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This seemingly simple process helped build the industrial world. In 1865, Ralph Hart Tweddell developed one of the first practical hydraulic riveting machines, replacing teams hammering red hot rivets with hydraulic pressure. Riveting costs fell to roughly one-seventh of hand work, while joints became faster and more repeatable. That...

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Ammanichanda

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118,993 görüntüleme • 1 ay önce •via X (Twitter)

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This is an 80,000-tonne hydraulic forging press from China’s Northern Heavy Industries, one of the largest metal-forming machines ever built. But it is not simply a machine that bends metal like traditional presses do. At this scale, forging is about changing the internal structure of the material itself, compressing the metal, refining its molecular grain flow and eliminating hidden defects that could cause failure decades later. Machines like this are used to create some of the most critical components on Earth, aircraft landing gear, titanium aerospace structures, nuclear reactor components, massive gas turbine rotors and ship propulsion shafts. The metals being forged are among the most advanced engineering materials available, ultra-high-strength steels, titanium alloys and nickel-based superalloys designed to survive extreme temperatures, pressure and millions of fatigue cycles. An 80,000-tonne press is an industrial ecosystem by itself. The press, hydraulic systems, furnaces, manipulators and supporting infrastructure can require hundreds of millions of dollars in investment, with hydraulic systems requiring tens of megawatts of power to control forces equivalent to thousands of tonnes. The biggest industrial machines often do not make the final products. They make the materials that make those products possible.
0:16

This is an 80,000-tonne hydraulic forging press from China’s Northern Heavy Industries, one of the largest metal-forming machines ever built. But it is not simply a machine that bends metal like traditional presses do. At this scale, forging is about changing the internal structure of the material itself, compressing the metal, refining its molecular grain flow and eliminating hidden defects that could cause failure decades later. Machines like this are used to create some of the most critical components on Earth, aircraft landing gear, titanium aerospace structures, nuclear reactor components, massive gas turbine rotors and ship propulsion shafts. The metals being forged are among the most advanced engineering materials available, ultra-high-strength steels, titanium alloys and nickel-based superalloys designed to survive extreme temperatures, pressure and millions of fatigue cycles. An 80,000-tonne press is an industrial ecosystem by itself. The press, hydraulic systems, furnaces, manipulators and supporting infrastructure can require hundreds of millions of dollars in investment, with hydraulic systems requiring tens of megawatts of power to control forces equivalent to thousands of tonnes. The biggest industrial machines often do not make the final products. They make the materials that make those products possible.

Ammanichanda

231,269 görüntüleme • 2 ay önce

A very good morning. Welcome to The Council Benji This marks the third Skull in a little run. The first went to a fund I've never met. The second: through Eli Scheinman to a new collector/foundation who has been quietly entering the space in a very significant way across a number of collections whom I’ve never spoken to. Their new entrance enabled a wedding and start of a new married life for Conviction. In my very first conversation with him, we spoke about curses and commitments to the people we love. Since meeting got to talk through each step on that path, from letting go, what is imbued in the ring and ceremony of it all, a proposal, and on the way to the most important of the steps in pursuit of a blessed life. It is easy to get a little cynical on the over-leveraged exit stories that spring up from time to time, so it is a treat to watch one go towards a celebration that’s been building up in his life since the Skull was first acquired. And now: this. The third Skull and the first I can really write about as a shared story across both source and destination. An exit and an entrance. The exit: The Skulls of Luci were awarded as gifts 4 years ago. But before I'd minted Birth of Luci or painted the other 49, the first person in this space I showed the sketch of The Blueprint Skull to was actually Casey💎, when he was working at SuperRare . Casey was the very first person who onboarded me to NFTs, helping me navigate the early days of whatever it meant to even mint something. I explained the idea of gifting one to each person who bid in my first auctions. Though most of the Skulls went to the bidders, Casey's didn't. He didn't ask for one. I didn't tell him I'd give him one. But he helped me take my first steps here, and it's hard to imagine any of this making sense, or unfolding the way it has, without him. Since then, we've broken bread across continents, seen quite a lot of chortling margarita consumption, watched the rise and fall of a lot around us, weathered inter-Council dramas. He brought Laura El into The Monument Game, played as a Player, wore a Mask. Most of the vibe that started all of this, the wild west of it, feels faded in the broader space at times. But every Skull has a story and a person who helped us get here. Casey will always be the one who was there before any metric muddled the reason to care. The entrance: Last fall, Benji came over for a studio visit. We walked through Luci, the works, structure, and dream, as anyone who visits does. But we mostly talked about being a father and having a father. We discussed the very idea of "collection" stripped of accumulation, value, or signal, located more in the act or ceremony of it. What it was to grow up with a curious father who studied the edges of each thing he saw to know the next layer beneath why anyone might look or ignore it. That to pass this on is to pass on questioning, more than it is to pass on any kind of answer. The process of collecting can be perceived as an individual act of hoarding. For some it is maybe. But at its best, it's a way to bind through shared questioning, to bond in cooperation and competition with friends and family, it is the swapped story and meme of it all, and each object gathered along the way carries some shared memory that can, often does, and with intent: should; drift out of the object entirely. All in the psalm, always has been. The studio visit came and went. Soon after, a package arrived in the mail with two of the softest stuffed animals added to my daughter's own collection, now among her favorites. The Skull is a bonus to that, in the scheme of shared memory. For Rachel and I, while we are heads down making a body of work that unsettles us and excites us but demands unknown time to accomplish, it means a great deal to have this kind of support from long term people in the quiet process of making work we want to leave behind ourselves. Enormously grateful to Casey for the many years of support and friendship, to Benny for being a true patron, and to Benji for entering the arena for what I'm working on next. Welcome.
0:11

A very good morning. Welcome to The Council Benji This marks the third Skull in a little run. The first went to a fund I've never met. The second: through Eli Scheinman to a new collector/foundation who has been quietly entering the space in a very significant way across a number of collections whom I’ve never spoken to. Their new entrance enabled a wedding and start of a new married life for Conviction. In my very first conversation with him, we spoke about curses and commitments to the people we love. Since meeting got to talk through each step on that path, from letting go, what is imbued in the ring and ceremony of it all, a proposal, and on the way to the most important of the steps in pursuit of a blessed life. It is easy to get a little cynical on the over-leveraged exit stories that spring up from time to time, so it is a treat to watch one go towards a celebration that’s been building up in his life since the Skull was first acquired. And now: this. The third Skull and the first I can really write about as a shared story across both source and destination. An exit and an entrance. The exit: The Skulls of Luci were awarded as gifts 4 years ago. But before I'd minted Birth of Luci or painted the other 49, the first person in this space I showed the sketch of The Blueprint Skull to was actually Casey💎, when he was working at SuperRare . Casey was the very first person who onboarded me to NFTs, helping me navigate the early days of whatever it meant to even mint something. I explained the idea of gifting one to each person who bid in my first auctions. Though most of the Skulls went to the bidders, Casey's didn't. He didn't ask for one. I didn't tell him I'd give him one. But he helped me take my first steps here, and it's hard to imagine any of this making sense, or unfolding the way it has, without him. Since then, we've broken bread across continents, seen quite a lot of chortling margarita consumption, watched the rise and fall of a lot around us, weathered inter-Council dramas. He brought Laura El into The Monument Game, played as a Player, wore a Mask. Most of the vibe that started all of this, the wild west of it, feels faded in the broader space at times. But every Skull has a story and a person who helped us get here. Casey will always be the one who was there before any metric muddled the reason to care. The entrance: Last fall, Benji came over for a studio visit. We walked through Luci, the works, structure, and dream, as anyone who visits does. But we mostly talked about being a father and having a father. We discussed the very idea of "collection" stripped of accumulation, value, or signal, located more in the act or ceremony of it. What it was to grow up with a curious father who studied the edges of each thing he saw to know the next layer beneath why anyone might look or ignore it. That to pass this on is to pass on questioning, more than it is to pass on any kind of answer. The process of collecting can be perceived as an individual act of hoarding. For some it is maybe. But at its best, it's a way to bind through shared questioning, to bond in cooperation and competition with friends and family, it is the swapped story and meme of it all, and each object gathered along the way carries some shared memory that can, often does, and with intent: should; drift out of the object entirely. All in the psalm, always has been. The studio visit came and went. Soon after, a package arrived in the mail with two of the softest stuffed animals added to my daughter's own collection, now among her favorites. The Skull is a bonus to that, in the scheme of shared memory. For Rachel and I, while we are heads down making a body of work that unsettles us and excites us but demands unknown time to accomplish, it means a great deal to have this kind of support from long term people in the quiet process of making work we want to leave behind ourselves. Enormously grateful to Casey for the many years of support and friendship, to Benny for being a true patron, and to Benji for entering the arena for what I'm working on next. Welcome.

