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I like Ships too

oggbashan said:
It has been reported that the ship was deliberately run around by the Master and Pilot because it was in imminent danger of capsizing.

If it had capsized in the narrow deep water channel, it might have blocked the port of Southampton for months. As it is, it might take months to move it off that sandbank.

https://uk.news.yahoo.com/crew-grounded-stricken-ship-avoid-capsizing-184444714.html#vnPzGsr
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The wifes cousins have one of them little beach shackes/sheds down there and went to take a look at it the other day.

They sent pics cause we were there visiting last year
 
1750b71452ada34fd304613b6265596c6a5c46f9_m.jpg
 
I served on 3 fine US Navy warships and did sea trials on 8 other ones. I learned 110 days straight at sea........ain't as bad as it sounds. ;)
 
RobDownSouth said:
Okay this is Waaaaay cool. My niece is taking a cruise and I'm tracking her in real time. I showed her dad this site so he could be a good helicopter parent. :D
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trysail said:



Aboard Queen Elizabeth 2 departing Southampton bound for New York.




​
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To complete the loop:


QUEEN ELIZABETH 2
IMO: 6725418
MMSI: 576059000
Call Sign: GBTT
Flag: Vanuatu (VU)
AIS Type: Passenger
Gross Tonnage: 70327
Deadweight: 15521 t
Length × Breadth: 293m × 36m
Year Built: 1969
Status: Laid up
Last Position ReceivedOut of range
Info Received: 2014-11-18 11:13
Area: Dubai Area
Latitude / Longitude: 25.25064° / 55.26317°
Status: Stopped
Speed/Course: 0.0kn / -
AIS Source: 1976
 
Tsunehisa Kimura

“The artist—who passed away in 2008—was well-known for his startlingly realistic collages of urban scenes, often animated with a kind of end-of-the-world, scifi-inflected festivity. Impact craters in the centers of wrecked cities share chaotic page space with Dalí-esque visions of giant human breasts in the sky.

Waterfalls scour sublime new cliffsides from the architectural canyons of Manhattan; modern tower blocks pitch and yaw atop aircraft carriers at sea; battleship gun turrets are cloned and repeated into Baroque stupas—cathedrals of artillery—along the empty roads of agrarian landscapes. For my money, these latter structures outdo Hans Hollein’sAircraft Carrier City in Landscape, with which they nonetheless share a certain tectonic similarity.

Gunnery pagodas and blasted metropolitan cores meet surreal scenes of burning astronauts on the moon, while the neon lights of artificial volcanoes melt nameless city districts under radiative tides of surprise eruption. Apollo rockets are unearthed from Mesopotamian tombs in the shadow of Stone Age petroleum tanks. Tatlin’s Tower stands proud in a junkyard, stuffed full of broken TVs. The Woolworth Building wakes up to find itself at the bottom of a cave, and there are construction sites everywhere.

However, these are not the explicitly psychedelic photo-collages of someone like, say,James Koehnline, in which machine-mandalas and nude fakirs intermix with jungle leaves inside heavily tiled cosmic temples. They are more like diagnostic slices taken through a militarized imagination formed in the context of post-War Japan.

In some ways, in fact, I’m reminded of an interview with Paul Virilio—which I also read here at the CCA—published in AA Files a few years back. There, Virilio quips that “The Second World War was my university,” and he goes on to describe the various ways in which abandoned military fortifications and the total annihilation of once-thriving cities affected his ideas of what architecture should be.

Tsunehisa Kimura’s “visual scandals,” I’d suggest, bring together a similarly rogue education—star pupils in a university of war—with a Ballardian afterglow, a nuclear flash from the Pacific Rim, delivering images of cities that escaped erasure by American bombs only to be buried under electronic goods of Japan’s own making, sometimes literally faceless citizens staggering through landscapes no one ever thought the last century would bring.” – via
 
GoFuckYourself said:
Tsunehisa Kimura

“The artist—who passed away in 2008—was well-known for his startlingly realistic collages of urban scenes, often animated with a kind of end-of-the-world, scifi-inflected festivity. Impact craters in the centers of wrecked cities share chaotic page space with Dalí-esque visions of giant human breasts in the sky.

Waterfalls scour sublime new cliffsides from the architectural canyons of Manhattan; modern tower blocks pitch and yaw atop aircraft carriers at sea; battleship gun turrets are cloned and repeated into Baroque stupas—cathedrals of artillery—along the empty roads of agrarian landscapes. For my money, these latter structures outdo Hans Hollein’sAircraft Carrier City in Landscape, with which they nonetheless share a certain tectonic similarity.

Gunnery pagodas and blasted metropolitan cores meet surreal scenes of burning astronauts on the moon, while the neon lights of artificial volcanoes melt nameless city districts under radiative tides of surprise eruption. Apollo rockets are unearthed from Mesopotamian tombs in the shadow of Stone Age petroleum tanks. Tatlin’s Tower stands proud in a junkyard, stuffed full of broken TVs. The Woolworth Building wakes up to find itself at the bottom of a cave, and there are construction sites everywhere.

However, these are not the explicitly psychedelic photo-collages of someone like, say,James Koehnline, in which machine-mandalas and nude fakirs intermix with jungle leaves inside heavily tiled cosmic temples. They are more like diagnostic slices taken through a militarized imagination formed in the context of post-War Japan.

In some ways, in fact, I’m reminded of an interview with Paul Virilio—which I also read here at the CCA—published in AA Files a few years back. There, Virilio quips that “The Second World War was my university,” and he goes on to describe the various ways in which abandoned military fortifications and the total annihilation of once-thriving cities affected his ideas of what architecture should be.

Tsunehisa Kimura’s “visual scandals,” I’d suggest, bring together a similarly rogue education—star pupils in a university of war—with a Ballardian afterglow, a nuclear flash from the Pacific Rim, delivering images of cities that escaped erasure by American bombs only to be buried under electronic goods of Japan’s own making, sometimes literally faceless citizens staggering through landscapes no one ever thought the last century would bring.” – via
Click to expand...

Excellent, thank you so much for that ... I learned something today.
 
In mid-1679, out there somewhere in the waters of Lake Michigan, the first full-sized sailing ship to ever hit the waters of the Great Lakes vanished, taking with it every soul on board. The commander of the vessel — which had a carved griffin at its bow and was named the Griffin — was a Frenchman named Robert La Salle. He had wanted to take his 40-foot vessel from Green Bay to Niagara, so on September 18 of that year, he and a crew of six men fired a single cannon shot and set sail. It was “with a light and very favorable wind from the West,” a historical account says. “It has not been possible to ascertain since what course they steered.”

Read more here!
 
During WWII the US built almost 3,000 of these

jobrien.jpg



The legacy is the HMO and employer based health care.
 
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