polygonal rust

bassman5911:

Koryu Type-D Midgets.
The Koryu (Type D) Tei Gata was an improved version of the Type C midget. Type D’s were equipped with more powerful diesels and electric motors and could recharge their batteries faster. These changes again tripled their range. They were four feet longer, weighed 60 tons and could dive to 328 feet. The first Type D, HA-101, was completed in May ‘44 and accepted into service on 28 May 1945. By war’s end, 115 were completed and another 496 hulls were in various stages of construction. At least five Type D’s were lost in operations at Okinawa in March 1945.
(via FrigateRN)
bassman5911:

Koryu Type-D Midgets.
The Koryu (Type D) Tei Gata was an improved version of the Type C midget. Type D’s were equipped with more powerful diesels and electric motors and could recharge their batteries faster. These changes again tripled their range. They were four feet longer, weighed 60 tons and could dive to 328 feet. The first Type D, HA-101, was completed in May ‘44 and accepted into service on 28 May 1945. By war’s end, 115 were completed and another 496 hulls were in various stages of construction. At least five Type D’s were lost in operations at Okinawa in March 1945.
(via FrigateRN)
bassman5911:

Koryu Type-D Midgets.
The Koryu (Type D) Tei Gata was an improved version of the Type C midget. Type D’s were equipped with more powerful diesels and electric motors and could recharge their batteries faster. These changes again tripled their range. They were four feet longer, weighed 60 tons and could dive to 328 feet. The first Type D, HA-101, was completed in May ‘44 and accepted into service on 28 May 1945. By war’s end, 115 were completed and another 496 hulls were in various stages of construction. At least five Type D’s were lost in operations at Okinawa in March 1945.
(via FrigateRN)
bassman5911:

Koryu Type-D Midgets.
The Koryu (Type D) Tei Gata was an improved version of the Type C midget. Type D’s were equipped with more powerful diesels and electric motors and could recharge their batteries faster. These changes again tripled their range. They were four feet longer, weighed 60 tons and could dive to 328 feet. The first Type D, HA-101, was completed in May ‘44 and accepted into service on 28 May 1945. By war’s end, 115 were completed and another 496 hulls were in various stages of construction. At least five Type D’s were lost in operations at Okinawa in March 1945.
(via FrigateRN)
bassman5911:

Koryu Type-D Midgets.
The Koryu (Type D) Tei Gata was an improved version of the Type C midget. Type D’s were equipped with more powerful diesels and electric motors and could recharge their batteries faster. These changes again tripled their range. They were four feet longer, weighed 60 tons and could dive to 328 feet. The first Type D, HA-101, was completed in May ‘44 and accepted into service on 28 May 1945. By war’s end, 115 were completed and another 496 hulls were in various stages of construction. At least five Type D’s were lost in operations at Okinawa in March 1945.
(via FrigateRN)

bassman5911:

Koryu Type-D Midgets.

The Koryu (Type D) Tei Gata was an improved version of the Type C midget. Type D’s were equipped with more powerful diesels and electric motors and could recharge their batteries faster. These changes again tripled their range. They were four feet longer, weighed 60 tons and could dive to 328 feet. The first Type D, HA-101, was completed in May ‘44 and accepted into service on 28 May 1945. By war’s end, 115 were completed and another 496 hulls were in various stages of construction. At least five Type D’s were lost in operations at Okinawa in March 1945.

