[P585.Ebook] Free PDF Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner

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Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner

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Recording Conceptual Art features a highly provocative series of previously unpublished interviews conducted in early 1969 with some of the most dynamic, daring, and innovative artists of the tumultuous 1960s. The nine individuals—eight artists and one art dealer—are now known as major contributors to Conceptual art. These fascinating dialogues, conducted by Patricia Norvell, provide tantalizing moments of spontaneous philosophizing and brilliant insights, as well as moments of unabashed self-importance, with highly imaginative and colorful individuals.

• Sales Rank: #2119121 in Books
• Published on: 2001-02-15
• Original language: English
• Number of items: 1
• Dimensions: 10.03" h x .46" w x 7.01" l, 1.12 pounds
• Binding: Paperback
• 177 pages

Review
"For me, the beauty of these interchanges lies in their historical and philosophical innocence. In reading through them, we are back at a time-1969-when no one knew the future, even if, in a way, it was already present in Szeemann's exhibitions. The book is delicious for its purity, like water taken from somewhere deep in the earth, untouched by the modern world."--"Artforum

From the Inside Flap
"Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Steven Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times-so much has changed, so fast! One should be immensely grateful to Norvell for her undertaking and, paradoxically, for the long delay in the publication of these conversations: nothing could have better highlighted the candor and commitment of the artists who participated in this project than their willingness, long after the fact, to let their youthful voices be heard unedited. This is a precious document that casts a fresh light on the early history of Conceptual art, revealing all the doubts and uncertainties its practitioners had to overcome."—Yve-Alain Bois, Harvard University

"These interviews, full of the rich texture and confusion of an art movement at its inception, began as a "process piece" in mid-1969 when formalism still seemed worth defeating. The artists, tired of talking about turpentine, struggle to extend the rhetoric of form, and as they do so, reveal their roles as theorists and philosophers of a newly cerebral art, Conceptualism. Alberro's helpful introduction frames both Norvell's provocative questions and the surprising responses in a useful book that continues the process of historicizing 20th century art."—Caroline Jones, author of Machine in the Studio

"The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test-and occasionally to declaim, as the interviews demonstrate-ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener. She knew conceptualism well enough to keep the conversations honest, but not so well as to make the artists defensive and wary. The artists had things to say, and were not afraid to put themselves out on a limb."—John O'Brian, Professor of Art History, University of British Columbia

"A key document of the late 1960s avant-garde."—James Meyer, Emory University

"[This book is] a reminder that the project of Conceptual art and its artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."—Howard Singerman, author of Art Subjects

From the Back Cover
"Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Steven Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times-so much has changed, so fast! One should be immensely grateful to Norvell for her undertaking and, paradoxically, for the long delay in the publication of these conversations: nothing could have better highlighted the candor and commitment of the artists who participated in this project than their willingness, long after the fact, to let their youthful voices be heard unedited. This is a precious document that casts a fresh light on the early history of Conceptual art, revealing all the doubts and uncertainties its practitioners had to overcome."--Yve-Alain Bois, Harvard University

"These interviews, full of the rich texture and confusion of an art movement at its inception, began as a "process piece" in mid-1969 when formalism still seemed worth defeating. The artists, tired of talking about turpentine, struggle to extend the rhetoric of form, and as they do so, reveal their roles as theorists and philosophers of a newly cerebral art, Conceptualism. Alberro's helpful introduction frames both Norvell's provocative questions and the surprising responses in a useful book that continues the process of historicizing 20th century art."--Caroline Jones, author of "Machine in the Studio

"The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test-and occasionally todeclaim, as the interviews demonstrate-ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener. She knew conceptualism well enough to keep the conversations honest, but not so well as to make the artists defensive and wary. The artists had things to say, and were not afraid to put themselves out on a limb."--John O'Brian, Professor of Art History, University of British Columbia

"A key document of the late 1960s avant-garde."--James Meyer, Emory University

"[This book is] a reminder that the project of Conceptual art and its artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."--Howard Singerman, author of "Art Subjects"

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By nicolas carrasco diaz
just for the smithson interview this volume is important

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[N245.Ebook] Download PDF Made to Crave: Satisfying Your Deepest Desire with God, Not Food, by Lysa TerKeurst

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Craving isn’t a bad thing. Has food become more about frustration than fulfillment? Made to Crave is the missing link between a woman’s desire to be healthy and the spiritual empowerment necessary to make that happen. Author Lysa TerKeurst personally understands the battle that women face. In Made to Crave, she will help you: • Break the cycle of “I’ll start again on Monday,” and feel good about yourself today. • Stop agonizing over numbers on the scale and make peace with your body. • Replace rationalizations that lead to failure with wisdom that leads to victory. • Reach your healthy goals and grow closer to God through the process. This book is not a how-to manual or the latest, greatest dieting plan. Made to Crave is a helpful companion to use alongside whatever healthy eating approach you choose — an audiobook and Bible study to help you find the “want to” in how to make healthy lifestyle changes. “Lysa has struck a cord that will resonate with women everywhere. Very simply, we were made to crave . . . and that craving must be met by God alone. Read this book!” — Karen Kingsbury, America’s No. 1 inspirational novelist “Made to Crave may possibly be the most important book I’ve ever read on the matter of weight . . . and I’ve read A LOT! The world will never be at a loss for authors telling us what foods to eat, what foods to avoid, or how to exercise. Yet with all of this knowledge we are unhealthier than ever. Something is missing. And Lysa has tapped into the mystery that has plagued so many of us who battle with the bulge. If you are tired of the endless diet cycle, read Made to Crave. It will change your mind and then it will change your life.” — Mandisa

• Sales Rank: #89610 in Books
• Published on: 2014-05-06
• Formats: Audiobook, MP3 Audio, Unabridged
• Original language: English
• Number of items: 1
• Dimensions: 6.75" h x .50" w x 5.25" l,
• Running time: 6 Hours
• Binding: MP3 CD

