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The clip below is a historically accurate recreation of one of the most grueling aspects of China’s early nuclear program. This scene takes place at the Lop Nur nuclear test base in the Gobi Desert. The soldiers are engaged in an ancient, traditional Chinese construction technique known as manual earth ramming (人工打夯 - réngōng dǎ hāng). The loose, shifting sand of the Gobi is incredibly unstable. To prevent heavy structures from settling, tilting, or collapsing, the earth must be violently compacted. This technique was vital for securing the foundation of the massive, 100-meter-tall Ground Zero steel tower used to detonate China's first atomic bomb. Additionally, such backbreaking labor was used widely across the Lop Nur base to physically pound the desert flat for building barracks, paved roads, and other essential testing facilities. The tool the men are using is a multi-person collaborative wooden rammer. According to historical construction records, these traditional rammers were made of dense hardwood and typically weighed between 40 to 50 kilograms (about 90 to 110 pounds). Operating one required a tightly coordinated team of 10 to 12 men. To manage the immense friction and prevent horrific blisters, workers often used braided hemp ropes with knots tied every 20 centimeters, allowing for a better, safer grip as they hoisted the heavy weight into the air over and over again. For American audiences, it might seem jarring to see a nation developing a highly advanced thermonuclear weapon while seemingly lacking basic construction equipment like bulldozers or steamrollers. In the late 1950s, the Soviet Union abruptly withdrew its technical experts and heavy machinery from China. While China was gradually restoring parts of its national industrial base leading up to the first successful nuclear detonation in 1964, the remote, unforgiving environment of the Gobi Desert meant that base construction still relied overwhelmingly on raw human muscle. The military had to deploy ancient, agrarian folk techniques to engineer the foundations for a modern Cold War weapon. In this video clip, the commander stands above the men, waving a red flag and yelling a rhythmic chant: "Com’on Comrades!" to which the men heave the ropes and reply, "Heave-ho!" This was a critical safety and synchronization mechanism known as a ramming chant (夯歌;hānggē). Dropping a 100-pound block of wood effectively requires the rammer to fall perfectly vertically. If just one of the ten men pulls too weakly, or releases a fraction of a second too late, the rammer will tilt. A tilted rammer fails to compact the soil properly, exhausts the men trying to balance it, and, most dangerously, could easily crush workers' feet. The commander acting as the "lead chanter" serves as a human metronome. The tempo of his chant dictates the work. The rhythm of his chanting needs to ensure that every single man exerts the exact same amount of force at the exact same millisecond.

✝️🇺🇸Chet Ozmun🇨🇳☭

49,358 Aufrufe • vor 7 Monaten

🇺🇸🇨🇳 America wants reactors on cargo ships again. MARAD signed a deal with Core Power to open a path for U.S.-flagged nuclear merchant ships, so construction could start in 2028. That date is a target, but the lure is obvious: Today’s boxships haul thousands of tons of bunker fuel just to crawl across an ocean. Swap the tanks for a reactor and you get years of range, extra cargo space, and a ship that does not have to sip diesel like a miser. The catch is just as obvious: One design in play is a molten-salt reactor that has never gone critical anywhere. Idaho is prepping a short test around 2028. A lab experiment is not a propulsion plant in a North Atlantic storm, but the fallback is older and faster: drop a light-water SMR into a hull built in Japan or Korea, then do the nuclear work in a U.S. yard that still has to be built. This has been done before though, NS Savannah put to sea in 1962. The reactor worked, but the business did not. Cheap oil, extra crew costs, and ports that did not want the ship killed it by 1971. Germany and Japan hit the same wall, and almost every civilian nuclear freighter ended as a beautiful dead end. So why touch it now? China already builds the world’s ships and is pushing nuclear cargo of its own. If this works, America gets vessels that do not beg the fuel market for permission to move. If it fails, it will fail in the boring places: insurance, port access, licensing, and a $700 million ship trying to beat a $250 million diesel workhorse. Source: Interesting Engineering YT / Writer: Val

Mario Nawfal

50,651 Aufrufe • vor 1 Monat

Almost a year ago, I was driving through the Idaho desert near INL when it finally clicked. America is attempting to do something never done before: restart an entire industry. For more than thirty years, we largely stopped building nuclear reactors. But, while most people weren't paying attention, a new generation quietly prepared for the day that might change. Then came May 2025. President Trump signed four executive orders designed to accelerate American nuclear. One of them set an extraordinary goal for three advanced reactor companies to go critical by July 4, 2026. Almost overnight, what had been simmering became a race. I found myself with a front-row seat. I realized I had something few people have… access. And with that access came a responsibility to document this story as it unfolds. Over the past eight months, our documentary crew has gone inside laboratories, construction sites, control rooms, government offices, and startup headquarters. We watched brilliant people wrestle with impossible engineering problems, politics, tight deadlines and tons of uncertainty. At first I thought we were making a documentary about nuclear, but I was wrong. Nuclear is just the lens. The real story is something much bigger. It's about whether America can still build big things. It's about people willing to devote years of their lives to projects they might never see through. Today, we're releasing a sneak peek into what will become The Last Renaissance. This is where it begins. Whether this nuclear renaissance succeeds or fails, historians will look back on this moment. Over the coming months and years, we'll continue giving you glimpses from inside this journey, bringing you along as one of the most ambitious industrial revivals in modern American history unfolds in real time. And when it all comes together, it will become a feature-length documentary. For now, we're still in it. History almost never feels historic while you're living through it. This time, we're making sure no side of the story goes untold.

