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Flight School Business Plan - MS Word/Excel
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Approaching the Nanofax Singularity
Approaching the Nanofax Singularity
“Everything the name implies,” says Klaus, “and considerably less.”
“What’s that supposed to mean?”
“Nanofax AG offers a technology that digitally reproduces objects, physically, at a distance. Within certain rather large limitations, of course. A child’s doll, placed in a Lucky Dragon Nanofax unit in London, will be reproduced in the Lucky Dragon Nanofax unit in New York-”
From All Tomorrow’s Parties, by William Gibson.
Published by Putnam in 1999
The theme for the tenth edition of Version Fest is Territories and Infrastructure. Infrastructure is represented in our lives by fiber optic cables delivering the data that keeps us trucking. It is the faucet delivering water to our house, the asphalt we drive on, the flight plan our pilot takes. Infrastructure is the bridges, the networks, the grocery stores. It is the logistical machine the keeps modern life rolling on. But infrastructure is not just the pipes, and the tubes, and the faucets that deliver culture, but the material and methods that manufacture those pipes, tubes, cables and what not. Infrastructure is the tools we use to create.
Recently a new raft of technologies have entered the digital domain, these tools for replicating and manufacturing have already rapidly changed the way we think about producing things. For artists today these techniques and methods represent a new infrastructure.
Approaching the Nanofax Singuarity is a two day symposium featuring presentations and exhibits by artists and designers utilizing the latest techniques in digital fabrication and replication. Hardware once the sole domain of engineers and scientists have become much more accessible in the last five years. Advanced by open source technology, dedicated hacktivists, tinkerers and homebrew engineers have brought this infrastructure from the lofty heights of the machine shop into the alt space network. Now it is possible for designers with a small budget and workspace to utilize tools and equipment such as 3-d printers, RepRap, CNC machines, 3-d scanners, laser cutters and so forth.
So whether it’s making the tools to make the art, or making the art with the tools we’ve made, or making the art with open source tools, there exist many possibilities and options for designers and artists to interact with new digital fabrication techniques. Approaching the Nanofax Singuarity (ATNS) seeks to show case some of these artists currently working in this field here in Chicago.
Margarita Benitez works with fiber, sound and technological components in her practice, she will talk about her new project osloom an open source jacquard loom she is currently developing. DIYLILCNC is a collaborative project by artists Chris Reilly and Taylor Hokanson. Their project is a low cost open source DIY 3 axis CNC mill. Chris and Taylor will demonstrate the machine and talk about CNC technology in general, some of the shortcomings of the present state of CNC and how those are addressed by open-source hardware projects like the DIYLILCNC. We’ll also go over the specs of the DIYLILCNC, giving details about how it is built and its functions. (f)utility projects are a collaboration between Paola Cabal, Michael Genge and Christopher Grieshaber. Previous projects include Depth of Field currently on view at SubCity Projects in Chicago. (f)utility projects will be producing the ATNS pavilion at the NFO XPO. The pavilion will host exhibited projects by ATNS artists. Claudia Hart produces designs for sublime landscape gardens often containing expressive and sensual female bodies meant to interject emotional subjectivity into what is typically the overly-determined Cartesian world of digital design. Mik Kastner and Brian Matthew are members of the Bio Art Network they will talk about their “bio printer” a rapid prototyping machine that will produce organic sculptures from plant and animal cells. Patrick Lichty is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. Lichty will exhibit his Pixelbox series, laser cut LED pieces whose simple appearance belays an experiment in emergent behavior. Dan Price combines sculpture, performance and experimental documentary practice. His current project Tentacle Shelter will be a wearable “shelter” for a child – like a costume/cape/tent produced in thick felt. For ATNS Price will exhibit a laser cut model and prototype for the shelter. Ben Stagl investigates urban space through a variety of mediums including sculpture, performance, video, and installation. Stagl is largely concerned with how human beings continue to address and experience shared spaces. Many of his projects explore ideas of inclusion through object, often involving collaboration and elements of participation.
Taken together these artists articulate both sides of the coin in terms of digital fabrication. Whether their project is t
Northrop B-2 Spirit
Northrop B-2A (S/N 88-332) Spirit of Washington in flight.
The Northrop Grumman B-2 Spirit (also known as the Stealth Bomber) is an American heavy bomber with low observable stealth technology designed to penetrate dense anti-aircraft defenses and deploy both conventional and nuclear weapons. Because of its considerable capital and operational costs, the project was controversial in the U.S. Congress and among the Joint Chiefs of Staff. During the late 1980s and early 1990s, the Congress slashed initial plans to purchase 132 bombers to just 21.
Manufactured by Northrop Grumman, the cost of each aircraft averaged US$737 million in 1997 dollars ($1.01 billion today). Total procurement costs averaged US$929 million per aircraft ($1.27 billion today, which includes spare parts, equipment, retrofitting, and software support. The total program cost, which includes development, engineering and testing, averaged US$2.1 billion per aircraft (in 1997 dollars, $2.87 billion today).
Twenty B-2s are operated by the United States Air Force. Though originally designed in the 1980s for Cold War operations scenarios, B-2s were first used in combat to drop bombs on Serbia during the Kosovo War in 1999, and saw continued use during the wars in Iraq and Afghanistan. One aircraft was lost in 2008 when it crashed just after takeoff; the crew ejected safely. B-2s were also used during the 2011 Libyan uprising.