From the Back Cover
Made to Crave is the missing link between a woman's desire to be healthy and the spiritual empowerment necessary to make that happen. The reality is we were made to crave. Craving isn't a bad thing. But we must realize God created us to crave more of him. Many of us have misplaced that craving by overindulging in physical pleasures instead of lasting spiritual satisfaction. If you are struggling with unhealthy eating habits, you can break the 'I'll start again Monday' cycle, and start feeling good about yourself today. Learn to stop beating yourself up over the numbers on the scale. Discover that your weight loss struggle isn't a curse but rather a blessing in the making, and replace justifications that lead to diet failure with empowering go-to scripts that lead to victory. You can reach your healthy weight goal -- and grow closer to God in the process. This is not a how-to book. This is not the latest and greatest dieting plan. This book is the necessary companion for you to use alongside whatever healthy lifestyle plan you choose. This is a book and Bible study to help you find the 'want to' in making healthy lifestyle choices.

About the Author
Lysa TerKeurst is a bestselling author and national speaker who helps everyday women live an adventure of faith. She is the president of Proverbs 31 Ministries, author of 14 books, and encourages nearly 400,000 women worldwide through a daily online devotional. Her remarkable life story has captured audiences across America, including appearances on Oprah and Good Morning America. She lives in North Carolina with her husband and five children.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Full of encouragement, grace and humor
By 4kidmama
Lysa's discussion about focusing our lives on Jesus and allowing him to fill the need we have with his presence instead of food offers encouragement and grace for this life. She reframes many of our perspectives on food, dieting, and healthy choices by pointing to scripture and being hilarious. I would highly recommend this book to anyone looking for extra help on the path of getting healthy and changing their way of viewing food related struggles.

19 of 20 people found the following review helpful.
This was a good book but I will also recomend two other books to you
By EID
I love the author's blog and her writting style ministers to me in an amazing way and this is a good book to read if you struggle with food issues but I suggest yo read Thin Within by Judy Halladay and Arthur Halladay or The Eden Diet by Rita Hancock before you read Made to Crave. Lysa isn't very clear about how to have a better relationship with food and she doesn't give you any suggestions about what approach to take to get better in this area. Basically she just says that you should use the bible to fight the temptation of eating unhelthy foods. If you read the two books I have suggested you will see how to make your relationship with God stronger and also deal with food issues. I do love that she puts all the Bible verses she uses in the book at the end listed by chapter title so that you can refer to them when you need them. This is a very good book and it ministered to me a lot but If I had not read the other two books first I don't think I would have gotten much out of it because she was very vauge and didn't give a specific aproiach to follow.

11 of 12 people found the following review helpful.
Didn't care for the author. Look past that, decent study...
By Ang
It wasn't so much the study as just how annoying the author was. She took way too many liberties with scripture. I see why she is popular. Twists the Word to fit her needs - seems to be what society likes. The overall study was thought provoking.

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Made to Crave: Satisfying Your Deepest Desire with God, Not Food, by Lysa TerKeurst PDF
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[A621.Ebook] PDF Ebook Star Trek: Klingon Bird-of-Prey Haynes Manual, by Ben Robinson, Rick Sternbach

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An all-new Star Trek technical manual of the legendary Klingon Bird of Prey, presented in the world-renowned Haynes Manual format!

The Bird-of-Prey is the classic Klingon starship—a tough raiding and scouting vessel that has served at the heart of the Klingon Defense Force for more than a hundred years. Life on board is harsh and brutal, with any sign of weakness leading to a challenge to the death. The ship itself is stripped back and lean, with everything designed for a single purpose—war.

This Haynes Manual traces the origins of a Bird-of-Prey from the moment it is commissioned by one of the Great Houses and constructed at the shipyards of the Klingon Naval Academy. It then proceeds to examine General Martok’s famous ship the I.K.S. Rotarran in unprecedented detail.

Featuring a stunning cutaway drawing and, for the first time ever, detailed deck plans and incredible new computer-generated artwork, the Haynes Bird-of-Prey Manual is a technical tour of the ship’s systems, from the bridge and engineering rooms to the disruptors, torpedo launcher, and the all-important cloaking device. In addition, the Manual provides a unique insight into life on board a Klingon ship and the Rotarran’s glorious history in the Dominion War.

This Haynes Manual is fully authorized by CBS. All the new artwork has been designed by STAR TREK: THE NEXT GENERATION and STAR TREK: VOYAGER’s senior illustrator Rick Sternbach, who is the world’s leading expert on STAR TREK technology, with CG renders produced by STAR TREK VFX artist Adam ‘Mojo’ Lebowitz.

• Sales Rank: #122346 in Books
• Brand: Pocket Books
• Published on: 2012-11-06
• Released on: 2012-11-06
• Original language: English
• Number of items: 1
• Dimensions: 10.88" h x .70" w x 8.37" l, 1.40 pounds
• Binding: Hardcover
• 128 pages

About the Author

Rick Sternbach is a Hugo and Emmy Award-winning visual artist with extensive film and television experience. Famous for his work on Star Trek, he has been responsible for a number of starship designs. He co-wrote the Star Trek: The Next Generation Technical Manual and the Deep Space Nine Technical Manual.

Ben Robinson worked on The Official Star Trek Fact Files, the most extensive source of Star Trek information ever published. He was also the lead author on the U.S.S. Enterprise Haynes Manual.

Excerpt. � Reprinted by permission. All rights reserved.


COMMISSIONING A BIRD-OF-PREY

The Bird-of-Prey is the classic Klingon starship. It is a fast and deadly scouting and raiding ship that has been at the heart of the Klingon Defense Force for centuries. The first examples even pre-date Klingon spaceflight. Small fighters with the same basic layout have been in use since early planetary conflicts. That design has been modified over the centuries, first to incorporate impulse engines, then warp engines. Even fundamental changes to the science have been incorporated into the same basic spaceframe. The Klingons have simply seen no need to change something that they believe is fundamentally correct.