Sam Spratt

20,786 görüntüleme • 5 ay önce

A high-end injection mold can cost $400,000-$500,000, with dozens of cavities, hydraulic slides, lifters, ejectors, valve gates and hot runners packed inside hardened H13 or S136 steel. Some molds carry 128 cavities, producing 128 parts per cycle, while precision machining can hold tolerances around ±0.005 mm. Cooling circuits circulate water through channels inside the steel, with temperature control around 1-2°C, cycle after cycle. These aren't designed for a few thousand parts. High-end production tooling can be engineered for 1-2 million+ shots, operating through repeated injection pressure, heating, cooling and mechanical movement without losing much alignment. The industrial ecosystem required to make them is enormous, CNC machining, EDM, grinding, polishing, heat treatment, metrology, mold flow simulation, thermal management and hot-runner engineering all have to work together. And China has become the centre of gravity for this industry. China represented nearly 17.8% of the global injection molding market, while some industry estimate puts Chinese manufacturers at roughly 68% of global plastic injection mold supply. These are the machines that make the machines. For any country trying to build a serious manufacturing base, the ability to produce tooling this precise and complex is fundamental. These molds sit at the core of thousands of factories, determining how cheaply, quickly and reliably everything from cars to medical devices can be manufactured at scale.
0:14

A high-end injection mold can cost $400,000-$500,000, with dozens of cavities, hydraulic slides, lifters, ejectors, valve gates and hot runners packed inside hardened H13 or S136 steel. Some molds carry 128 cavities, producing 128 parts per cycle, while precision machining can hold tolerances around ±0.005 mm. Cooling circuits circulate water through channels inside the steel, with temperature control around 1-2°C, cycle after cycle. These aren't designed for a few thousand parts. High-end production tooling can be engineered for 1-2 million+ shots, operating through repeated injection pressure, heating, cooling and mechanical movement without losing much alignment. The industrial ecosystem required to make them is enormous, CNC machining, EDM, grinding, polishing, heat treatment, metrology, mold flow simulation, thermal management and hot-runner engineering all have to work together. And China has become the centre of gravity for this industry. China represented nearly 17.8% of the global injection molding market, while some industry estimate puts Chinese manufacturers at roughly 68% of global plastic injection mold supply. These are the machines that make the machines. For any country trying to build a serious manufacturing base, the ability to produce tooling this precise and complex is fundamental. These molds sit at the core of thousands of factories, determining how cheaply, quickly and reliably everything from cars to medical devices can be manufactured at scale.

Ammanichanda

625,219 görüntüleme • 2 ay önce

A Roman emperor ate his meals in a sea cave, a few feet from a massive marble sculpture of the moment Odysseus blinds the Cyclops. Eventually it lay shattered in thousands of pieces on the floor of that cave, and stayed there until 1957... The emperor was Tiberius, who ruled Rome after Augustus, and the cave is at Sperlonga, on the coast between Rome and Naples. It was a natural grotto opening onto the sea, and he turned it into a private dining hall, with pools of water reaching into the mouth of the cave and a platform where he and his guests reclined to eat, the waves echoing off the rock around them... Definitely not a bad place to host dinner. The sculpture stood at the deepest point of the cave and it showed the most terrifying scene in Homer's poem, when Odysseus and his men are trapped inside the cave of Polyphemus, a one-eyed man-eating giant who has sealed them in with a boulder too heavy to move and is eating the crew alive, one by one. Odysseus cannot simply kill him in his sleep, or they will be entombed with the corpse forever. So he gets the giant drunk, waits for him to pass out, hardens the tip of an olive-wood stake in the fire, and drives it into the Cyclops's single eye. The sculptors depicted the instant just before the stake goes in... The colossal figure of Polyphemus sprawls backward, drunk and unaware. Odysseus, the one closest to the Cyclops, and three of his men strain upward with the spike. It was carved larger than life and set in shadow at the back of the grotto, so that as the lamplight shifted, the whole scene seemed to move over the emperor's dinner. The Roman historians Tacitus and Suetonius both record that in the year 26 AD, while Tiberius was dining there, rocks fell from the roof of the grotto, crushing several of his attendants and nearly killing the emperor, who was shielded and dragged out. In that collapse, or in a later one, the great marble scenes were smashed into thousands of fragments. There they lay, at the bottom of the cave, until 1957, when workers building a coastal road cut into the ground and found them. Among the rubble they pulled out the colossal head of the giant himself, and slowly, piece by piece, the scene was put back together. The cave gave up two more secrets: the first was an inscription, ten lines of Latin verse, praising the grotto and saying that only a new Virgil could do justice to its statues of Scylla and the blinding of the monster by the man from Ithaca. It told the archaeologists exactly what they had found. The second was carved into the base of the neighbouring ship: three names, Athenodoros, Agesander, and Polydorus, the same sculptors the Roman writer Pliny had named as the creators of the Laocoön, the statue I wrote about yesterday. Homer's Odyssey is one of the oldest stories in the world, and it has outlived the emperor, the civilization that first told it, and every person who has ever loved it. Nearly three thousand years later, we are still telling the story of a man lost far from home, because some part of us always is... I started my newsletter because the past is full of stories like this one, and so few people ever stop to tell us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.
0:16

A Roman emperor ate his meals in a sea cave, a few feet from a massive marble sculpture of the moment Odysseus blinds the Cyclops. Eventually it lay shattered in thousands of pieces on the floor of that cave, and stayed there until 1957... The emperor was Tiberius, who ruled Rome after Augustus, and the cave is at Sperlonga, on the coast between Rome and Naples. It was a natural grotto opening onto the sea, and he turned it into a private dining hall, with pools of water reaching into the mouth of the cave and a platform where he and his guests reclined to eat, the waves echoing off the rock around them... Definitely not a bad place to host dinner. The sculpture stood at the deepest point of the cave and it showed the most terrifying scene in Homer's poem, when Odysseus and his men are trapped inside the cave of Polyphemus, a one-eyed man-eating giant who has sealed them in with a boulder too heavy to move and is eating the crew alive, one by one. Odysseus cannot simply kill him in his sleep, or they will be entombed with the corpse forever. So he gets the giant drunk, waits for him to pass out, hardens the tip of an olive-wood stake in the fire, and drives it into the Cyclops's single eye. The sculptors depicted the instant just before the stake goes in... The colossal figure of Polyphemus sprawls backward, drunk and unaware. Odysseus, the one closest to the Cyclops, and three of his men strain upward with the spike. It was carved larger than life and set in shadow at the back of the grotto, so that as the lamplight shifted, the whole scene seemed to move over the emperor's dinner. The Roman historians Tacitus and Suetonius both record that in the year 26 AD, while Tiberius was dining there, rocks fell from the roof of the grotto, crushing several of his attendants and nearly killing the emperor, who was shielded and dragged out. In that collapse, or in a later one, the great marble scenes were smashed into thousands of fragments. There they lay, at the bottom of the cave, until 1957, when workers building a coastal road cut into the ground and found them. Among the rubble they pulled out the colossal head of the giant himself, and slowly, piece by piece, the scene was put back together. The cave gave up two more secrets: the first was an inscription, ten lines of Latin verse, praising the grotto and saying that only a new Virgil could do justice to its statues of Scylla and the blinding of the monster by the man from Ithaca. It told the archaeologists exactly what they had found. The second was carved into the base of the neighbouring ship: three names, Athenodoros, Agesander, and Polydorus, the same sculptors the Roman writer Pliny had named as the creators of the Laocoön, the statue I wrote about yesterday. Homer's Odyssey is one of the oldest stories in the world, and it has outlived the emperor, the civilization that first told it, and every person who has ever loved it. Nearly three thousand years later, we are still telling the story of a man lost far from home, because some part of us always is... I started my newsletter because the past is full of stories like this one, and so few people ever stop to tell us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

James Lucas

400,859 görüntüleme • 2 ay önce

In the legends of the Hopi, there are stories about beings called the Ant People. These beings are said to have lived underground and helped the Hopi during times of great danger. One of the main stories says that during earlier worlds, when disasters like fire or ice came, the Ant People guided some of the Hopi into tunnels beneath the earth to keep them safe. Down there, they were given food and taught how to survive until it was safe to return to the surface. The Ant People are described as hardworking and cooperative, much like ants themselves, and they are remembered as helpers rather than rulers. The stories also say the Ant People shared knowledge with the Hopi. This included how to store food, live simply, and work together as a group. In some versions, they helped guide people between different “worlds,” which are seen as cycles of time where each world ends and another begins. These teachings are still reflected in Hopi values today, especially the idea of living in balance and preparing for hard times. The underground setting is an important part of the story, and many see it as both a real place and a symbol of protection and survival during periods when the surface world becomes unstable.
0:14

In the legends of the Hopi, there are stories about beings called the Ant People. These beings are said to have lived underground and helped the Hopi during times of great danger. One of the main stories says that during earlier worlds, when disasters like fire or ice came, the Ant People guided some of the Hopi into tunnels beneath the earth to keep them safe. Down there, they were given food and taught how to survive until it was safe to return to the surface. The Ant People are described as hardworking and cooperative, much like ants themselves, and they are remembered as helpers rather than rulers. The stories also say the Ant People shared knowledge with the Hopi. This included how to store food, live simply, and work together as a group. In some versions, they helped guide people between different “worlds,” which are seen as cycles of time where each world ends and another begins. These teachings are still reflected in Hopi values today, especially the idea of living in balance and preparing for hard times. The underground setting is an important part of the story, and many see it as both a real place and a symbol of protection and survival during periods when the surface world becomes unstable.

