Archives de Tag: Military

~ Via The Funambulist ~

Rikers Island in New York City

Prison Map is a project developed by Josh Begley, a graduate student studying Interactive Telecommunications at New York University. Thanks a small script and geo-coordinates, he obtained a google earth snapshot of each of the 4,916 incarceration facilities in the United States. Let’s recall here that a bit less than 2.5 millions people are living in prison in this country. Such a project illustrates therefore a sort of hidden urbanism in which 0.8% of the American population live for a given time. Of course, these photographs are interesting to observe the architecture of incarceration, but more importantly in my opinion, is the relationship they develop with their direct environment as they illustrate a geography of exclusion.

Many of these facilities use the obvious strategy of remoteness to engage this will of exclusion. In this regard, from the cartographic point of view, they often ironically appear similar to European palaces with well-ordered classical plans. Others are situated on islands (like Rikers in New York) or piers in order to use water as a buffer zone between the included society and the excluded one. Finally, others are situated in the center of some cities like the Metropolitan Correctional Center in Chicago (see previous post) or the Brooklyn Detention Complex using the verticality of their architecture to implement the exclusionary status.

The page Prison Map is only displaying 700 facilities for convenience reasons but the 4,216 others can be seen by following this link. Josh Begley also have another page entitled Prison Count which establishes a photographic inventory of California State Adult Prisons.

<< Léopold Lambert.

Check this :

William Higginbotham, an American physicist, designed in 1958 by an oscilloscope and an analog computer video game called Tennis for Two.

William Higinbotham, an American physicist, designed in 1958 by an oscilloscope and an analog computer video game called Tennis for Two.

La gestion mondiale du conflit a migré vers le Complexe Militaro-Divertissement (Militaro-Entertainment Complex), le domaine de la culture, les médias et les industries créatives.
Un réseau postindustriel liant armée, médias et divertissement a pris le pouvoir et a créé de nouveaux seigneurs de la guerre et des sorciers de la domination symbolique et du maintien de la paix informationnelle. Basé sur l’expérience subjective de l’instabilité et de l’insécurité, le désir est transféré vers l’appareil de sécurité informationnelle et façonne la société pour la mener à des implications autoritaires de régression et de dépendance psychologique.
La collaboration de Walt Disney et de Wernher von Braun, l’expert de Disney sur le « Monde de demain » (World of Tomorrow), visant à vendre aux publics terrestres l’idée de l’espace à l’aide de programmes télévisuels traitant de l’Homme dans l’espace (Man in Space) ou de l’Homme sur la Lune (Man and the Moon), était hautement symbolique.
Il s’agit d’un moment historique qui marque le commencement d’une nouvelle ère de domination géopolitique, la convergence de la sécurité et de la culture et la montée du Complexe de Militaro-Divertissement. Par le mariage des cieux et de la Terre fusionnent le spectacle militaire total et la culture du maintien de la paix. Ceci marque les noces chymiques des technologies de guerre et de l’imagination, la naissance du nouveau moonchild du militaro-divertissement et la conception de l’art de la guerre cosmique. Pong (Tennis For Two : ndlr), le tout premier jeu vidéo et sans doute le premier jeu sur ordinateur, a été développé au Laboratoire National de Brookhaven en 1958 en se basant sur les graphiques des trajectoires de missiles. Il s’agissait d’un sous-produit de la DARPA , alors que Chase, le premier jeu vidéo joué sur un téléviseur en 1967, avait été écrit par Ralph Baer en tant que membre de la compagnie électronique militaire Sanders Associates et était destiné à l’entraînement militaire.
Dès le début, des jeux tels que Space Invaders ou Pac-Man ont essentiellement mis en scène des scénarios d’invasion d’aliens ou de profanateurs et, aujourd’hui, le divertissement numérique a pu nous être proposé grâce des investissements de grande envergure de la recherche militaire dans le domaine des sciences informatiques durant la Guerre Froide. Depuis, les technologies des jeux de guerre, des simulations et des jeux récréatifs sur ordinateur ont convergé, et aujourd’hui les jeux vidéos et autres divertissements informatiques sont en train de prendre le pas sur la prépondérance culturelle et économique de l’industrie du cinéma. La Guerre Virtuelle se déroule à Hollywood où les frontières entre les simulations par ordinateur menées à des fins militaires, les jeux vidéo et la création graphique sont depuis longtemps abolies au profit d’une coopération mutuelle.
Ce que John Naisbitt a nommé le Complexe Militaro-Nintendo fait référence à une collaboration sans cesse grandissante de secteurs tels que les high-techs, les médias, le militaire et les renseignements, et impliquant du personnel et des technologies issues à la fois de l’industrie sécuritaire et de l’industrie du divertissement dans des entreprises de coopération.
Un mariage païen entre le complexe sécuritaire et l’industrie du divertissement a donné naissance à ce que les experts considèrent désormais comme le futur de la gestion du conflit post-humain.
Ce développement crée une fusion entre la simulation numérique et le factuel, entre le virtuel et le réel et, par conséquent, la disparition des frontières existant entre fantaisie et réalité.