By the late 2370s, the design of the Bird-of-Prey had been settled for over a century, but ships were produced at a variety of scales from vast K’vort-class battlecruisers to tiny scouting vessels. The archetypal version of the ship is the B’rel-class, a 139-meter long ship with seven decks and a crew of 36. The internal layout and even weaponry vary from ship to ship, but they are all capable of high warp speeds, and fitted with a cloaking device. To many Klingon minds it is the perfect fighting vessel—as fast, tough and deadly as its crew.

When the semi-mythical Klingon leader Kahless united the Klingon people over a thousand years ago, he established the great Klingon Military Academies, which are operated under the control of the High Council rather than by the individual Great Houses. The most famous of these are the Training Academy at Ogat and the Klingon Naval Academy on Dek’Go’Kor. The Klingon Naval Academy is responsible for the principal design and mass production of ships.

The Academy has far greater resources than even the most powerful of the Great Houses and has the remit of concentrating on large-scale technological developments in areas such as warp and impulse dynamics, and the fundamentals of spaceframe design. The Houses are then left to concentrate on the details of how the ships are fitted out and are much more likely to improve the design of weapons and shielding as they seek to find even the smallest advantage in combat.

Klingon design philosophy has always centered on tried-and-tested methods and places great importance on the ability to mass-produce ships at great speed. As such, it has concentrated on a handful of basic designs, which form the backbone of the Klingon fleet, the Bird-of-Prey and the battle cruiser being the most common. The modular design means that the maximum number of ships can be produced at the fastest possible rate.

Wherever possible, the same structural elements are scaled up or down to produce ships of different sizes. The Klingons are reluctant to make major structural changes to their starship designs, preferring to concentrate on improving the individual systems. As a result, Birds-of-Prey vary enormously in size from tiny B’rel-class scouting ships to vast K’vort-class cruisers. The larger of these ships are literally scaled up versions of the basic design even down to the size of the disruptor cannons, which become enormous units that are almost as long as the smallest ships.

DORSAL VIEW

1 Defensive Shield Plating

2 Cloaking Field Emitter

3 Deck 4 Entry/Escape Hatch

4 Subspace Communications Antenna

5 Space Environment Sensor Group

6 Tactical Command Transceiver

7 Atmospheric Flight Flow Sensor

8 Deck 3 Cargo Bay External Access

9 Deck 3 Access Hatch

10 Deck 1 & 2 Dorsal Blister

11 Upper Wing Hinge Plates

12 Lower Wing Hinge Plates

13 Warp Field External Shaping Plates

14 Reaction Control System Thrusters

15 Warp Wing Induction Energy Storage

16 Warp System External Resupply Connections

17 Dorsal Aft Impulse Engines

All the Great Houses in the Empire pledge their loyalty—and their ships—to the High Chancellor.

Of course, this approach means that Klingon ship design is rarely as innovative as that used by other groups such as the Federation and although there have been advances in warp and weapons technology, anyone looking at a Bird-of-Prey from the 2370s would instantly recognize it as being the same as models that were in use well over a century earlier.

For hundreds of years the Bird-of-Prey has been designed for warp flight, for sublight travel within a planetary system, and to enter a planet’s atmosphere, where it is highly maneuverable and can land on the surface. All Birds-of-Prey are heavily armed and heavily armored, follow the same basic layout, and are fitted with a cloaking device that can render them invisible to sensors, but beyond this there are significant differences between each ship.

There is no central authority that dictates how a Klingon starship should be fitted out. Although almost all Klingon ships operate as part of the Klingon Defense Force, they are not commissioned or even operated by a central body in the way that ships are in the Federation or the Romulan Empire. Klingon society operates on feudal lines, with individuals and families pledging their allegiance to Houses, the greatest of which come together to form the Klingon High Council, which is led by the High Chancellor. It is these Houses that are responsible for commissioning ships.

VENTRAL VIEW

1 Central Navigational Deflector

2 Photon Torpedo Launcher

3 Emergency Subspace Buoys

4 Central Computer Core

5 Ventral Sensor Cap

6 Plasma Power Conduit

7 Forward Impulse Engine

8 Active/Passive Targeting Sensors

9 Port Warp Wing

10 Wingtip Disruptor

11 Secondary Disruptor Cannons

12 Primary Disruptor Cannon

13 Warp Field External Shaping Plates

14 Warp Wing Structural Reinforcements

15 Ventral Aft Impulse Engines

16 Deck 7 Loading Ramp

17 Tractor Beam Emitter

Kruge’s Bird-of-Prey decloaking before its encounter with the tiny Merchantman.

This means that individual Birds-of-Prey are fitted out very differently depending on the resources and personal preferences of the House that commissions them. One House may prefer speed and maneuverability over pure power; another may choose to fit its ships with phasers rather than disruptors. There are potentiality as many permutations as there are Klingon ships. It is a well-known saying that no two weapons are the same. This variety has proved a great strength in battle; for example, during the Dominion War one Klingon Bird-of-Prey, the Ki’tang, proved to be immune to the devastating Breen energy dampening weapon because it used a different tritium intermix to the other ships in the fleet.

Despite this enormous diversity in the way Klingon ships are equipped, the fundamental structure of the spaceframe is the same for almost every one and all Birds-of-Prey, whether they are raiders or cruisers, have the same basic layout with the bridge in the section at the head, above the photon torpedo launcher, and the impulse and warp engineering sections at the rear between the wings, which generate the warp fields. The disruptor cannons are always at the tips of the wings, and the bottom of the ship always features a landing ramp that can be extended to the ground.

