High above a barren California desert on Tuesday, a privately developed aircraft broke the sound barrier for the first time when Boom Supersonic's XB-1 demonstrator reached Mach 1.122.

Piloted by a former US Navy aviator, Tristan “Geppetto” Brandenburg, the XB-1 vehicle broke the supersonic barrier on three separate occasions before safely landing back at Mojave Air & Space Port, where it had taken off half an hour earlier. It marked a triumphant moment for Boom, which was founded a decade ago to commercialize supersonic air travel.

"A small band of talented and dedicated engineers has accomplished what previously took governments and billions of dollars," said Boom Supersonic's founder and chief executive, Blake Scholl, in a statement.

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High above a barren California desert on Tuesday, a privately developed aircraft broke the sound barrier for the first time when Boom Supersonic's XB-1 demonstrator reached Mach 1.122.

Piloted by a former US Navy aviator, Tristan “Geppetto” Brandenburg, the XB-1 vehicle broke the supersonic barrier on three separate occasions before safely landing back at Mojave Air & Space Port, where it had taken off half an hour earlier. It marked a triumphant moment for Boom, which was founded a decade ago to commercialize supersonic air travel.

"A small band of talented and dedicated engineers has accomplished what previously took governments and billions of dollars," said Boom Supersonic's founder and chief executive, Blake Scholl, in a statement.

Read full article

Comments

High above a barren California desert on Tuesday, a privately developed aircraft broke the sound barrier for the first time when Boom Supersonic's XB-1 demonstrator reached Mach 1.122.

Piloted by a former US Navy aviator, Tristan “Geppetto” Brandenburg, the XB-1 vehicle broke the supersonic barrier on three separate occasions before safely landing back at Mojave Air & Space Port, where it had taken off half an hour earlier. It marked a triumphant moment for Boom, which was founded a decade ago to commercialize supersonic air travel.

"A small band of talented and dedicated engineers has accomplished what previously took governments and billions of dollars," said Boom Supersonic's founder and chief executive, Blake Scholl, in a statement.

Read full article

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The Bayeux Tapestry famously depicts the events leading up to the 1066 Norman Conquest of England, in which William the Conqueror defeated Harold II , the last Anglo-Saxon king of England, at the Battle of Hastings . Two scenes in particular show King Harold feasting in an extravagant hall in a village called Bosham. Archaeologists think they have now located the site of that feast, concluding that it was the king's own home, according to a new paper published in The Antiquaries Journal.

“The Norman Conquest saw a new ruling class supplant an English aristocracy that has left little in the way of physical remains, which makes the discovery at Bosham hugely significant," said co-author Oliver Creighton of the University of Exeter. "We have found an Anglo-Saxon show-home.” The findings are part of an ongoing project called "Where Power Lies," intended to assess archaeological evidence for aristocratic centers across England from the pre-Norman period.

Scholars believe the Bayeux Tapestry dates back to the 11th century and was likely created just a few years after the Battle of Hastings, mostly likely commissioned by Bishop Odo of Bayeux (although there is still considerable debate over alternative theories). It's technically not a tapestry, since it's not woven but embroidered on linen using wool yarn of various colors. There are 58 individual scenes spanning 230 feet (nearly 70 meters) in length and 20 inches (50 cm) in height. Latin text provides context for the imagery. Among the historical events depicted is the appearance of what is now known as Halley's Comet, used here as a harbinger of the coming Norman invasion.

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The Bayeux Tapestry famously depicts the events leading up to the 1066 Norman Conquest of England, in which William the Conqueror defeated Harold II , the last Anglo-Saxon king of England, at the Battle of Hastings . Two scenes in particular show King Harold feasting in an extravagant hall in a village called Bosham. Archaeologists think they have now located the site of that feast, concluding that it was the king's own home, according to a new paper published in The Antiquaries Journal.

“The Norman Conquest saw a new ruling class supplant an English aristocracy that has left little in the way of physical remains, which makes the discovery at Bosham hugely significant," said co-author Oliver Creighton of the University of Exeter. "We have found an Anglo-Saxon show-home.” The findings are part of an ongoing project called "Where Power Lies," intended to assess archaeological evidence for aristocratic centers across England from the pre-Norman period.

Scholars believe the Bayeux Tapestry dates back to the 11th century and was likely created just a few years after the Battle of Hastings, mostly likely commissioned by Bishop Odo of Bayeux (although there is still considerable debate over alternative theories). It's technically not a tapestry, since it's not woven but embroidered on linen using wool yarn of various colors. There are 58 individual scenes spanning 230 feet (nearly 70 meters) in length and 20 inches (50 cm) in height. Latin text provides context for the imagery. Among the historical events depicted is the appearance of what is now known as Halley's Comet, used here as a harbinger of the coming Norman invasion.