Jason Wilde

60,767 görüntüleme • 6 ay önce

The fascinating concept of Non-Newtonian fluids, which transition from a liquid state to a solid-like state when pressure is applied, has a rich history that spans several centuries. The study and understanding of these peculiar fluids have evolved over time, leading to a wide range of practical applications and scientific insights. One of the earliest references to Non-Newtonian behavior in fluids dates back to the 17th century when Sir Isaac Newton formulated the basic principles of fluid mechanics. Newton's laws of fluid motion primarily applied to Newtonian fluids, which exhibit constant viscosity and flow behavior regardless of the applied force or pressure. However, it soon became apparent that not all fluids behaved in this predictable manner. In the mid-19th century, a scientist named Thomas Andrews made significant contributions to the understanding of Non-Newtonian fluids. Andrews conducted groundbreaking experiments with carbon dioxide, revealing that under high pressure, this gas could transform into a liquid. This observation marked one of the earliest instances of pressure-induced phase changes in fluids. The term "Non-Newtonian" itself was coined in the 20th century to describe fluids that did not adhere to Newton's classical laws of fluid dynamics. These fluids exhibited a variety of behaviors, but one of the most intriguing was their ability to solidify or increase in viscosity when subjected to stress or pressure. One of the most famous examples of such behavior is cornstarch mixed with water, which forms a substance known as "oobleck" that becomes more solid when pressure is applied. In the modern era, Non-Newtonian fluids have found applications in various fields, including food science, engineering, and material science. They are used in products like quicksand, body armor, and even in the development of impact-resistant materials. One of the key insights that emerged from the study of Non-Newtonian fluids is the importance of understanding the relationship between stress and strain, as well as the influence of time-dependent properties on their behavior. This knowledge has led to advancements in rheology, the study of flow and deformation in materials, and has practical implications in areas such as industrial processing, medicine, and the design of everyday products.
0:17

The fascinating concept of Non-Newtonian fluids, which transition from a liquid state to a solid-like state when pressure is applied, has a rich history that spans several centuries. The study and understanding of these peculiar fluids have evolved over time, leading to a wide range of practical applications and scientific insights. One of the earliest references to Non-Newtonian behavior in fluids dates back to the 17th century when Sir Isaac Newton formulated the basic principles of fluid mechanics. Newton's laws of fluid motion primarily applied to Newtonian fluids, which exhibit constant viscosity and flow behavior regardless of the applied force or pressure. However, it soon became apparent that not all fluids behaved in this predictable manner. In the mid-19th century, a scientist named Thomas Andrews made significant contributions to the understanding of Non-Newtonian fluids. Andrews conducted groundbreaking experiments with carbon dioxide, revealing that under high pressure, this gas could transform into a liquid. This observation marked one of the earliest instances of pressure-induced phase changes in fluids. The term "Non-Newtonian" itself was coined in the 20th century to describe fluids that did not adhere to Newton's classical laws of fluid dynamics. These fluids exhibited a variety of behaviors, but one of the most intriguing was their ability to solidify or increase in viscosity when subjected to stress or pressure. One of the most famous examples of such behavior is cornstarch mixed with water, which forms a substance known as "oobleck" that becomes more solid when pressure is applied. In the modern era, Non-Newtonian fluids have found applications in various fields, including food science, engineering, and material science. They are used in products like quicksand, body armor, and even in the development of impact-resistant materials. One of the key insights that emerged from the study of Non-Newtonian fluids is the importance of understanding the relationship between stress and strain, as well as the influence of time-dependent properties on their behavior. This knowledge has led to advancements in rheology, the study of flow and deformation in materials, and has practical implications in areas such as industrial processing, medicine, and the design of everyday products.

Historic Vids

2,633,072 görüntüleme • 2 yıl önce

Throwback to 2009. What was supposed to be an ordinary day of cricket turned into one of the darkest days in the history of the sport. The Sri Lankan team was on its way to the stadium in Lahore when their convoy came under a terrorist attack. Gunfire echoed through the streets, players were injured, brave security personnel lost their lives, and the match was abandoned. Hours later, military helicopters landed inside the stadium to evacuate the team safely—an image that would go on to become one of the most shocking scenes ever witnessed in cricket. The attack not only stunned the cricketing world but also changed the future of the game. International teams stopped touring Pakistan for years, security protocols across world cricket were tightened, and the incident became a reminder that some moments are far bigger than runs, wickets, records, or trophies. A day cricket will never forget.
0:17

Throwback to 2009. What was supposed to be an ordinary day of cricket turned into one of the darkest days in the history of the sport. The Sri Lankan team was on its way to the stadium in Lahore when their convoy came under a terrorist attack. Gunfire echoed through the streets, players were injured, brave security personnel lost their lives, and the match was abandoned. Hours later, military helicopters landed inside the stadium to evacuate the team safely—an image that would go on to become one of the most shocking scenes ever witnessed in cricket. The attack not only stunned the cricketing world but also changed the future of the game. International teams stopped touring Pakistan for years, security protocols across world cricket were tightened, and the incident became a reminder that some moments are far bigger than runs, wickets, records, or trophies. A day cricket will never forget.

Drashti CSKian 💛

297,014 görüntüleme • 1 ay önce

NEWS: SpaceX has released a statement after today's successful 11th Starship test flight. "Every major objective of the flight test was achieved, providing valuable data as we prepare the next generation of Starship and Super Heavy. The flight test began with Super Heavy igniting all 33 Raptor engines and ascending over the Gulf. The successful first-stage ascent was followed by a hot-staging maneuver, with Starship’s upper stage igniting its six Raptor engines to continue its flight to space. Following stage separation, the Super Heavy booster completed its boostback burn to put it on a course to a pre-planned splashdown zone off the coast of Texas using 12 of the 13 planned engines. Under the same angle of attack tested on the previous flight, the booster descended until successfully igniting all 13 planned engines (including one that did not relight during the boostback burn) for the high-thrust portion of the landing burn. The booster successfully executed a unique landing burn planned for use on the next generation booster. Super Heavy hovered above the water before shutting down its engines and splashing down. After completing a full-duration ascent burn, Starship achieved its planned velocity and trajectory. During flight, Starship successfully deployed eight Starlink simulators and executed the third in-space relight of a Raptor engine, demonstrating a critical capability for future deorbit burns. Starship re-entered the Earth’s atmosphere and was able to gather extensive data on the performance of its heatshield as it was intentionally stressed to test the limits of the vehicle’s capabilities. In the final minutes of flight, Starship performed a dynamic banking maneuver to mimic the trajectory that future missions returning to Starbase will fly. Starship then guided itself using its four flaps to the pre-planned splashdown zone in the Indian Ocean, successfully executing a landing flip, landing burn, and soft splashdown. Focus now turns to the next generation of Starship and Super Heavy, with multiple vehicles currently in active build and preparing for tests. This next iteration will be used for the first Starship orbital flights, operational payload missions, propellant transfer, and more as we iterate to a fully and rapidly reusable vehicle with service to Earth orbit, the Moon, Mars, and beyond."
0:15

NEWS: SpaceX has released a statement after today's successful 11th Starship test flight. "Every major objective of the flight test was achieved, providing valuable data as we prepare the next generation of Starship and Super Heavy. The flight test began with Super Heavy igniting all 33 Raptor engines and ascending over the Gulf. The successful first-stage ascent was followed by a hot-staging maneuver, with Starship’s upper stage igniting its six Raptor engines to continue its flight to space. Following stage separation, the Super Heavy booster completed its boostback burn to put it on a course to a pre-planned splashdown zone off the coast of Texas using 12 of the 13 planned engines. Under the same angle of attack tested on the previous flight, the booster descended until successfully igniting all 13 planned engines (including one that did not relight during the boostback burn) for the high-thrust portion of the landing burn. The booster successfully executed a unique landing burn planned for use on the next generation booster. Super Heavy hovered above the water before shutting down its engines and splashing down. After completing a full-duration ascent burn, Starship achieved its planned velocity and trajectory. During flight, Starship successfully deployed eight Starlink simulators and executed the third in-space relight of a Raptor engine, demonstrating a critical capability for future deorbit burns. Starship re-entered the Earth’s atmosphere and was able to gather extensive data on the performance of its heatshield as it was intentionally stressed to test the limits of the vehicle’s capabilities. In the final minutes of flight, Starship performed a dynamic banking maneuver to mimic the trajectory that future missions returning to Starbase will fly. Starship then guided itself using its four flaps to the pre-planned splashdown zone in the Indian Ocean, successfully executing a landing flip, landing burn, and soft splashdown. Focus now turns to the next generation of Starship and Super Heavy, with multiple vehicles currently in active build and preparing for tests. This next iteration will be used for the first Starship orbital flights, operational payload missions, propellant transfer, and more as we iterate to a fully and rapidly reusable vehicle with service to Earth orbit, the Moon, Mars, and beyond."