The bomber has a crew of two and can drop up to 80 x 500 lb (230 kg)-class JDAM GPS-guided bombs, or 16 x 2,400 lb (1,100 kg) B83 nuclear bombs in a single pass through extremely dense anti-aircraft defenses. The B-2 is the only aircraft that can carry large air to surface standoff weapons in a stealth configuration. The program has been the subject of espionage and counter-espionage activity and the B-2 has provided prominent public spectacles at air shows since the 1990s.
The B-2 Spirit originated from the Advanced Technology Bomber (ATB) black project that began in 1979. The Cold War was long underway, and on the campaign trail in 1979 and 1980, presidential candidate Ronald Reagan promised to restore American military strength. On 22 August 1980, the incumbent Carter administration publicly disclosed that the United States Department of Defense (DoD) was working to develop stealth aircraft including the ATB. In 2007, it was revealed publicly that MIT scientists helped assess the mission effectiveness of the aircraft under classified contract during the 1980s.
The B-2's first public display in 1988
After the evaluations of the companies' proposals, the ATB competition was reduced to the Northrop/Boeing and Lockheed/Rockwell teams with each receiving a study contract for further work.Both teams used flying wing designs. The Northrop design was larger while the Lockheed design was smaller and included a small tail. The black project was funded under the code name Aurora. The Northrop/Boeing team's ATB design was selected over the Lockheed/Rockwell design on 20 October 1981.
The Northrop design received the designation B-2 and the name Spirit. The bomber's design was changed in the mid-1980s when the mission profile was changed from high-altitude to low-altitude, terrain-following. The redesign delayed the B-2's first flight by two years and added about US$1 billion to the program's cost. An estimated US$23 billion was secretly spent for research and development on the B-2 by 1989. At the program's peak, approximately 13,000 people were employed at a dedicated plant in Pico Rivera, California for the aircraft's engineering and portions of its manufacturing.
The B-2 was first publicly displayed on 22 November 1988, at Air Force Plant 42, Palmdale, California, where it was assembled. This initial viewing was heavily guarded and guests were not allowed to see the rear of the B-2. However, Aviation Week editors found that there was no ban on overflying the airfield apron/presentation area and, to the chagrin of the USAF, took pictures from above of the aircraft's then-secret planform and suppressed engine exhausts. The B-2's first public flight was on 17 July 1989 from Palmdale.
A procurement of 132 aircraft was planned in the mid-1980s, but was later reduced to 75. By the early 1990s, the Soviet Union had disintegrated, which effectively eliminated the Spirit's primary Cold War mission. Under budgetary pressures and congressional opposition, in his 1992 State of the Union Address, President George H.W. Bush announced B-2 production would be limited to 20 aircraft. In 1996, however, the Clinton administration, though originally committed to ending production of the bombers at 20 aircraft, authorized the conversion of a 21st bomber, a prototype test model, to Block 30 fully operational status at a cost of nearly $500 million.
In 1995, Northrop made a proposal to the USAF to build 20 additional aircraft with a flyaway cost of $566 million each.
In 1984 a Northrop employee, Thomas
flight plan software
Academy Award(R) winner Jodie Foster (Best Actress, THE SILENCE OF THE LAMBS, 1991) gives an outstanding performance in the heart-pumping action thriller FLIGHTPLAN. Flying at 40,000 feet in a state-of-the art aircraft that she helped design, Kyle Pratt's (Foster) 6-year-old daughter Julia vanishes without a trace. Or did she? No one on the plane believes Julia was ever onboard. And now Kyle, desperate and alone, can only count on her own wits to unravel the mystery and save her daughter. From the producer of APOLLO 13 and A BEAUTIFUL MIND, FLIGHTPLAN is an intense, suspense-filled thriller that will keep you on the edge of your seat the entire flight.
Like a lot of stylishly persuasive thrillers, Flightplan is more fun to watch than it is to think about. There's much to admire in this hermetically sealed mystery, in which a propulsion engineer and grieving widow (Jodie Foster) takes her 6-year-old daughter (and a coffin containing her husband's body) on a transatlantic flight aboard a brand-new jumbo jet she helped design, and faces a mother's worst nightmare when her daughter (Marlene Lawston) goes missing. But how can that be? Is she delusional? Are the flight crew, the captain (Sean Bean) and a seemingly sympathetic sky marshal (Peter Sarsgaard) playing out some kind of conspiratorial abduction? In making his first English-language feature, German director Robert Schwentke milks the mother's dilemma for all it's worth, and Foster's intense yet subtly nuanced performance (which builds on a fair amount of post-9/11 paranoia) encompasses all the shifting emotions required to grab and hold your attention. Alas, this upgraded riff on Hitchcock's The Lady Vanishes (not to mention Otto Preminger's Bunny Lake is Missing) is ultimately too preposterous to hold itself together. Flightplan gives us a dazzling tour of the jumbo jet's high-tech innards, and its suspense is intelligently maintained all the way through to a cathartic conclusion, but the plot-heavy mechanics break down under scrutiny. Your best bet is to fasten your seatbelt and enjoy the thrills on a purely emotional level -- a strategy that worked equally well with Panic Room, Foster's previous thriller about a mother and daughter in peril. --Jeff Shannon
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