Konrad Becker, chercheur.
Article publié dans Planète Laboratoire N°4, octobre 2011 (page 16).

The Pentagon’s Defense Advanced Research Projects Agency (DARPA) is seeking proposals for a Humvee that can fly over insurgents, conduct night raids or whisk injured soldiers away from the battlefield. Textron, the defense company, says it has the solution—and they have the sketches to prove it.

Sure, the concept looks like a model car you might buy at Toys R’ Us, but the technology is sound, and the engineers think it could be ready to fly relatively soon, according to Steven Reid, vice president of unmanned aircraft systems at AAI, the Textron subsidiary that produced the Shadow UAV.
« Envision a Humvee-like vehicle with wings that fold out from the side and attach just above the rear door… » Reid says.

Textron’s plan is to integrate its work on military ground vehicles and unmanned aircraft like the Shadow, and combine it with licensed technology from its partnership with Carter Aviation Technologies, a small Texas-based outfit working on a personal air vehicle for the commercial market. Textron is incorporating Carter’s slowed compound rotor technology, which uses rotors that are similar to helicopter blades but heavily weighted in the tips. As the aircraft takes off, the rotor provides lift, but as the vehicle gains speed, the rotor slows down and the wings provide lift.
The vehicle would have a roof panel that contains wings that rotate and fold out from the sides, as well as a mast that comes up and houses the slowed rotor system. Coming out the back of the vehicle is a shrouded, ducted fan that provides forward motion, and then a series of control surfaces that help regulate speed, as well as pitch, roll and yaw.

To win funding for the project that DARPA formally calls Transformer, the company has to meet a challenging set of demands. The defense agency has asked companies and researchers to come up with a flyable vehicle that can carry up to four people, is capable of vertical takeoff and landing and can travel without having to refuel at ranges for 250 nautical miles (with a combination of driving and flying). While DARPA officials have talked about such a vehicle for avoiding roadside bombs, they are also considering it for a variety of missions, including « strike and raid, intervention, interdiction, insurgency and counterinsurgency, reconnaissance, medical evacuation and logistical supply. »

For veteran defense companies like Textron, the DARPA project did elicit some surprise. « I have to admit… » recalls Reid, « we scratched our heads and asked: Is this real? » But if the goal of DARPA’s Transformer project to hunt down innovative technologies that may lie resident at nontraditional defense companies, then Textron’s approach, which draws heavily on Carter Aviation, may pave the way.
Despite the far-out notion of a flying Humvee, Reid says the company’s engineers are intrigued by the idea of pushing the envelope on aircraft technology, and the concept fits well with ideas they already have about combining manned and unmanned aircraft, particularly helicopters. While Reid jokes about flying cars not being in Textron’s « five-year plan » he says the DARPA program is exciting because it allows the company to build off Carter Aviation’s technology, and perhaps incorporate that into the Shadow UAV.
« Quite frankly, our hopes are quite modest… » Reid says. « We don’t have visions of fleet sales of flying Humvees quite yet. »


The Massachusetts Institute of Technology officially opened the doors to its MIT Media Lab Complex, the school’s most famous interdisciplinary program.