Sawyer Merritt

273,302 görüntüleme • 1 yıl önce

Times Square - New York City 🇺🇸 The origin of this place was known as Long Acre Square, but it was renamed Times Square after being located in 1904, at the intersection of 42nd Street, the offices of the New York Times. In 1913, the newspaper’s offices moved to 229 43rd Street, and the building was renamed 1 Times Square in 1961. History of Times Square, at the beginning of the 20th century, Times Square became one of the most important places in New York City, with the construction of theaters, restaurants and luxury and first class hotels. The site began to change in the 30’s where it became a dangerous place with prostitution, crime and drugs, this lasted for more than half a century. History of Times Square During the 1980s, Mayors Ed Koch and David Dinkins began a redevelopment project for Midtown Manhattan that included Times Square. In the 1990s, Mayor Rudolph Giuliani tackled the project to clean up the area with the closure of pornographic theaters, sex shops and the purchase of the nine historic theaters on 42nd Street by the State of New York. Times Square is located between 7th Avenue and Broadway, and 42nd and 47th streets, it is currently the heart of the city in general and of the New York theater district in particular. The entire area is illuminated day and night by large illuminated signs and huge television screens, this has made it famous throughout the world, as well as the descent of the Crystal ball every December 31 from the top of 1 Times Square announcing the new Year. Up to two million people flocked to Times Square to ring in the year 2000 with the lowering of Waterford’s Millennial Crystal Ball, a huge Swarovski crystal ball made specifically for this event. The north end of the square, between 46th and 47th Streets, is known as Duffy Square in honor of Father Francis P. Duffy, chaplain of the New York Regiment of Infantry during World War II. Half-price same-day Broadway show tickets are available at the TKTS Box Office, located in the center of Duffy Square. The ticket offices, renovated in 2008, are covered on its roof with wide steps in the form of a staircase that allow visitors to sit or enjoy a panoramic view. On May 25, 2009, the city council temporarily closed the section of Broadway that runs through Times Square to pedestrian traffic. The experiment was a great success and it has become a permanent pedestrian plaza where the place is more enjoyable with new metal benches, chairs and tables. Times Square has its own police station, its street cleaning company, and its tourist office that has all the information about the city, and it is also a small museum dedicated to this important square. Times Square wouldn’t be recognizable without its amazing illuminated signs. An image that is admired by two million people who pass through this square every day and many millions more in the world who enjoy it through photographs, paintings, cinema and television. Times Square began to fill with large advertisements in 1916, when the City Council encouraged its installation in this part of the city. Since then there are many who have passed through here, some true works of art. In addition, they played an important role in the remodeling of the square during its most decadent period: as a measure of pressure on the city’s rulers, one night their neighbors turned off all the signs for 15 minutes. The measure had excellent results and the negotiation was carried out. Today, a municipal ordinance obliges the buildings in this area to give up their facade for the installation of such advertisements. 🎥 : Times Square in 1932 (Colorized) 🎥© lostintimevid (IG) #archaeohistories
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Times Square - New York City 🇺🇸 The origin of this place was known as Long Acre Square, but it was renamed Times Square after being located in 1904, at the intersection of 42nd Street, the offices of the New York Times. In 1913, the newspaper’s offices moved to 229 43rd Street, and the building was renamed 1 Times Square in 1961. History of Times Square, at the beginning of the 20th century, Times Square became one of the most important places in New York City, with the construction of theaters, restaurants and luxury and first class hotels. The site began to change in the 30’s where it became a dangerous place with prostitution, crime and drugs, this lasted for more than half a century. History of Times Square During the 1980s, Mayors Ed Koch and David Dinkins began a redevelopment project for Midtown Manhattan that included Times Square. In the 1990s, Mayor Rudolph Giuliani tackled the project to clean up the area with the closure of pornographic theaters, sex shops and the purchase of the nine historic theaters on 42nd Street by the State of New York. Times Square is located between 7th Avenue and Broadway, and 42nd and 47th streets, it is currently the heart of the city in general and of the New York theater district in particular. The entire area is illuminated day and night by large illuminated signs and huge television screens, this has made it famous throughout the world, as well as the descent of the Crystal ball every December 31 from the top of 1 Times Square announcing the new Year. Up to two million people flocked to Times Square to ring in the year 2000 with the lowering of Waterford’s Millennial Crystal Ball, a huge Swarovski crystal ball made specifically for this event. The north end of the square, between 46th and 47th Streets, is known as Duffy Square in honor of Father Francis P. Duffy, chaplain of the New York Regiment of Infantry during World War II. Half-price same-day Broadway show tickets are available at the TKTS Box Office, located in the center of Duffy Square. The ticket offices, renovated in 2008, are covered on its roof with wide steps in the form of a staircase that allow visitors to sit or enjoy a panoramic view. On May 25, 2009, the city council temporarily closed the section of Broadway that runs through Times Square to pedestrian traffic. The experiment was a great success and it has become a permanent pedestrian plaza where the place is more enjoyable with new metal benches, chairs and tables. Times Square has its own police station, its street cleaning company, and its tourist office that has all the information about the city, and it is also a small museum dedicated to this important square. Times Square wouldn’t be recognizable without its amazing illuminated signs. An image that is admired by two million people who pass through this square every day and many millions more in the world who enjoy it through photographs, paintings, cinema and television. Times Square began to fill with large advertisements in 1916, when the City Council encouraged its installation in this part of the city. Since then there are many who have passed through here, some true works of art. In addition, they played an important role in the remodeling of the square during its most decadent period: as a measure of pressure on the city’s rulers, one night their neighbors turned off all the signs for 15 minutes. The measure had excellent results and the negotiation was carried out. Today, a municipal ordinance obliges the buildings in this area to give up their facade for the installation of such advertisements. 🎥 : Times Square in 1932 (Colorized) 🎥© lostintimevid (IG) #archaeohistories

Archaeo - Histories

39,490 görüntüleme • 1 yıl önce

During training, you visit many of the facilities that will eventually play a role in your mission. Kennedy Space Center’s Launch Complex 39A was one of them. This visit felt different. Standing at the base of the tower and looking up, I was reminded that this is the very place from which Neil Armstrong and his crewmates began their journey to the Moon. The facility has evolved over the decades and has been modernized for a new era of spaceflight, but it still carries the weight of its history. You can feel it. Then there is the elevator. Inside, there are only two buttons: Earth and Space. A simple design choice, perhaps, but one that feels remarkably profound when launch day finally arrives. What you see here is me at the top of the launch pad, with the Falcon 9 yet to make its way out. The rocket is transported to the pad horizontally and then raised to a vertical position before launch. Standing there, it was impossible not to imagine the events that would soon unfold. At this very time last year, all of this was happening in real time. Looking back now, it feels both distant and incredibly close. #shux #space #shubhanshushukla #india #axiom4
0:18

During training, you visit many of the facilities that will eventually play a role in your mission. Kennedy Space Center’s Launch Complex 39A was one of them. This visit felt different. Standing at the base of the tower and looking up, I was reminded that this is the very place from which Neil Armstrong and his crewmates began their journey to the Moon. The facility has evolved over the decades and has been modernized for a new era of spaceflight, but it still carries the weight of its history. You can feel it. Then there is the elevator. Inside, there are only two buttons: Earth and Space. A simple design choice, perhaps, but one that feels remarkably profound when launch day finally arrives. What you see here is me at the top of the launch pad, with the Falcon 9 yet to make its way out. The rocket is transported to the pad horizontally and then raised to a vertical position before launch. Standing there, it was impossible not to imagine the events that would soon unfold. At this very time last year, all of this was happening in real time. Looking back now, it feels both distant and incredibly close. #shux #space #shubhanshushukla #india #axiom4

Shubhanshu Shukla

13,600 görüntüleme • 3 ay önce

In 1970, the Stanford butterfly biologist Paul Ehrlich made an ominous prediction: "Sometime in the next 15 years, the end will come." A guest on Johnny Carson that same year, he told viewers the two ways to prevent it: "One is to bring the birth rate down. The other is to push the death rate up." Ehrlich's The Population Bomb sold two million copies and was one of the most influential books of the 20th century. Carson brought him back roughly twenty times. In it, Ehrlich predicted famines killing hundreds of millions in the 1970s. About England, he said in a 1971 speech:. "I would take even money that England will not exist in the year 2000." None of this happened. But the idea had a profound impact. Population control became one of the central goals of the World Bank, USAID, and the Club of Rome's Limits to Growth. India's emergency sterilization campaign and China's one-child policy were influenced by Ehrlich's ideas. "Too many people" became the default viewpoint among America elites and Hollywood -- and then much of the public. Having children became something the planet was unable to afford. Having none became seen by some as a virtue. And having "too many" looked down upon. The value of children -- of life itself -- became debatable. Roe v. Wade, which legalized abortion in 1973, came at the pinnacle of Ehrlich's influence. Virtually all of the West is now below replacement fertility. Marriage rates are at an all-time low. Fewer young people than ever "know if they want to have children". Millions of children are aborted each year in Europe and North America alone, with hundreds of millions aborted between 1973 and today. If those people were not aborted -- making no other changes -- the population of Europe would be 42% higher. Worldwide, a billion children are aborted every 13 years. That's 20 World War 2's every 13 years. Last month, abortions were legalized in Massachusetts at 9 months pregnancy. That's a baby. The heart is beating. The brain is working. It could be born alive, like any other full-term baby. Drugged, locked down, injected, masked, assigned to sex surgery, or neglected in school, many increasingly unable to read and write by the time they graduate, the value that society assigns to children has never been lower. The debate has now shifted -- in the recent Lindsay Clancy case -- to whether a woman might be excused for strangling her own children to death. Ehrlich was never held accountable to the impact of his ideas, whose impact on human life was perhaps greater than any man's in history. Instead, he was showered with awards. In 1970, Ehrlich prophesied the end of the world by 1985. In 2015, he said that he was "even more apocalyptic today." Of course. What Ehrlich never acknowledged is that he himself may have been the one to help bring that about.
0:18