When a House is ready to commission a ship, it contacts the Naval Academy shipyards and arranges payment. The shipyards then assign a renwl’, or architect, to the project and he meets with the representatives of the House to discuss the exact fit and specifications of the ship. The standard Bird-of -Prey is the 139-meter B’rel-class scout. This is the starting point for every version of the ship and is by far the most common. When a Bird-of-Prey is scaled up, the basic vehicle spaceframe remains proportionally the same, with extra decks being added as the ship increases in size.

FORE VIEW

AFT VIEW

1 Defensive Shield Plating

2 Central Navigational Deflector

3 Photon Torpedo Launcher

4 Cloaking Field Emitter

5 Subspace Communications Antenna

6 Active/Passive Targeting Sensors

7 Warp Wing

8 Reaction Control System Thrusters

9 Deck 1 & 2 Dorsal Blister

10 Lower Wing Hinge Plates

11 Short Range Sensors

12 Disruptor Cannon Structural Extension

13 Wingtip Disruptor

14 Secondary Disruptor Cannons

15 Primary Disruptor Cannon

16 Upper Wing Hinge Plates

17 Warp Wing Induction Energy Storage

18 Warp Wing Structural Reinforcements

19 Dorsal Aft Impulse Engines

20 Ventral Aft Impulse Engines

21 Deck 7 Loading Ramp

The Bird-of-Prey is one of the most common ships in the Klingon fleet and is the ideal scouting and raiding vessel.

However, most Klingon commanders are happy with the standard sized ship. The disagreements tend to come when the shipyard has to fit the engines and weapon systems. Not all Klingons appreciate the compromises that are needed to produce an effective ship and there are stories of Klingon Houses insisting on overpowered engines and dangerously over-specced disruptors. The renwl’ has a duty to reign in these excesses and to produce a good fighting ship. It is not unheard of for these disagreements to end in violence and accordingly the architects are among the most physically impressive and skilled non-warriors in the Klingon Empire. It is a position of great honor since it is one of the rare roles that allows a common civilian to tell a noble warrior that he is wrong.

STARBOARD VIEW

1 Cloaking Field Emitter

2 Central Navigational Deflector

3 Defensive Shield Plating

4 Space Environment Sensor Group

5 Ventral Sensor Cap

6 Central Computer Core

7 Plasma Power Conduit

8 Atmospheric Flight Flow Sensor

9 Short Range Sensors

10 Lower Wing Hinge Plates

11 Upper Wing Hinge Plates

12 Warp Wing Induction Energy Storage

13 Reaction Control System Thrusters

14 Warp Field External Shaping Plates

15 Disruptor Cannon Structural Extension

16 Wingtip Disruptor

17 Secondary Disruptor Cannons

18 Primary Disruptor Cannon

Klingon Birds-of-Prey fought on both sides of the Klingon civil war that followed K’mpec’s death and captains such as Kurn became important men.

The internal layout of a Bird-of-Prey can vary enormously from ship to ship. Commander Kruge favoured an unusual design of bridge that put him on a raised platform.

The wiser houses understand exactly what it takes to make a good fighting ship, which, according to the Klingon bards, should be like a finely balanced blade, quick to respond to the hand but heavy and sharp enough to cut deep. As a result there is such a thing as a classic Bird-of-Prey and any differences normally relate to the internal layout, the kind of torpedoes carried and the precise balance between maneuverability and power.

One of the defining characteristics of the Bird-of-Prey’s design is the Klingons’ devotion to multiple redundancies. All the ship’s important systems operate in pairs—or multiples—of interconnected systems. Thus there are twin warp cores, and 12 impulse engines that produce forward propulsion (a further pair of impulse engines produces downward ‘thrust’). Even the EPS (electroplasma) conduits that distribute power around the ship operate in branching pairs.

If one of the systems is completely knocked out there is another to take over its duties, but this isn’t simply a case of one system coming into play when another fails; the systems on a Bird-of-Prey are interconnected and permanently operating. This means that if one of the warp cores isn’t functioning at full capacity, the other one can take on a portion of its load to compensate. The Klingons have taken the system even further so the impulse and warp engines are tied into one another and can supplement each other if one of them is severely damaged.

By designing their ships this way, the Klingons are following the nature of their own bodies, which have a similar form of redundancy known as brak’lul. For example, the Klingon body has 23 ribs (double the number found on a human being), two livers, and an eight-chambered rather than four-chambered heart.

In many ways this system of multiple redundancies could be seen as wasteful. In some cases it means forcing barely compatible systems to work together in ways that other cultures wouldn’t even attempt, but it also makes Klingon ships remarkably tough and as a consequence they can withstand more damage than almost any comparable vessel.

The biggest differences between individual Birds-of-Prey are often seen in the internal layout. The interior bulkheads are designed to be repositionable, so that a commander can choose how the internal volume is divided. A B’rel-class ship is actually surprisingly spacious for the standard crew of 36, but in some cases commanders still insist on making their crews share quarters and devoting disproportionately large areas to cargo. Even after the ship has been commissioned the bulkheads can be moved around easily, converting a raiding ship into a troop transporter that is suitable for delivering warriors to the front line of a ground-based battle.

Whereas the outside of a Bird-of-Prey rarely varies, the design of the bridges can be as different as the men who command them. Some versions are dominated by throne-like command chairs on raised platforms with the other bridge officers seated in a well around the edge of the room; others use a periscope-like device that descends from the deck above and allows the commander to target the weapons personally. The most common version places the commander in the center of the room, with the helm and navigation stations directly in front of him, his first officer behind him and other bridge stations around the perimeter of the room.

Kruge’s Bird-of-Prey confronts the Constitution-class U.S.S. Enterprise in orbit around the Genesis planet.

B’REL VERSUS K’VORT-CLASS



Some Birds-of-Prey have featured a periscope-iike device that the captain uses to target the weapons.