isabelle 🪐

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🇫🇷 LOUVRE HEIST: JEWELS, BRAZEN MOVES & REAL-LIFE OCEAN’S 11 Noah Charney analyzes why the Louvre theft wasn't your average art heist - and how $100M in Napoleonic jewels vanished in broad daylight. We dig into: •Was it an inside job? •How did they pull it off in 7 minutes using a cherry picker, disc cutters, and construction vests •Why they’re organized, but probably first-timers in museum crime •What usually happens to stolen jewels: think grinders, not galleries •Why they didn’t need any firearms •What are they doing now, and why they’re almost certainly not going to be caught 00:00:03 – “Not an Art Theft per se”: Charney opens by clarifying that this wasn’t an art theft but a jewelry heist - a completely different criminal logic. 00:03:25 – “Like a Movie Came to Life”: The robbery feels like Ocean’s 11 unfolding in real life - cinematic precision with real-world consequences. 00:06:40 – “If they knew how impossible it is to sell stolen art, they’d never do it.” 00:09:55 – The Myth of the ‘Professional Art Thief’: “There are no professional art thieves. Just opportunists and amateurs with ambition.” 00:13:10 – “A Comedy of Errors”: Charney calls most heists “well planned but inevitably stupid” - smart on paper, chaotic in execution. 00:16:30 – “Behind every heist, there’s a shadow team - planners, handlers, financiers.” 00:19:45 – “No Plan B”: Charney explains that once ransom or resale fails, thieves panic - “Most of the time, the art just disappears forever.” 00:22:00 – Crime as Currency: How stolen art is used as collateral in the underworld - “traded for drugs, weapons, or favors, not for money.” 00:25:15 – “Jewelry Is a Different Story”: Charney contrasts it with this case: jewels are easy to move, melt, or hide - “They’re fast money, not cultural capital.” 00:28:00 – “For thieves, this isn’t about beauty or history. It’s one day’s work for a lifetime’s profit.”

Mario Nawfal

1,554,557 Aufrufe • vor 1 Jahr

Yet another CTV infomercial for Carney's investor summit. CTV is selling the summit as Canada attracting $450B-plus in investment. What Trinh is not explaining is the risk transfer Large pensions and sovereign funds already finance big projects when the returns and rules work. They do that without a prime minister and 13 premiers pitching a curated list. They are being courted here because many of these 167 files are greenfield, political, and not yet bankable on real life commercial terms So Ottawa is stacking the public balance sheet underneath them: * a $25B “sovereign wealth fund” seeded with borrowed money * CIB, EDC and other Crown lenders * loan guarantees, including a $10B Indigenous program * tax credits and other incentives * officials’ own figure: about $280B in public support to “catalyze” $1T That is not pensions taking the risk they normally take. It is taxpayers taking first-loss, junior capital, guarantees, and the political rescue if a $57B Churchill port, a $35B pipeline, or a $44B wind project slips Canadians did not vote for a model where cabinet picks the catalogue, politicians close the room, and the residual downside sits with the Crown. They were told this is private capital building the country. The missing sentence is: private capital comes in after the public has made the deal safer Trinh then airs Mark Podlasly of the First Nations Major Projects Coalition as if this were only partnership: bring a First Nation in as a co-investor, it becomes a co-proponent, “and the chances of it moving through faster without opposition.” That is the quiet price of the approval system. Duty to consult is real. Equity can be a legitimate stake. Stated this bluntly, it also sounds like an extortionary toll. Capital and public guarantees buy a quieter path; refuse the cut and you keep the delay. Taxpayers are again in the stack, this time financing the buy-in that is supposed to clear the politics If the projects work, funds and foreign SWFs collect contracted returns. If they do not, Ottawa has already staked its reputation and taxpayer dollars on them. That is how a photo-op becomes a contingent liability Has anyone asked the Parliamentary Budget Officer to cost this? The PBO has already said the Canada Strong Fund is a leveraged bet — borrowed money, thin design details, unclear how interest on that debt even counts against “commercial returns.” What has not been requested, or at least not answered in public, is the full stack: guarantees, Crown loans, tax credits, and implicit bailouts if the pitch book fails. Trinh’s piece never asks who pays when construction reality hits. Neither, so far, has Parliament asked the PBO for that number PBO-DPB Judy Trinh

cbcwatcher

23,186 Aufrufe • vor 1 Monat