In 1970, the Stanford butterfly biologist Paul Ehrlich made an ominous prediction: "Sometime in the next 15 years, the end will come." A guest on Johnny Carson that same year, he told viewers the two ways to prevent it: "One is to bring the birth rate down. The other is to push the death rate up." Ehrlich's The Population Bomb sold two million copies and was one of the most influential books of the 20th century. Carson brought him back roughly twenty times. In it, Ehrlich predicted famines killing hundreds of millions in the 1970s. About England, he said in a 1971 speech:. "I would take even money that England will not exist in the year 2000." None of this happened. But the idea had a profound impact. Population control became one of the central goals of the World Bank, USAID, and the Club of Rome's Limits to Growth. India's emergency sterilization campaign and China's one-child policy were influenced by Ehrlich's ideas. "Too many people" became the default viewpoint among America elites and Hollywood -- and then much of the public. Having children became something the planet was unable to afford. Having none became seen by some as a virtue. And having "too many" looked down upon. The value of children -- of life itself -- became debatable. Roe v. Wade, which legalized abortion in 1973, came at the pinnacle of Ehrlich's influence. Virtually all of the West is now below replacement fertility. Marriage rates are at an all-time low. Fewer young people than ever "know if they want to have children". Millions of children are aborted each year in Europe and North America alone, with hundreds of millions aborted between 1973 and today. If those people were not aborted -- making no other changes -- the population of Europe would be 42% higher. Worldwide, a billion children are aborted every 13 years. That's 20 World War 2's every 13 years. Last month, abortions were legalized in Massachusetts at 9 months pregnancy. That's a baby. The heart is beating. The brain is working. It could be born alive, like any other full-term baby. Drugged, locked down, injected, masked, assigned to sex surgery, or neglected in school, many increasingly unable to read and write by the time they graduate, the value that society assigns to children has never been lower. The debate has now shifted -- in the recent Lindsay Clancy case -- to whether a woman might be excused for strangling her own children to death. Ehrlich was never held accountable to the impact of his ideas, whose impact on human life was perhaps greater than any man's in history. Instead, he was showered with awards. In 1970, Ehrlich prophesied the end of the world by 1985. In 2015, he said that he was "even more apocalyptic today." Of course. What Ehrlich never acknowledged is that he himself may have been the one to help bring that about.

Kevin Bass

198,752 görüntüleme • 1 ay önce

Holy shit. Four and a half years. My role as Marketing & PR Manager at Syscoin has officially ended, and I needed to write this before I posted anything else. So please, stop DM'ing me about Binance AMA's for $200 and telegram trade groups that have all the alpha, and 100k "active" members in them lol. The day I knew web3 was going to be the industry I live and die in started in Dubai. Binance Blockchain Week, March 2022. We threw what I still think was one of the best side events in blockchain history at the time, and from that night forward we had a standard. Syscoin stayed the true web3 vibe that everyone else strayed away from for casinos and meme tokens that died 2 years later. We always had the vibe. The right room, the right people, the right energy. That became the rhythm of the next four years for us. Syscoin stayed imitated but never duplicated over the next four years. Austin. Nashville. Las Vegas. Colombia, Singapore, Dubai, Davos. Medellín, where I first met Fernando Paredes at Devconnect, in a room full of builders who were actually building. Conferences and events all blur together when you've been to enough of them. But the side rooms don't. The 1am conversations don't. Those are the moments that built the network. Those are the moments I'll carry. Through every one of those rooms I had the honor of working alongside some of the biggest names in this industry. VC's, Founders, exchange leadership, protocol engineers, journalists, influencers and KOLs who actually move markets, builders shipping in silence. The kind of access most people in this space never get and with current industry conditions may actually never get again. I never took a single one of those rooms or connections for granted if you can't already tell by my X following. Behind all of it, the receipts that don't fit on a tweet. Over 400 terabytes of content, video, graphics, strategies, brand systems, blueprints, four years of building the marketing engine for a chain trying to scale Bitcoin without compromise. Thousands of hours, research, everything we needed to make it through cycle after cycle with our integrity, honesty and trust intact. Hundreds of strategies and playbooks that never even made it to market. There were good times. There were bad times. Anyone who tells you a four-year run inside a top-tier crypto project was all good times is selling you some straight bullshit. The project came out the other side. The team came out the other side. The work continued. That matters more than the noise. To everyone who made this run what it was. Every founder who picked up a call, every KOL who actually showed up, every journalist who took the meeting, every member of the community who never asked for anything but stayed loyal anyway. Thank you. So what's next for me? This astronaut isn't leaving the field. He's walking into the Wasteland of what he's had to watch our industry become over the last decade. Somewhere out there is the oasis. I'm going deep into AI. AI infrastructure and AI-native marketing, the place where autonomous agents, content systems, and Web3 product strategy actually meet. The next decade will define what the next century holds and I'm here to capture that. I've spent the last two years quietly building in that lane and I'm ready to make it the lane. If you're still in Web3, AI, or the seam where the two collide, my DMs are open. What a ride. — 1DC
0:15

Holy shit. Four and a half years. My role as Marketing & PR Manager at Syscoin has officially ended, and I needed to write this before I posted anything else. So please, stop DM'ing me about Binance AMA's for $200 and telegram trade groups that have all the alpha, and 100k "active" members in them lol. The day I knew web3 was going to be the industry I live and die in started in Dubai. Binance Blockchain Week, March 2022. We threw what I still think was one of the best side events in blockchain history at the time, and from that night forward we had a standard. Syscoin stayed the true web3 vibe that everyone else strayed away from for casinos and meme tokens that died 2 years later. We always had the vibe. The right room, the right people, the right energy. That became the rhythm of the next four years for us. Syscoin stayed imitated but never duplicated over the next four years. Austin. Nashville. Las Vegas. Colombia, Singapore, Dubai, Davos. Medellín, where I first met Fernando Paredes at Devconnect, in a room full of builders who were actually building. Conferences and events all blur together when you've been to enough of them. But the side rooms don't. The 1am conversations don't. Those are the moments that built the network. Those are the moments I'll carry. Through every one of those rooms I had the honor of working alongside some of the biggest names in this industry. VC's, Founders, exchange leadership, protocol engineers, journalists, influencers and KOLs who actually move markets, builders shipping in silence. The kind of access most people in this space never get and with current industry conditions may actually never get again. I never took a single one of those rooms or connections for granted if you can't already tell by my X following. Behind all of it, the receipts that don't fit on a tweet. Over 400 terabytes of content, video, graphics, strategies, brand systems, blueprints, four years of building the marketing engine for a chain trying to scale Bitcoin without compromise. Thousands of hours, research, everything we needed to make it through cycle after cycle with our integrity, honesty and trust intact. Hundreds of strategies and playbooks that never even made it to market. There were good times. There were bad times. Anyone who tells you a four-year run inside a top-tier crypto project was all good times is selling you some straight bullshit. The project came out the other side. The team came out the other side. The work continued. That matters more than the noise. To everyone who made this run what it was. Every founder who picked up a call, every KOL who actually showed up, every journalist who took the meeting, every member of the community who never asked for anything but stayed loyal anyway. Thank you. So what's next for me? This astronaut isn't leaving the field. He's walking into the Wasteland of what he's had to watch our industry become over the last decade. Somewhere out there is the oasis. I'm going deep into AI. AI infrastructure and AI-native marketing, the place where autonomous agents, content systems, and Web3 product strategy actually meet. The next decade will define what the next century holds and I'm here to capture that. I've spent the last two years quietly building in that lane and I'm ready to make it the lane. If you're still in Web3, AI, or the seam where the two collide, my DMs are open. What a ride. — 1DC