(via FrigateRN)


prostheticknowledge:

Flock
New Media art installation from 2011 by Bernd Oppl projects surreal gravity-defying activity in a convincing space (which is actually a rotating model) - video embedded below:


The view is directed to an interior. There is a window, a heater, stairs, which neither lead up- nor down - stairs. You watch a door, which sometimes opens and you notice the empty corners of the room. You don’t see any people. The room seems quiet and still there is movement. There are traces of action, as if the room possessed memory, as if it could remember the ones, which have been gone for a long time with their spirits still being present. Dark shadows, composed of countless pixels, accumulate in the corners, wipe along the walls, seem to escape through the stairs. These pictures are produced by a digital camera. The model of the described room is being rotated around the lens of the camera by a motor. A projector shows the miniaturised room in the size of a real room on a screen. The changing perspective of the camera changes the mood of the projection as well. The atmosphere might remind you of Alfred Hitchcock`s cinematographic panic-rooms. The scary effects in the work of Bernd Oppl focus on movement. Taking a look at the interior reveals a simple reason, watching the screen produ - ces a scary medial effect. Both realities, the virtual and the analog one, fall apart. The weirdness does not dissolve by recognizing the cause. The artist shows the digital translation, the medial leap from the animated model to the moving image and leaves the effect of uncertainness, the observer looses touch with reality. The eye of Bernd Oppl’s camera shows how far human experience stays away from technical perception – and the other way around. (Brigitte Felderer)

More about the work of Bernd can be found here
prostheticknowledge:

Flock
New Media art installation from 2011 by Bernd Oppl projects surreal gravity-defying activity in a convincing space (which is actually a rotating model) - video embedded below:


The view is directed to an interior. There is a window, a heater, stairs, which neither lead up- nor down - stairs. You watch a door, which sometimes opens and you notice the empty corners of the room. You don’t see any people. The room seems quiet and still there is movement. There are traces of action, as if the room possessed memory, as if it could remember the ones, which have been gone for a long time with their spirits still being present. Dark shadows, composed of countless pixels, accumulate in the corners, wipe along the walls, seem to escape through the stairs. These pictures are produced by a digital camera. The model of the described room is being rotated around the lens of the camera by a motor. A projector shows the miniaturised room in the size of a real room on a screen. The changing perspective of the camera changes the mood of the projection as well. The atmosphere might remind you of Alfred Hitchcock`s cinematographic panic-rooms. The scary effects in the work of Bernd Oppl focus on movement. Taking a look at the interior reveals a simple reason, watching the screen produ - ces a scary medial effect. Both realities, the virtual and the analog one, fall apart. The weirdness does not dissolve by recognizing the cause. The artist shows the digital translation, the medial leap from the animated model to the moving image and leaves the effect of uncertainness, the observer looses touch with reality. The eye of Bernd Oppl’s camera shows how far human experience stays away from technical perception – and the other way around. (Brigitte Felderer)

More about the work of Bernd can be found here

prostheticknowledge:

Flock

New Media art installation from 2011 by Bernd Oppl projects surreal gravity-defying activity in a convincing space (which is actually a rotating model) - video embedded below:

The view is directed to an interior. There is a window, a heater, stairs, which neither lead up- nor down - stairs. You watch a door, which sometimes opens and you notice the empty corners of the room. You don’t see any people. The room seems quiet and still there is movement. There are traces of action, as if the room possessed memory, as if it could remember the ones, which have been gone for a long time with their spirits still being present. Dark shadows, composed of countless pixels, accumulate in the corners, wipe along the walls, seem to escape through the stairs. These pictures are produced by a digital camera. The model of the described room is being rotated around the lens of the camera by a motor. A projector shows the miniaturised room in the size of a real room on a screen. The changing perspective of the camera changes the mood of the projection as well. The atmosphere might remind you of Alfred Hitchcock`s cinematographic panic-rooms. The scary effects in the work of Bernd Oppl focus on movement. Taking a look at the interior reveals a simple reason, watching the screen produ - ces a scary medial effect. Both realities, the virtual and the analog one, fall apart. The weirdness does not dissolve by recognizing the cause. The artist shows the digital translation, the medial leap from the animated model to the moving image and leaves the effect of uncertainness, the observer looses touch with reality. The eye of Bernd Oppl’s camera shows how far human experience stays away from technical perception – and the other way around. (Brigitte Felderer)

More about the work of Bernd can be found here

(Источник: vimeo.com)