Once a Bird-of-Prey is completed it is delivered to the House that commissioned it, and under Klingon tradition, instantly pledged to serve in the Klingon Defense Force. Klingon Houses vary enormously in size. The most powerful Houses consist of thousands of men, and may control hundreds of ships. For example, in the early 23rd century the House of Jarod controlled over 250 ships. At the opposite end of the scale a smaller House might control just a single ship.

Following Kahless’s reforms, the Houses all agreed to send their men and ships to serve in the Klingon Defense Force. The administration of this is controlled by the High Council and the major appointments are made by the High Chancellor himself. In theory, the Houses only hold their possessions with the consent of the High Chancellor, who can revoke their privileges and take control of their ships and lands. However, the Chancellor is rarely in a position to do this, and depends on the support of the more powerful houses. As a result, senior appointments can depend as much on family connections as on personal excellence.

In the centuries after Kahless, the Great Houses all pledged their allegiance to an Emperor, but in practice individual captains and the leaders of the Houses formed an often uneasy alliance that kept the Empire together. Little has changed in the last thousand years and as such the captain of a Klingon ship has very real political power.

The leader of a Great House appoints the captain and crew of each ship, and their first loyalty is almost always to him before the Emperor or the High Chancellor. In times of conflict it is not uncommon for the Houses to form power blocks that are opposed to the High Chancellor or one another. It is less common, but not unheard of, for the captains of individual ships to disobey orders given by the leader of their House and choose their own side in a conflict.

The individual Houses also have their own facilities for developing new weapons, and as soon as cloaking technology was acquired several of the more powerful Houses started looking for ways to overcome its limitations. Scientists from the House of Chang managed to develop the device to a point where ships could actually fire while cloaked. Because of the way Klingon society operates, this technology was not shared with the other Houses or the Klingon Defense Force. Chang preferred to keep the technology to himself and to use it in a bid for power.

In the 2290s General Chang used a prototype Bird-of-Prey with an advanced cloaking device to disrupt peace negotiations with the Federation.


CLOAKING DEVICE HISTORY

All Birds-of-Prey are fitted with a cloaking device that renders the ship invisible to both the naked eye and almost all forms of sensor. The Klingons first acquired cloaking technology in 2268 during a brief alliance with the Romulan Star Empire and since then it has become a standard feature on all Klingon ships. Over the years, it has been continually upgraded but, apart from a few brief periods, has always had some important limitations: a cloaked ship cannot communicate with anyone else or fire any kind of weapon. The cloak works by generating a quantum phase bubble around the ship that instantaneously teleports EM radiation to the other side of the cloaked area.

The Klingons had been interested in cloaking technology since their first encounters with the Romulans in the 22nd century, but Klingon scientists had never been able to develop an effective version of their own. By the mid-2260s both the Klingon and Romulan empires had become concerned about the expansion of the United Federation of Planets, which was growing at the fastest rate in its history. The Federation, which had been at war with both empires, was gaining new members and resources at a phenomenal rate. Although the Romulans and Klingons were extremely suspicious of one another it was clear to them that they were in danger of being marginalized.

The Romulans had emerged from isolation in 2266 and tried the Federation’s defenses with a new generation of cloaked ship. Although the cloaking technology appeared promising, the ship failed to return, leading many in the Romulan military to feel that it was underpowered. In particular they were concerned that Federation ships had greater firepower, better defenses and could achieve higher speeds.

The following year the Klingons launched an all-out war against the Federation, but were halted by an extremely powerful species, called the Organians, who imposed a peace treaty on them. To many Klingons the Organian peace treaty seemed to favor the Federation, since it set up a system where the control of unaligned worlds was determined by the economic rather than military benefits either power could offer. The Klingons were concerned that the Federation was acquiring valuable resources that would leave them much better equipped for war.

In late 2267, a Romulan delegation approached the Klingon Empire, offering them access to cloaking and computer technology in return for starship designs and disruptor technology. Many members of the Klingon High Council were suspicious of the Romulans’ motives, but the lure of cloaking technology proved too great and by early 2268 the Romulan Senate and the Klingon High Council had signed a treaty that provided for a limited exchange of technology and offered guarantees about encroaching into one another’s space.

The first D7-class Klingon cruisers were delivered to the Romulans within a matter of months, while the Romulans handed over four working cloaking devices. The cloaking devices required a certain amount of modification before they could work with the Klingon ships—in particular the Klingon warp engines had to be realigned to reduce their radiation emissions, and top speeds had to be cut to avoid detection. The cloaking devices also required constant monitoring. Only a handful of engineers in the Imperial Fleet understood how to operate them and Klingon captains had little idea of how to adjust their tactics.

The Federation was so alarmed by this development that they risked a major diplomatic incident by breaching the Romulan Neutral Zone and stealing a cloaking device from one of the newly supplied D7 battle cruisers. The Klingons proved that Starfleet’s concern was justified the following year, when the Klingon commanders Kor and Kang took two cloaked divisions of D5 battle cruisers to launch a surprise attack on Caleb IV. The attack was devastating and became known as a famous victory.

However, even at this early stage the Romulan-Klingon alliance was showing signs of stress. Despite the assurances given in the treaty, the Romulans took advantage of their new battle cruiser technology to annex several disputed worlds along the Klingon-Romulan border. The Klingons retaliated and within a matter of months the treaty was in tatters.

The Klingons first acquired cloaking technology in 2268 as part of a technology exchange with the Romulans. In return the Romulans gained access to the designs for Klingon battle cruisers.

The cloaking device normally prevents a cloaked ship from firing its weapons. This limitation was briefly overcome by General Chang in the early 2290s who developed a Bird-of-Prey that could fire torpedoes while cloaked.