1DC

14,875 görüntüleme • 5 ay önce

God created the world in seven days, but it took Michelangelo four years to depict it on this remarkable ceiling.... To any visitor of Michelangelo’s Sistine Chapel, two features become immediately and undeniably apparent: 1) the ceiling is really high up, and 2) there are a lot of paintings up there. Because of this, the centuries have handed down to us an image of Michelangelo lying on his back, wiping sweat and plaster from his eyes as he toiled away year after year, suspended hundreds of feet in the air, begrudgingly completing a commission that he never wanted to accept in the first place. Fortunately for Michelangelo, this is probably not true. But that does nothing to lessen the fact that the frescoes, which take up the entirety of the vault, are among the most important paintings in the world. Michelangelo began to work on the frescoes for Pope Julius II in 1508, replacing a blue ceiling dotted with stars. Originally, the pope asked Michelangelo to paint the ceiling with a geometric ornament, and place the twelve apostles in spandrels around the decoration. Michelangelo proposed instead to paint the Old Testament scenes now found on the vault, divided by the fictive architecture that he uses to organize the composition. The narrative begins at the altar and is divided into three sections. In the first three paintings, Michelangelo tells the story of The Creation of the Heavens and Earth; this is followed by The Creation of Adam and Eve and the Expulsion from the Garden of Eden; finally is the story of Noah and the Great Flood. Ignudi, or nude youths, sit in fictive architecture around these frescoes and they are accompanied by prophets and sibyls (ancient seers who, according to tradition, foretold the coming of Christ) in the spandrels. In the four corners of the room, in the pendentives, one finds scenes depicting the Salvation of Israel. Although the most famous of these frescoes is without a doubt, The Creation of Adam, reproductions of which have become ubiquitous in modern culture for its dramatic positioning of the two monumental figures reaching towards each other, not all of the frescoes are painted in this style. In fact, the first frescoes Michelangelo painted contain multiple figures, much smaller in size, engaged in complex narratives. This can best be exemplified by his painting of The Deluge. In this fresco, Michelangelo has used the physical space of the water and the sky to separate four distinct parts of the narrative. On the right side of the painting, a cluster of people seeks sanctuary from the rain under a makeshift shelter. On the left, even more people climb up the side of a mountain to escape the rising water. Centrally, a small boat is about to capsize because of the unending downpour. And in the background, a team of men work on building the arc—the only hope of salvation. Up close, this painting confronts the viewer with the desperation of those about to perish in the flood and makes one question God’s justice in wiping out the entire population of the earth, save Noah and his family, because of the sins of the wicked. Unfortunately, from the floor of the chapel, the use of small, tightly grouped figures undermines the emotional content and makes the story harder to follow. 🎥© lockette (IG) #archaeohistories
0:10

God created the world in seven days, but it took Michelangelo four years to depict it on this remarkable ceiling.... To any visitor of Michelangelo’s Sistine Chapel, two features become immediately and undeniably apparent: 1) the ceiling is really high up, and 2) there are a lot of paintings up there. Because of this, the centuries have handed down to us an image of Michelangelo lying on his back, wiping sweat and plaster from his eyes as he toiled away year after year, suspended hundreds of feet in the air, begrudgingly completing a commission that he never wanted to accept in the first place. Fortunately for Michelangelo, this is probably not true. But that does nothing to lessen the fact that the frescoes, which take up the entirety of the vault, are among the most important paintings in the world. Michelangelo began to work on the frescoes for Pope Julius II in 1508, replacing a blue ceiling dotted with stars. Originally, the pope asked Michelangelo to paint the ceiling with a geometric ornament, and place the twelve apostles in spandrels around the decoration. Michelangelo proposed instead to paint the Old Testament scenes now found on the vault, divided by the fictive architecture that he uses to organize the composition. The narrative begins at the altar and is divided into three sections. In the first three paintings, Michelangelo tells the story of The Creation of the Heavens and Earth; this is followed by The Creation of Adam and Eve and the Expulsion from the Garden of Eden; finally is the story of Noah and the Great Flood. Ignudi, or nude youths, sit in fictive architecture around these frescoes and they are accompanied by prophets and sibyls (ancient seers who, according to tradition, foretold the coming of Christ) in the spandrels. In the four corners of the room, in the pendentives, one finds scenes depicting the Salvation of Israel. Although the most famous of these frescoes is without a doubt, The Creation of Adam, reproductions of which have become ubiquitous in modern culture for its dramatic positioning of the two monumental figures reaching towards each other, not all of the frescoes are painted in this style. In fact, the first frescoes Michelangelo painted contain multiple figures, much smaller in size, engaged in complex narratives. This can best be exemplified by his painting of The Deluge. In this fresco, Michelangelo has used the physical space of the water and the sky to separate four distinct parts of the narrative. On the right side of the painting, a cluster of people seeks sanctuary from the rain under a makeshift shelter. On the left, even more people climb up the side of a mountain to escape the rising water. Centrally, a small boat is about to capsize because of the unending downpour. And in the background, a team of men work on building the arc—the only hope of salvation. Up close, this painting confronts the viewer with the desperation of those about to perish in the flood and makes one question God’s justice in wiping out the entire population of the earth, save Noah and his family, because of the sins of the wicked. Unfortunately, from the floor of the chapel, the use of small, tightly grouped figures undermines the emotional content and makes the story harder to follow. 🎥© lockette (IG) #archaeohistories

Archaeo - Histories

16,175 görüntüleme • 1 ay önce

“In the modern world, man becomes a slave to the feminine principle, seduced by images and illusions created by emotion and fantasy—decadent forms of eros.” —Julius Evola, Metaphysics of Sex The modern cult of equality has fixed its gaze upon the sexes. What had once been regarded as the polarity of man and woman, grounded in nature and consecrated by tradition, has been lowered to a counterfeit of sameness. Evola returned often to this inversion, discerning in it the same anti-hierarchical impulse that has disfigured every other sphere of life, and which, under the guise of liberation, has stripped both sexes of the dignity proper to their stations. What the age heralds as emancipation he judged to be a degradation, for feminism does not raise woman to her station but strips her of it, compelling her to abandon her essence in order to imitate man, while man himself, bereft of his higher path, sinks into a condition at once impoverished and grotesque. For Evola, culture was the victory of form over chaos, the conquest of the shapeless by order and measure. The city and the empire arose from the recognition of limits, of distinctions, of the rightful ranking of beings. Man attained his true stature as warrior and ascetic; woman realized her dignity as lover and mother. These types were not adversaries but counterparts, separate yet joined, each consecrated to the same principle of transcendence, each charged with its own path of heroism. In the sharpening of these forms, in the intensification of the masculine and the feminine, Europe attained its strength, and love retained its ancient dignity as a force at once generative and cosmic. There is also a beauty in the truth of form, for what is bound to nature and consecrated by tradition does not merely endure but shines. When the polarity of man and woman is clarified, when each fulfills the path proper to its essence, the result is not only strength but radiance. Beauty arises when limit is embraced, when form gives shape to matter, when order compels chaos into harmony. To behold such clarity is to glimpse truth itself, for truth and beauty are of one lineage, both testifying to the higher law that governs being. The modern age has broken this harmony. Bolshevism in the East proclaimed the equality of the sexes in the name of the collective. America in the West proclaimed the same in the name of emancipation. Beneath the opposing banners the result was alike: in one case, a promiscuous communality in which difference was dissolved, in the other, the masculinized woman of the factories and the salons. The poles collapsed, the bond was neutralized, eros was reduced to sterile companionship or the fleeting diversions of appetite. Evola named this impulse a radical pessimism, for beneath the assertion of equality lies the confession that woman, as woman, has no worth. She is compelled to take on the guise of man in order to claim value, and in so doing she forfeits the possibility of fulfillment. Man, in turn, is brutalized into a creature of appetite and utility, stripped of the higher forms once embodied in the ascetic and the warrior. Love itself, which depends upon polarity as fire depends upon the tension of elements, is extinguished, and with it the very possibility of renewal. What rises in its place is the gray world of neuter beings, uniform and without grandeur. Woman no longer appears as lover or as mother, but is driven into labor, into agitation, into pale imitations of intellectual life. Man no longer ascends as ascetic or warrior, but sinks into the tradesman, the showman, the brute. Thus the order of life is betrayed in its most intimate relation, and what once gave depth and height to being is consumed in the twilight of sameness. To revolt against this perversion is not to diminish woman but to restore her to her dignity. It is to affirm that difference and hierarchy are the ground of order, that polarity is the essence of love, that the higher destiny of mankind rests upon the distinction of the sexes. In defending this truth one does not merely preserve a passing custom, but upholds the principle of form itself. For in the bond of man and woman is mirrored the eternal strife of order with chaos, and in that strife the fate of the world is decided.
0:19

