuel-saving innovation. Its nose profile is distinctive yet refined, with a gentle curvature and a cockpit visor that gives the aircraft a futuristic, almost predatory presence. And unlike many other widebodies, the A350’s fuselage length is in perfect harmony with its wing span and tail height—there’s a visual symmetry that makes it appear poised, balanced, and utterly graceful, whether taxiing on the tarmac or soaring above the clouds. But it’s not just a pretty face. The A350 is a triumph of technology—built from over 50% carbon-fibre-reinforced composite, powered by next-generation Rolls-Royce Trent XWB engines, and brimming with advanced systems that make it one of the most efficient and capable long-haul aircraft ever built. In an age where function often overrides form, the A350 is a rare exception—a true flying work of art that proves beauty and brains can coexist. 📸 by ig/captainchris Not an ad

aircraftmaintenancengineer

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They did not take cursive from the schools because children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?

SiriusB

441,606 Aufrufe • vor 2 Monaten

The past year has seen me have a renaissance, in the truest sense… I won’t go into details now but will at some point before long. What has brought so much happiness to my life and those around me this past year has been my falling back in love with sport. Cycling has, and always will be, my number one. Yet I’d forgotten that I simply love sport, not for results but for the sheer joy of doing it, I’d completely forgotten that the health of my mind is intrinsically connected to the health of my body. I’ve rediscovered the love I had for sport that existed before the world of professional cycling took over in the way it did. I’ve been pushing myself and trying new things this past year, indifferent to the results, just out having fun and at times going deeper than I thought I was capable of anymore. Last week I got on a TT bike for the first time in a decade, Factor Bikes built me a bike, I’ve been looking at it for two years and decided it was time to get fitted, getting back on it felt like going home. Anyway, the long and the short of this is that it’s inspired me to create a club to inspire and be inspired. A community for us to share our love for getting out there and doing it, because I’ve realized that although I spend most of my sporting life on my own I derive the most pleasure when feeling part of something. It’s in its early days, I’ve called it Sporting Club CHPT3 aka SCC3, I’d love you to check it out and join. It’s still in its infancy, but I hope it’s going to grow into something that will inspire you as much as me.

David Millar

111,669 Aufrufe • vor 2 Jahren

🚨BREAKING: Another ICE agent has been caught on video illegally pointing a firearm at a U.S. citizen, in Lemonwood, California. In the video, an unmarked ICE vehicle is stopped in the middle of the road… no vehicles are in front of it, and nothing is preventing them from driving forward. Instead of continuing to drive down the road, the ICE agent is blocking a pickup truck from turning, while pointing a gun, out their window, directly at the driver of that truck. The truck backs up, but the agent still keeps the firearm pointed at the driver. Only AFTER people begin honking their horns does the agent lower their weapon, and drive away. The law states that pointing a firearm at someone is considered a serious threat of deadly force. It is only justified when an officer has an objectively reasonable belief that they are facing an immediate threat of death, or serious bodily harm. It is not legally allowed to be used to control traffic, and it is not legally allowed to be used as intimidation. And that’s exactly why this video should be alarming to you. The agent is not boxed in… nothing is preventing them from driving down the street. Meanwhile, the agent is the one preventing the truck from continuing its turn. And they are doing so while pointing a gun at the driver. So, the question becomes… What immediate threat justified the ICE agent to stop their car, and point a firearm at a U.S. citizen? Because we are seeing a growing pattern, of publicly documented incidents, where ICE agents point firearms at legal observers, journalists, and bystanders during enforcement encounters… when they are not facing an immediate threat of death. That is not how public safety works. Pointing a firearm at someone is one of the most serious things an officer can do, because it instantly escalates an encounter into a potential deadly force situation. And that is exactly why the law is supposed to restrict it. Every unnecessary drawn gun increases the risk of a wrong judgment, and a fatal mistake. And when there is no accountability, for when that line gets crossed, drawing a gun because the normal for every situation. And when it becomes normal, more people’s lives are put in danger.

Jesus Freakin Congress

231,220 Aufrufe • vor 18 Tagen