The new building, designed by architect Fumihiko Maki and his « Maki and Associates » firm, broke ground in 2007.
Influences on the building’s design included the artists Piet Mondrian and George Seurat, as well as the art of Japanese paper lanterns. The white, glass, and aluminum building includes touches of the primary colors red, blue, and yellow, which are often found in Mondrian’s paintings.

 » The model is literally open collaboration between industry and academia. Research here at the Media Lab is highly creative but finds its way into the world via industry. The idea of designing serendipity, this building was designed to promote this type of thinking and capturing in an uncanny way this magic, » said Frank Moss.

The MIT Media Lab Complex design, which MIT had originally requested consist entirely of glass walls, had to be tempered to fit Cambridge energy requirements that restrict the use of glass construction in buildings. To accommodate the codes, Maki and his team integrated translucent aluminum screens over the building’s many glass and solid walls.
The screens over glass create a slightly pixelated view of the Charles River and Boston skyline when looking outside from within the building. It’s a nod to both the Media Lab’s digital world, as well as a pointillist adaption of landscape as seen in the paintings of Impressionist George Seurat.
Looking in at the Media Lab Complex at night, those same screens are lit from behind by the building’s interior lights and create semi-translucent views into some labs. The effect hints that a giant Japanese paper lantern has been plopped down on the corner of Ames and Amherst Streets in Cambridge.
It’s a distinct contrast to the dim and cozy den atmosphere of « the Cube, » the MIT Media Lab’s old space in the I.M. Pei-designed Wiesner Building. That space consisted of a series of rooms overlooking a multistory common area with minimal outside light. Keeping « the Cube » as inspiration, the new six-story building is connected to the Wiesner Building and consists of seven cubes awash in white walls, glass, and natural light. The staggered double-height units with glass walls allow various groups to look across, down, or up at one another. The cubes then form another cube around a common atrium.

Maki and his team have created a series of literal think tanks filled with professors, students, computers, and robots all working in tandem on future technology.
The cubes themselves, now referred to as labs, have retained the same creative and colorful preschool feel of the original Wiesner cube, with many of the usual players and odd projects-in-progress that the Media Lab has come to be known for.

In addition to housing new labs and offices for the MIT Media Lab organization, the building will also be home to several programs belonging to MIT’s School of Architecture and Planning, the Jerome Lemelson Center for Inventive Thinking and the Okawa Center for Future Children. It also has a digital fabrication and machine shop, a lecture hall, a winter garden, a cafe, and conference rooms.

« All kitsch is academic, and conversely, all that is academic is kitsch. »
Clement Greenberg.

Geliografic studio from Moscow is a crew of professional artists, illustrators and graphic designers, « sharing the same creative views ».
« Personal skills, experience and communism imagination meet here with the ability to work as a part of a team, thus providing the realization of the most challenging projects and the achievement of the highest efficiency ».

The Russian based illustration studio decided to mix classic still life paintings, with modern weapons.
Enjoy This KGB kitsch art !

The HULC (Human Universal Load Carrier) is the third generation exoskeleton system from Berkeley Bionics, a completely un-tethered, hydraulic-powered anthropomorphic exoskeleton that provides users with the ability to carry loads of up to 200 lbs for extended periods of time and over all terrains. Its flexible design allows for deep squats, crawls and upper-body lifting. There is no joystick or other control mechanism. The exoskeleton senses what users want to do and where they want to go. It augments their ability, strength and endurance. An onboard micro-computer ensures the exoskeleton moves in concert with the individual. Its modularity allows for major components to be swapped out in the field. Additionally, its unique power-saving design allows the user to operate on battery power for extended missions. The HULC’s load-carrying ability works even when power is not available.

The Dubai Airshow is the largest aerospace event in the Middle East and the fastest-growing airshow in the world.
The GeoEye-1 satellite, which tirelessly photographs the world at half-meter resolution from its constant orbit, swung by the Dubai Airport the other day and took this snap of the Dubai Airshow, in progress this week.
Click to enlarge & enjoy !

Taken from 423 miles in space by the GeoEye-1 satellite on Nov. 16, 2009 during the Dubai Airshow 2009.

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