“In the modern world, man becomes a slave to the feminine principle, seduced by images and illusions created by emotion and fantasy—decadent forms of eros.” —Julius Evola, Metaphysics of Sex The modern cult of equality has fixed its gaze upon the sexes. What had once been regarded as the polarity of man and woman, grounded in nature and consecrated by tradition, has been lowered to a counterfeit of sameness. Evola returned often to this inversion, discerning in it the same anti-hierarchical impulse that has disfigured every other sphere of life, and which, under the guise of liberation, has stripped both sexes of the dignity proper to their stations. What the age heralds as emancipation he judged to be a degradation, for feminism does not raise woman to her station but strips her of it, compelling her to abandon her essence in order to imitate man, while man himself, bereft of his higher path, sinks into a condition at once impoverished and grotesque. For Evola, culture was the victory of form over chaos, the conquest of the shapeless by order and measure. The city and the empire arose from the recognition of limits, of distinctions, of the rightful ranking of beings. Man attained his true stature as warrior and ascetic; woman realized her dignity as lover and mother. These types were not adversaries but counterparts, separate yet joined, each consecrated to the same principle of transcendence, each charged with its own path of heroism. In the sharpening of these forms, in the intensification of the masculine and the feminine, Europe attained its strength, and love retained its ancient dignity as a force at once generative and cosmic. There is also a beauty in the truth of form, for what is bound to nature and consecrated by tradition does not merely endure but shines. When the polarity of man and woman is clarified, when each fulfills the path proper to its essence, the result is not only strength but radiance. Beauty arises when limit is embraced, when form gives shape to matter, when order compels chaos into harmony. To behold such clarity is to glimpse truth itself, for truth and beauty are of one lineage, both testifying to the higher law that governs being. The modern age has broken this harmony. Bolshevism in the East proclaimed the equality of the sexes in the name of the collective. America in the West proclaimed the same in the name of emancipation. Beneath the opposing banners the result was alike: in one case, a promiscuous communality in which difference was dissolved, in the other, the masculinized woman of the factories and the salons. The poles collapsed, the bond was neutralized, eros was reduced to sterile companionship or the fleeting diversions of appetite. Evola named this impulse a radical pessimism, for beneath the assertion of equality lies the confession that woman, as woman, has no worth. She is compelled to take on the guise of man in order to claim value, and in so doing she forfeits the possibility of fulfillment. Man, in turn, is brutalized into a creature of appetite and utility, stripped of the higher forms once embodied in the ascetic and the warrior. Love itself, which depends upon polarity as fire depends upon the tension of elements, is extinguished, and with it the very possibility of renewal. What rises in its place is the gray world of neuter beings, uniform and without grandeur. Woman no longer appears as lover or as mother, but is driven into labor, into agitation, into pale imitations of intellectual life. Man no longer ascends as ascetic or warrior, but sinks into the tradesman, the showman, the brute. Thus the order of life is betrayed in its most intimate relation, and what once gave depth and height to being is consumed in the twilight of sameness. To revolt against this perversion is not to diminish woman but to restore her to her dignity. It is to affirm that difference and hierarchy are the ground of order, that polarity is the essence of love, that the higher destiny of mankind rests upon the distinction of the sexes. In defending this truth one does not merely preserve a passing custom, but upholds the principle of form itself. For in the bond of man and woman is mirrored the eternal strife of order with chaos, and in that strife the fate of the world is decided.

Chad Crowley

49,605 görüntüleme • 1 yıl önce

My phone just pinged me with an “on this day” memory from this day three years ago on 9/20/23. We were in Eagle Pass, TX and witnessed a mass illegal crossing of more than 4,000 illegal aliens crossing in one single spot in just two hours, leading to CBP having to shut down the nearby international bridges & ports of entry. Fox News was the only network there. The only resistance offered was Texas military & DPS assets which had placed razor wire at the edge of the river, but the Biden Border Patrol cut through it and in one infamous case, even used heavy machinery to lift it out of the way so the illegal aliens could proceed into the U.S. A complete free for all that day - and it would get even worse three months later in December 2023 when the illegal crossings reached the highest ever recorded in U.S. history with more than 11,000 in a single day.
0:06

My phone just pinged me with an “on this day” memory from this day three years ago on 9/20/23. We were in Eagle Pass, TX and witnessed a mass illegal crossing of more than 4,000 illegal aliens crossing in one single spot in just two hours, leading to CBP having to shut down the nearby international bridges & ports of entry. Fox News was the only network there. The only resistance offered was Texas military & DPS assets which had placed razor wire at the edge of the river, but the Biden Border Patrol cut through it and in one infamous case, even used heavy machinery to lift it out of the way so the illegal aliens could proceed into the U.S. A complete free for all that day - and it would get even worse three months later in December 2023 when the illegal crossings reached the highest ever recorded in U.S. history with more than 11,000 in a single day.

Bill Melugin

1,012,148 görüntüleme • 19 gün önce

I’m excited to announce my new role as Growth Lead at Plume! 🐦‍🔥 6 months ago, I had my first call with Chris Yin and surprisingly, he changed my mind. I was skeptical of a web3-native project trying to bridge the traditional world into ours. His thesis of a permissionless blockchain environment was antithesis to what I believed in at the time. After about 45 minutes of deep discussion, I could finally see it. I dropped all of my other RWA investment prospects and pointed myself towards Plume. From there, things got quiet for a while. Myself and the 280 partners debated the RWA sector as a whole and quietly observed Plume’s progress on the sidelines. Fast forward a few months and I had finally realized a thesis of my own; In crypto, you’ll generally find two key types of participants: speculators and yield chasers. Speculators lower their risk threshold in search of the next 100x, closely following trends and trying to capture opportunities early. It is a game that requires forward-thinking, intuition, and a lot of luck. These people range in financial status, with some looking to make their first bucket of gold, with the others trying to hit another big win and buy their second lambo. Yield chasers are a different breed of folks. They may not want to ape their entire portfolio into memes, rather they enjoy the attractive returns that DeFi offers that they generally wouldn’t be able to find in the traditional world. These folks generally aren’t looking for lambo, but believe that they will still be living well without the stress of going to zero. But as we see every cycle, Bitcoin crashes, DeFi collapses, and another round of fuzzy-haired fellas find their way over to the Metropolitan Detention Centre. Crypto dies, retail gets burned, the regulators swoop in and start raising hell, and the cycle repeats. Why does it have to be this way? Of course market cycles are natural and perhaps healthy, but why the catastrophe at the end each time? There must be a better way. And then it hit me. RWAfi is and always was the answer. The road at the end of all roads. It’s a nice road, paved with the blood, sweat, and tears of those truly trying to connect the entire world to our industry. Whether you made a major bag and want to move into wealth preservation or lost it all and no longer want to live the life of a degenerate gambler and are comfortable with a more stable approach to wealth building, eventually, everyone ends up chasing juicy yields. And we all know that there is only one sector of our industry that can consistently deliver attractive yields through bull and bear. There is only one sector that can support all the TVL that is currently sitting in vaults that are unable to sustain the yields they promised. The nature of the vertical makes it constantly aware of regulatory considerations. RWAfi is a sleeping giant, and not only will it unlock a $400T market, it will also catalyze an incredible amount of growth resembling tens of trillion in newly created value and opportunity. We are so early. That, paired with the incredible team Teddy @shukyeerwa Ivy Kang and the other 40 cracked believers that are pushing beyond their limits is the reason I bet on Plume. We have everything it takes to make it 🤝 I have to give a special shout out to J for how supportive he has been with this move. 280 Capital is married to Plume now and I’m sure we will be collaborating on a lot moving forward. Another shoutout to one of the great minds of this industry JacobK whose conviction in Plume really pushed me to purse this role🙏🏾 Vibes are all-time high with this team, and bring a fresh combination of competence, experience, and true belief in the platform that we are building. Mark my words, Plume will unify the RWAfi sector and pave the way as one of the giants of this industry. Let’s fucking do this. 🐦‍🔥 Goons in complete control.
0:11

I’m excited to announce my new role as Growth Lead at Plume! 🐦‍🔥 6 months ago, I had my first call with Chris Yin and surprisingly, he changed my mind. I was skeptical of a web3-native project trying to bridge the traditional world into ours. His thesis of a permissionless blockchain environment was antithesis to what I believed in at the time. After about 45 minutes of deep discussion, I could finally see it. I dropped all of my other RWA investment prospects and pointed myself towards Plume. From there, things got quiet for a while. Myself and the 280 partners debated the RWA sector as a whole and quietly observed Plume’s progress on the sidelines. Fast forward a few months and I had finally realized a thesis of my own; In crypto, you’ll generally find two key types of participants: speculators and yield chasers. Speculators lower their risk threshold in search of the next 100x, closely following trends and trying to capture opportunities early. It is a game that requires forward-thinking, intuition, and a lot of luck. These people range in financial status, with some looking to make their first bucket of gold, with the others trying to hit another big win and buy their second lambo. Yield chasers are a different breed of folks. They may not want to ape their entire portfolio into memes, rather they enjoy the attractive returns that DeFi offers that they generally wouldn’t be able to find in the traditional world. These folks generally aren’t looking for lambo, but believe that they will still be living well without the stress of going to zero. But as we see every cycle, Bitcoin crashes, DeFi collapses, and another round of fuzzy-haired fellas find their way over to the Metropolitan Detention Centre. Crypto dies, retail gets burned, the regulators swoop in and start raising hell, and the cycle repeats. Why does it have to be this way? Of course market cycles are natural and perhaps healthy, but why the catastrophe at the end each time? There must be a better way. And then it hit me. RWAfi is and always was the answer. The road at the end of all roads. It’s a nice road, paved with the blood, sweat, and tears of those truly trying to connect the entire world to our industry. Whether you made a major bag and want to move into wealth preservation or lost it all and no longer want to live the life of a degenerate gambler and are comfortable with a more stable approach to wealth building, eventually, everyone ends up chasing juicy yields. And we all know that there is only one sector of our industry that can consistently deliver attractive yields through bull and bear. There is only one sector that can support all the TVL that is currently sitting in vaults that are unable to sustain the yields they promised. The nature of the vertical makes it constantly aware of regulatory considerations. RWAfi is a sleeping giant, and not only will it unlock a $400T market, it will also catalyze an incredible amount of growth resembling tens of trillion in newly created value and opportunity. We are so early. That, paired with the incredible team Teddy @shukyeerwa Ivy Kang and the other 40 cracked believers that are pushing beyond their limits is the reason I bet on Plume. We have everything it takes to make it 🤝 I have to give a special shout out to J for how supportive he has been with this move. 280 Capital is married to Plume now and I’m sure we will be collaborating on a lot moving forward. Another shoutout to one of the great minds of this industry JacobK whose conviction in Plume really pushed me to purse this role🙏🏾 Vibes are all-time high with this team, and bring a fresh combination of competence, experience, and true belief in the platform that we are building. Mark my words, Plume will unify the RWAfi sector and pave the way as one of the giants of this industry. Let’s fucking do this. 🐦‍🔥 Goons in complete control.