Meanwhile, the Federation appeared to be developing new countermeasures against the cloaking device. The balance of power had shifted, and although hostilities continued, the Klingons drew back from all-out war. They took advantage of the situation to roll out the technology to the entire Imperial Fleet, in a massive program that saw every ship from the tiniest scout to the largest warship fitted with a cloaking device.

The Great Houses set their scientists to improving the cloak and overcoming its limitations, which prevented a cloaked ship from firing any kind of weaponry. By 2292 the House of Chang had developed a prototype Bird-of-Prey that could fire while cloaked. This relied on a special modification that allowed photon torpedoes to be fired through the cloaking field. Since the prototype was destroyed and Chang did not make the technology available to the Klingon Defense Force, it is not absolutely clear how the modification worked. It is thought to have involved an active, energized surface material that was built into the torpedo housings. This meant that the torpedoes could pass through the cloaking field without being affected by the spatial distortion. The modifications reduced the overall effectiveness of the cloak, and exposed the General’s vessel to repeated—and fatal—return fire from Starfleet’s Enterprise and Excelsior starships.

After the 2270s the Klingons and Romulans did not share cloaking technology until the Dominion War and as a result the approaches have diverged slightly. The Romulans in particular have experimented with methods of moving an entire ship out of phase with the normal universe, not only making it undetectable but potentially immune to weapons fire. The Klingons have concentrated on methods of firing while cloaked. To date neither of these approaches have met with lasting success.

The Dominion War posed such a great threat that the Klingons and the Romulans eventually allowed a modification of their treaties with the Federation so that the U.S.S. Defiant could be equipped with a cloaking device. Klingon scientists had to redouble their efforts to improve the cloaking device after it emerged that the Dominion could detect cloaked ships. The cloak remains a vital asset for the Klingon Empire, despite its controversial history connected with the Romulans, and it is now impossible to imagine a Bird-of-Prey that cannot conceal itself from its enemies.

During the Dominion War the Klingon Empire modified its treaties with the Federation to allow the Federation to equip one of its warships, the U.S.S. Defiant, with a Romulan cloaking device.


WING POSITIONS

The warp wings on the Bird-of-Prey are variable geometry, which means they have the capability of altering their angle for three distinct flight modes: Flight, in which the wings are held out roughly horizontal to the ship; Attack, where the wings are dropped to a 45-degree angle bellow the ship; and Landing, where the wings are swept up keeping them free of the ground. Each of these three positions has distinct advantages and alters the way the wings function, and the position is determined by either internal hardware configurations or external conditions, with movements achieved by a redundant series of heavy-duty electromechanical actuators.

The wings are each attached to the hull structure by way of a substantial hinge assembly 1.74 meters in diameter outboard of Deck 5. Six identical pairs of rotational mounts are gamma welded to each side of the aft hull and to each wing box in a microgravity assembly fixture. The fixture is equipped with 235 precision optical and magnetic sensor guides to align the hinge sections to accept the tempered duranium center cylinder.

Six pairs of actuator motors and multiple position and torsion sensors are integrated within the rotational joints. When the wings are moved, the actuators are controlled by the central computer according to the ship’s real-time flight mode, or commanded by the helm officer within the flight safety limits perceived by the navigational system. Normal motion rates are kept to within 5–8 degrees per second while in space, though emergency motor power can be applied to move though 14 degrees per second. Power for the actuators comes from three pairs of medium step-down plasma nodes.

In the flight position the wings take on the role that is served by warp nacelles on most other vessels, with superheated plasma energizing warp coils to create a warp field around the ship. When the Bird-of-Prey is in this mode the wings are generally level with the horizontal plane of the ship and with each other. Standard warp flight for the Bird-of-Prey involves energy fields that move the vessel most efficiently when they are coplanar, emanating from the warp plates vertically and aft and interacting only minimally above or below the ship.

The transverse plasma conduit connecting the warp reactors to the wings on Deck 5 incorporates a rotating joint, which is fully open in the cruise configuration. This allows for the most speed and faster-than-light (FTL) maneuvering options in transport or battle situations.

Attack maneuvers with the disruptors powered up require the wings to transition to the dropped position, at least 43 degrees away from horizontal. This transition can occur while the ship is slowing from warp to sublight, and in fact the lowered wings can facilitate the bleed-off of warp field energy. This procedure is sometimes used as a braking tactic to allow a Bird-of-Prey to switch from being pursued to becoming the pursuer. The dropped wings create a constriction in the warp plasma conduit necessary for the disruptors to pressurize properly and form plasma bolts dense enough to inflict major damage.

Disruptor bolts can be fired at more flattened angles, though the energy contained in each bolt will be diminished. In some cases, this may be enough to disable an enemy vessel, especially if boarding and not immediate destruction is the objective. The attack position has the added benefit of protecting the lower decks in the aft hull, where the warp cores are situated, plus the ship’s neck structure from certain angles. While the defensive shield grid and armor plating remain the primary lines of defense, the wings can shadow the ship from incoming energy weapons fire or projectile weapon detonation.

Landing position elevates the wings to approximately 40 degrees above the plane of the hinge. This procedure lifts the wingtip disruptors safely above ground level and minimizes hardware impacts with support crews and maintenance equipment. It also helps to center the wing mass over the deployed landing gear. The wingtip separation distance is decreased, allowing for touchdowns in areas that might be slightly less open than at dedicated bases. Once on the ground, the wings can be lowered for repair work or routine checks.

Structural rigidity at each flight position is enhanced by two distinctive sets of interleaved hinge plates on each side of the ship. The upper halves are attached to the hull, the lower halves to the warp wing box. The plates, fabricated from duranium titanide, are allowed to slide past each other until exposed to a modified tractor field, which causes them to grab and lock. The locked plates are particularly helpful during planetary landings and takeoffs where the wings need to be supported against gravity, even with the help of the mass-lightening impulse engines.