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The Bayeux Tapestry famously depicts the events leading up to the 1066 Norman Conquest of England, in which William the Conqueror defeated Harold II , the last Anglo-Saxon king of England, at the Battle of Hastings . Two scenes in particular show King Harold feasting in an extravagant hall in a village called Bosham. Archaeologists think they have now located the site of that feast, concluding that it was the king's own home, according to a new paper published in The Antiquaries Journal.

“The Norman Conquest saw a new ruling class supplant an English aristocracy that has left little in the way of physical remains, which makes the discovery at Bosham hugely significant," said co-author Oliver Creighton of the University of Exeter. "We have found an Anglo-Saxon show-home.” The findings are part of an ongoing project called "Where Power Lies," intended to assess archaeological evidence for aristocratic centers across England from the pre-Norman period.

Scholars believe the Bayeux Tapestry dates back to the 11th century and was likely created just a few years after the Battle of Hastings, mostly likely commissioned by Bishop Odo of Bayeux (although there is still considerable debate over alternative theories). It's technically not a tapestry, since it's not woven but embroidered on linen using wool yarn of various colors. There are 58 individual scenes spanning 230 feet (nearly 70 meters) in length and 20 inches (50 cm) in height. Latin text provides context for the imagery. Among the historical events depicted is the appearance of what is now known as Halley's Comet, used here as a harbinger of the coming Norman invasion.

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First floated as a part of Deep Space Nine 's Dominion War arc, the concept of "Section 31" has been divisive among Star Trek fans. Here's the idea: Buried deep within Starfleet exists an anonymous, ruthless intelligence agency that operates out of sight of most Federation citizens and Starfleet officers. Section 31 exists outside of typical Federation safeguards and restrictions, getting its hands dirty so that others in the Federation can pretend that dirt doesn't exist.

Subsequent Trek series would sometimes make a nod toward Section 31 or do contained Section 31-adjacent episodes or story arcs. But the inherent conflict between "post-scarcity utopian future where diplomacy and compromise are always the answer" and "autocratic future where shadowy extralegal spy agencies secretly pull all the strings" kept Section 31 from really feeling like a fully integrated part of the universe.

Surely a Section 31-themed direct-to-streaming feature film called Star Trek: Section 31 would be interested in exploring these contradictions? Surely it would have something thoughtful to say about our current age of misinformation and paranoia—the future reflecting and commenting on the present, as the best Star Trek media always has?

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First floated as a part of Deep Space Nine 's Dominion War arc, the concept of "Section 31" has been divisive among Star Trek fans. Here's the idea: Buried deep within Starfleet exists an anonymous, ruthless intelligence agency that operates out of sight of most Federation citizens and Starfleet officers. Section 31 exists outside of typical Federation safeguards and restrictions, getting its hands dirty so that others in the Federation can pretend that dirt doesn't exist.

Subsequent Trek series would sometimes make a nod toward Section 31 or do contained Section 31-adjacent episodes or story arcs. But the inherent conflict between "post-scarcity utopian future where diplomacy and compromise are always the answer" and "autocratic future where shadowy extralegal spy agencies secretly pull all the strings" kept Section 31 from really feeling like a fully integrated part of the universe.

Surely a Section 31-themed direct-to-streaming feature film called Star Trek: Section 31 would be interested in exploring these contradictions? Surely it would have something thoughtful to say about our current age of misinformation and paranoia—the future reflecting and commenting on the present, as the best Star Trek media always has?

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First floated as a part of Deep Space Nine 's Dominion War arc, the concept of "Section 31" has been divisive among Star Trek fans. Here's the idea: Buried deep within Starfleet exists an anonymous, ruthless intelligence agency that operates out of sight of most Federation citizens and Starfleet officers. Section 31 exists outside of typical Federation safeguards and restrictions, getting its hands dirty so that others in the Federation can pretend that dirt doesn't exist.

Subsequent Trek series would sometimes make a nod toward Section 31 or do contained Section 31-adjacent episodes or story arcs. But the inherent conflict between "post-scarcity utopian future where diplomacy and compromise are always the answer" and "autocratic future where shadowy extralegal spy agencies secretly pull all the strings" kept Section 31 from really feeling like a fully integrated part of the universe.

Surely a Section 31-themed direct-to-streaming feature film called Star Trek: Section 31 would be interested in exploring these contradictions? Surely it would have something thoughtful to say about our current age of misinformation and paranoia—the future reflecting and commenting on the present, as the best Star Trek media always has?

Read full article

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