CrabLegs 🦀

41,406 görüntüleme • 1 yıl önce

The best-preserved warship in the world is also one of the most catastrophic failures in naval history. It sank on its maiden voyage, after sailing barely 1300 meters, in front of thousands of horrified spectators... It is called the Vasa, and it was meant to be the most magnificent warship ever built. Constructed between 1626 and 1628 on the orders of King Gustavus Adolphus of Sweden, it bristled with 64 bronze cannons and was covered, from bow to stern, in hundreds of gilded and painted sculptures of lions, warriors, and mythological figures, all designed to announce the power of the Swedish crown. It was a floating palace built for war. On the 10th of August 1628, the Vasa set sail from Stockholm harbour on a calm day with a light breeze. The gun ports were open, the cannons run out to fire a ceremonial salute. A first gust of wind heeled the ship over, and it slowly righted itself. Then a second gust struck. The ship leaned hard to one side, water poured in through the open lower gun ports, and within minutes the pride of the Swedish navy rolled over and sank, less than a mile from where it had begun. Around 30 people died, in full view of the crowds who had gathered to watch it depart. But the disaster became a miracle: the Vasa sank into the cold, oxygen-poor, low-salt water of the Baltic Sea, where the shipworm that devours wooden wrecks in most of the world's oceans cannot survive. So the ship did not rot. It waited... For 333 years it lay on the harbor floor, almost perfectly intact, until it was raised in 1961. Today, more than 95 percent of what you see is the original seventeenth-century timber. It is the only preserved ship of its century anywhere on Earth. The thing that should have erased the Vasa from history is the very thing that saved it. Had it sailed successfully, it would have served its years, worn out, and been broken up for scrap centuries ago, like every other warship of its time. Because it failed so completely, and so quickly, it survived. We can stand before it now, an extraordinary relic of the seventeenth century frozen in time, only because, on its very first day, everything went wrong... If this kind of history fascinates you, I send out a piece like this every week to readers who love finding the extraordinary stories the past left behind. You can join at the link below, and if you'd like to support the work, a paid subscription is what makes it possible: Thanks for reading.
0:15

The best-preserved warship in the world is also one of the most catastrophic failures in naval history. It sank on its maiden voyage, after sailing barely 1300 meters, in front of thousands of horrified spectators... It is called the Vasa, and it was meant to be the most magnificent warship ever built. Constructed between 1626 and 1628 on the orders of King Gustavus Adolphus of Sweden, it bristled with 64 bronze cannons and was covered, from bow to stern, in hundreds of gilded and painted sculptures of lions, warriors, and mythological figures, all designed to announce the power of the Swedish crown. It was a floating palace built for war. On the 10th of August 1628, the Vasa set sail from Stockholm harbour on a calm day with a light breeze. The gun ports were open, the cannons run out to fire a ceremonial salute. A first gust of wind heeled the ship over, and it slowly righted itself. Then a second gust struck. The ship leaned hard to one side, water poured in through the open lower gun ports, and within minutes the pride of the Swedish navy rolled over and sank, less than a mile from where it had begun. Around 30 people died, in full view of the crowds who had gathered to watch it depart. But the disaster became a miracle: the Vasa sank into the cold, oxygen-poor, low-salt water of the Baltic Sea, where the shipworm that devours wooden wrecks in most of the world's oceans cannot survive. So the ship did not rot. It waited... For 333 years it lay on the harbor floor, almost perfectly intact, until it was raised in 1961. Today, more than 95 percent of what you see is the original seventeenth-century timber. It is the only preserved ship of its century anywhere on Earth. The thing that should have erased the Vasa from history is the very thing that saved it. Had it sailed successfully, it would have served its years, worn out, and been broken up for scrap centuries ago, like every other warship of its time. Because it failed so completely, and so quickly, it survived. We can stand before it now, an extraordinary relic of the seventeenth century frozen in time, only because, on its very first day, everything went wrong... If this kind of history fascinates you, I send out a piece like this every week to readers who love finding the extraordinary stories the past left behind. You can join at the link below, and if you'd like to support the work, a paid subscription is what makes it possible: Thanks for reading.

James Lucas

30,841 görüntüleme • 3 ay önce

April 30 • 12:00pm ET Art Blocks + OpenSea “Gift of time” began during my residency in Marfa, Texas, as part of the Art Blocks and OpenSea artist residency program, where a distinct shift in the experience of time became central to the work. In the desert, I felt time move differently. It stretched, slowed, and became something I noticed. After a few days, the rhythm changed. Moments felt longer, attention sharpened, and I became increasingly aware of each moment as it passed. This work comes from that condition. Time is not treated only as a theme, but as a system embedded in the structure of the piece. Different ways of measuring time, such as mechanical cycles, calendars, and lunar phases, are translated into rules that continuously transform the work. The piece does not represent time. It runs on it. Its movement is tied to blockchain time. Even when unseen, it continues to rotate and evolve. When loaded, it synchronizes with the present moment, but it does not begin when it is viewed, and it does not stop when it disappears from the screen. During the residency, I spent hours thinking, sketching, and making connections. Those connections are also visible. Elastic lines, like rubber bands, link elements across the piece, representing how memories connect, how one thought leads to another, and how everything builds over time. These same connections introduce moments where the system attempts to pull itself back, as if trying to regain control. But it never fully resets. It is not a loop. The movement continues, drifting forward, never returning to a fixed state. Visually, the work reveals its own construction. Lines, paths, and rotations expose an internal logic, like looking inside a mechanism. The drawing language recalls diagrams, technical sketches, or the interior of a mechanical watch. It is a system in motion, always active. “Gift of Time” exists because I was given time by Art Blocks, OpenSea, and above all my family. It is my way of saying thank you. It is both a reflection on time and a product of it. April 30 @ 12:00pm ET on Art blocks & OpenSea 1 / 1 / 365 • 0.02 Eth Art Blocks, OpenSea
0:18

April 30 • 12:00pm ET Art Blocks + OpenSea “Gift of time” began during my residency in Marfa, Texas, as part of the Art Blocks and OpenSea artist residency program, where a distinct shift in the experience of time became central to the work. In the desert, I felt time move differently. It stretched, slowed, and became something I noticed. After a few days, the rhythm changed. Moments felt longer, attention sharpened, and I became increasingly aware of each moment as it passed. This work comes from that condition. Time is not treated only as a theme, but as a system embedded in the structure of the piece. Different ways of measuring time, such as mechanical cycles, calendars, and lunar phases, are translated into rules that continuously transform the work. The piece does not represent time. It runs on it. Its movement is tied to blockchain time. Even when unseen, it continues to rotate and evolve. When loaded, it synchronizes with the present moment, but it does not begin when it is viewed, and it does not stop when it disappears from the screen. During the residency, I spent hours thinking, sketching, and making connections. Those connections are also visible. Elastic lines, like rubber bands, link elements across the piece, representing how memories connect, how one thought leads to another, and how everything builds over time. These same connections introduce moments where the system attempts to pull itself back, as if trying to regain control. But it never fully resets. It is not a loop. The movement continues, drifting forward, never returning to a fixed state. Visually, the work reveals its own construction. Lines, paths, and rotations expose an internal logic, like looking inside a mechanism. The drawing language recalls diagrams, technical sketches, or the interior of a mechanical watch. It is a system in motion, always active. “Gift of Time” exists because I was given time by Art Blocks, OpenSea, and above all my family. It is my way of saying thank you. It is both a reflection on time and a product of it. April 30 @ 12:00pm ET on Art blocks & OpenSea 1 / 1 / 365 • 0.02 Eth Art Blocks, OpenSea

Manuel Lariño ☔️

21,931 görüntüleme • 5 ay önce