Most helpful customer reviews

35 of 35 people found the following review helpful.
Qapla'!
By C. J. Petrosky
So I recently acquired a used Class G12 Bird of Prey and I discovered that the warranty work was never performed on the Plasma Coils. Unfortunately the recall campaign has since expired and that would've left me with the defective coils which are susceptible to low level iconic pulses. I really didn't care to have my cloaking device activated by my enemies so I bought this Haynes manual. It's got all the info needed to replace the Plasma Coils with the latest revision and covers many other topics as well! Qapla'!

0 of 0 people found the following review helpful.
Excellent and detailed guide to the Klingon Bird of Prey
By Daniel J. Mello
Excellent and detailed guide to the Klingon Bird of Prey. It covers the ship extensively and exhaustively. For those who like to know where every bathroom is placed, every transporter pad and how they are supposed to function as a unit with all the other subsystems this book is a must have. For die-hard Star Trek fans this is a must have book. I found it engaging full of the charts and maps I wanted and very detailed.

0 of 0 people found the following review helpful.
but Its a great addition to my gowing collection of silly Haynes
By Jason Kaechler
Its not exactly a suspeseful page turner of a novel, but Its a great addition to my gowing collection of silly Haynes manuals

See all 81 customer reviews...

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Contents
Chapter One: Moving Forward Spiritually
Chapter Two: How to Cope With the Ascension Process
Chapter Three: Elimination of Barriers
Chapter Four: Clearing Your Living Space
Chapter Five: Spiritual Protection
Chapter Six: Violet Fire
Chapter Seven: Spiritual Power Tools
Chapter Eight: Spiritual Ecology
Chapter Nine: Divine Guidance
Chapter Ten: The Empowerment of Meditation
Chapter Eleven: Toward Energy Mastery
Chapter Twelve: Energy Matrix of Chakras
Chapter Thirteen: Awakening Divine Blueprint
Chapter Fourteen: Spiritual Growth Exercises
Chapter Fifteen: Earth Healings

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• Published on: 2016-02-16
• Released on: 2016-02-16
• Format: Kindle eBook

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"Diana's latest self-help book, Spiritual Balancing, is packed with relevant spiritual tools and tips for dealing with the new energies hitting Earth. I found myself learning so much new information that my head was spinning with all the possibilities ahead!"
—Nora Caron, author of Journey to the Heart, New Dimensions of Being, and Jaguar Dreams

"Diana has put together a concise and illuminated compendium of wisdom for today's seekers."
—Patricia Cori, author of the Sirian Revelations�trilogy

About the Author
Diana Burney, author of Spiritual Clearings: Sacred Practices to Release Negative Energy and Harmonize Your Life, is a registered nurse, certified hypnotherapist, and ordained minister of the Order of Melchizedek from the Sanctuary of the Beloved in Conesus, New York. She is also a certified Reiki Master/Teacher as well as a Magnified Healing Practitioner. With over forty years' experience in management, counseling, marketing, and education, Burney has developed successful private counseling practices in four states. She has performed thousands of clearings for properties, individuals, and animals in every state in the US and over 90 foreign countries.

Most helpful customer reviews

1 of 1 people found the following review helpful.
I believe it is the greatest question you may ever ask yourself
By Amazon Customer
This book almost comes to life in the form of a spiritual fairy Godmother with encyclopedic insider information on life. It covers everything from eating the rainbow for nutritional health and clearing our living space for positive energy flow, to releasing limitations and accessing our divine blueprint. What is my divine blueprint? I believe it is the greatest question you may ever ask yourself.

“Each of us is a unique piece of a huge jigsaw puzzle. No two pieces are alike, and each is integral to the whole picture”. Diana Burney

It is a book that, like a loving guide, cares for us heart, mind, body and soul. We don’t always hear/listen to our guides but having access to such a reliable and steadfast reference book provides tremendous comfort and effective techniques at our finger tips, which can be put to work right away.

Reading Spiritual Balancing taught me to relax enough about the process of life so that I could release my need for control and start to listen to my own guidance. It helped me gain a level of clarity whereby I could finally figure out what I should be doing with my life instead of giving in to my fears. I used the prayer for “aligning with our divine blueprint” on a daily basis, which asks that “my piece in the divine plan clearly be revealed to me NOW. “ The techniques in the book appear so simplistic that it seems there is no way they could ever work because we were raised to believe success required hard labor and sacrifice. However, the beauty of these techniques lies in their simplicity. The simplicity is what makes them effective. There is no padding. Diana’s message is to communicate the truth with love.

When life gets hectic I always resort to this amazing guidance book. I will use the teachings in this book for years to come for my personal and spiritual growth, and share it with all those who need it.

1 of 1 people found the following review helpful.
interwoven with beautiful prayers and meditations
By Patricia Diefenbach
Diana Burney has created a true masterpiece of New Age literature. Spiritual Balancing is an indispensable resource written in a style that appeals to all readers. Whether you are embarking on a personal spiritual journey or seeking new ways to walk the path of Light and Truth, this book will serve you as a precious and timely guide. Diana Burney powerfully explains the impact of energies that surround us all and what steps we can take to balance, empower and protect ourselves in the physical and spiritual realms. She guides her readers through a journey of inner strength and awakening. Spiritual Balancing provides countless techniques of energetic, vibrational and spiritual protection, interwoven with beautiful prayers and meditations. Diana teaches us how to release negative thinking, discordant energies and how to master the art of achieving positive lifetime vibrations. Diana reveals the secret to creating a balanced spiritual lifestyle that is unique to every reader. This book is a profound resource and companion that will help you to discover the source of wisdom, guidance and truth in the journey and Ascension to the New Earth. Spiritual Balancing is a complete gem and must-read for all seeking to emanate and radiate their Truth and Light for the world.

1 of 1 people found the following review helpful.
An Excellent Guidbook for Spiriual Living
By Rev. M.L.
This book is billed as a "guidebook for living in the light". How true! It appeals to and reaches readers at all levels of experience with spirituality. There is a vast amount of practical and useful information...and clear-cut guidance regarding specific techniques and practices for daily use and specific needs.
As an experienced practitioner and teacher I was impressed with the depth and breadth of this book. Certainly the author has a vast array of personal development experiences...the material comes from her heart and her mind as well as ancient wisdom and mind/body research. I have used sections for my classes and referred clients to the book.

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[S436.Ebook] Free PDF Soft & Sweet Baby Afghans (Leisure Arts #3257), by Kay Meadors, Leisure Arts

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Treat a lucky little one to seven snuggle-soft knitted afghans! These comfy throws are knit with two strands of sport weight yarn for maximum warmth. The pastel colors are almost as sweet as Baby, and the fun pattern stitches make knitting a pleasure!

• Sales Rank: #1718695 in Books
• Published on: 2001-06-01
• Original language: English
• Number of items: 1
• Dimensions: 11.75" h x 11.75" w x 8.75" l, .15 pounds
• Binding: Paperback
• 12 pages

About the Author
Leisure Arts is a leading publisher and distributor of “how-to” and lifestyle publications with emphasis on creative crafts, needlework, decorating, and entertaining.� Leisure Arts is located in Little Rock, AR.

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0 of 0 people found the following review helpful.
These are KNIT patterns
By Elizabeth A. Reed
I am not sure how I missed that this is a book for KNITTERS. I had been searching for crocheting patterns and this came up with a by this with the book you are looking at and save money. Just be warned that AMAZON is mixing knitting and crocheting books together. It wouldn't be so bad but I can't KNIT

0 of 0 people found the following review helpful.
Nice Collection
By SharN
All very pretty and each one different so you don't get bored making the same pattern over and over again. I liked this book very much and am anxious to get started. It arrived very quickly and in good shape. Happy with my order.

2 of 2 people found the following review helpful.
Soft & Sweet Baby Afghans
By Mary Knitting in AZ
I simply LOVE the patterns in this book. I've used the stitch patterns in larger afghans and in scarfs with great results. Though the stitch patterns aren't reversible, the back sides are pretty in their own way. What a great way to use more than one color using a simple technique.

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[U888.Ebook] Ebook Download Modernity and its Futures: Understanding Modern Societies, Book IVFrom Brand: Polity

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Modernity and its Futures is a major introductory textbook which examines the forces reshaping modern industrial societies and the new patterns, structures and relationships that are emerging in the contemporary world. The key debates about these changes are introduced and critically discussed; they include the transformation of Eastern Europe, the collapse of the USSR, globalisation, environmental challenges, post industrialism, cultural change and post-modernism. The book also looks back to the formation of modern societies, and of social science, to explore the character of 'modernity' and the relationship between 'early-modern' and 'post-modern' societies, and assess whether the paradigms and theories used to analyse 'modern' societies are adequate for social formations today.

Designed as an introduction to modern societies and modern sociological analyses, this book is of value to students on a wide variety of social science courses in universities and colleges, and also for readers with no prior knowledge of sociology. Selected readings from major social theorists are integrated into each chapter, together with student questions and exercises.

• Sales Rank: #1881145 in Books
• Brand: Brand: Polity
• Published on: 1992-11-03
• Original language: English
• Number of items: 1
• Dimensions: 9.69" h x .91" w x 7.39" l,
• Binding: Paperback
• 408 pages

Features

• Used Book in Good Condition

From the Back Cover
Modernity and its Futures is a major introductory textbook which examines the forces reshaping modern industrial societies and the new patterns, structures and relationships that are emerging in the contemporary world. The key debates about these changes are introduced and critically discussed; they include the transformation of Eastern Europe, the collapse of the USSR, globalisation, environmental challenges, post industrialism, cultural change and post-modernism. The book also looks back to the formation of modern societies, and of social science, to explore the character of 'modernity' and the relationship between 'early-modern' and 'post-modern' societies, and assess whether the paradigms and theories used to analyse 'modern' societies are adequate for social formations today.

Designed as an introduction to modern societies and modern sociological analyses, this book is of value to students on a wide variety of social science courses in universities and colleges, and also for readers with no prior knowledge of sociology. Selected readings from major social theorists are integrated into each chapter, together with student questions and exercises.

About the Author
Stuart Hall is Professor of Sociology, David Held is Professor in Politics and Sociology and Anthony McGrew is Senior Lecturer in Politics, all at the Open University.

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0 of 0 people found the following review helpful.
Quick and cheap
By Sonia C. Pereira
I bought this book in a very good price, and it got quickly and in good condition. It was really a good deal. I recommend.

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[N904.Ebook] Ebook Happy House: 1: Teacher's Book, by Lorena Roberts

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Happy uses different kinds of learning strategies to match children's changing development and learning styles. Start the learning journey in the reassuring setting of Happy House. Introduce children to reading and writing English in the wider world of Happy Street. Explore a world of fascinating facts with the topic-based approach of Happy Earth. Happy at all levels of primary!

• Brand: Brand: Oxford University Press
• Published on: 2009-03-12
• Original language: English
• Dimensions: 10.91" h x .24" w x 8.62" l, .68 pounds
• Binding: Paperback
• 112 pages

Features

• Used Book in Good Condition

About the Author
Stella Maidment is an experienced children's writer. She has published a wide range of titles for English-speaking children of all ages. She has also contributed stories, songs and activities to a number of different children's ELT titles. Lorena Roberts spent five years teaching English in Britain and abroad. During that time, she became particularly interested in teaching English to young learners. On her return to the UK, she became involved in children's educational publishing. It was later at Oxford University Press that she brought together her experience from both professions to work as an editor on a number of successful primary ELT courses.

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