A heat pump subsidy scheme launched by Ed Miliband just nine months ago is facing cuts to help fund defence as the public continues to reject the technology and the quiet Net Zero rollback marches on.
The post Heat Pump Subsidies to be Scaled Back to Fund Defence appeared first on The Daily Sceptic.
“This guy is a monster,” Donald Trump said in front of Sundar Pichai, Google’s chief executive. “And nobody knows him. What a great life! To be a monster and not have to go through this,” Trump continued, pointing at the reporters who follow him everywhere. Pichai stood beside him, waiting to speak with an expression of resigned disbelief. Before the exchange ended, Trump joked about his Indian name: “Sundarrrrr is his name.” When Pichai finally spoke, he tried to play it down: “Hopefully, that will be a better tagline than ‘I’m a monster,’” he said.
© Alex Brandon (AP Photo/Alex Brandon)
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Once, as a young adult in the city, I was walking home after a long day of work. The main street leading to my place wasn’t well lit, with dark stretches between streetlamps. There was a huddle of men under one, some standing around, some lounging against the post. They moved in the orange light, turning as one to face me. Something shifted in the air.
An earlier version of me would have been slower to respond, given them the benefit of the doubt. But after a recent knife-point mugging, I had begun to develop a sort of second skin—a keen, physical sense of danger. I slipped back into the shadows and ran in and out of alleyways. I doubled back, cut across fences, and scaled half walls. I made no sound at all; I made it home. I had made a spiraling maze in real time. They could not find me.
In his essay “From the Tree to the Labyrinth,” Umberto Eco, a lover of labyrinths, explores how we “create and organize knowledge.” Moving away from the restrictive “tree” model, Eco approaches the “labyrinth” model, listing three kinds—a unicursal labyrinth, with only one path to the center and back; a multicursal maze, with many paths, all but one leading to dead ends; and an infinite network of interlinked points, which he calls by the borrowed term “rhizome.”
There are many labyrinths and mazes woven into my memory—verbal, textual, graphical, physical, metaphorical. Tamil kolams, for instance: My mother draws small, perfect threshold patterns at home, and immense, geometrically flawless labyrinths and mazes for events—no outlines, no tools, just her seeing eye and moving hand. When the sky is still dark, she dips folded muslin in wet, ground rice and draws liquid lines on the clean floor. She must draw each bit before the white dries on her hand, which it does almost instantly. Nothing can be erased or redrawn. She must keep moving until the whole kolam is done—the body walking the labyrinth even as it summons it out of nothing, the labyrinth making the world even as it is devoured by little black ants.
Eco’s rhizome model, to its credit, says we may never know everything, but we can keep going. Jorge Luis Borges certainly did, over and over like a modern-day Scheherazade. He wrote The Garden of Forking Paths, The Library of Babel, Funes the Memorious, The House of Asterion, and more, for those of us that love our awful infinities rendered in chewy, fictional ways.
It’s been so long since the mugging and the maze. Those events (and others like them) ingrained hard habits into me. Unless I’m absolutely certain about the safety of the time and the place, I don’t listen to music as I walk. I wear barefoot shoes. I wear my bag cross-body, coax my hands out of my pockets. I note the exits and sit like a mob boss, the door never to my back. But I myself am softer, and I understand the ways of wayfinding a little better now.
When Nawab Asaf-ud-Daula, ruler of the Kingdom of Avadh, moved his capital to Lakhnau (now Lucknow, Uttar Pradesh, India) in 1775, he likely had no inkling of what was to come—a great famine. The Nawab was an unusual ruler. Forgoing the usual charity routes, he offered his people the dignity of earning wages through excellent work, going so far as to demolish by night and rebuild by day so everyone who wanted work could have some. He built the lavish Bara Imambara, including a marvelous maze of a thousand corridors and half as many identical doorways (and one exit), the Bhulbhulaiya. The Hindi-Urdu root word, bhūlnā, means to forget, to be thus lost, and bhulānā is its causative form. The maze is “that which makes you forget.”
Abhimanyu, warrior prince, has broken into the Cakravyūha, the battle formation of the colossal whirling disc. While still in his mother’s womb, he had overheard his father, the great warrior Arjuna, discuss war strategy with his uncle Kṛṣṇa, and filed the knowledge away in his preternaturally precocious mind. Now the Kurukṣetra War is upon them, and 16-year-old Abhimanyu has found his way to the center of the moving labyrinth. He is a trained warrior, no doubt, but he is alone, fighting seasoned Kaurava generals on all fronts. They have trapped him away from his fellow Pāṇḍavas. They have sunk his chariot, killed his horses, and broken his sword and bow. Abhimanyu raises a chariot wheel above his head. He doesn’t know how to come out. He never heard the end of the conversation.
This heartbreaking story from the Sanskrit epic The Mahābhārata was likely my own mythical introduction to the labyrinth. McConnachie, too, starts with a myth—a Greek mythopoeic myth—but first he runs a little labyrinth on the morning of his own wedding. His essay for Aeon moves lucidly through history, architecture, religion, folklore, games, psychoanalysis, New Age rituals, and more.
P.S.: Don’t worry about Ariadne; she gets to chill with Dionysus. Theseus’s dad, not so great.
Instinctively, we sense that mazes and labyrinths are essentially metaphorical—even if it is not always clear what they represent—which explains why it’s so common to seek the meaning of the maze in myth. According to the ancient Greek story, as retold by the Roman writers Plutarch and Ovid, Minos of Crete demanded a tribute from the city of Athens in the form of seven young men and seven women. They would be imprisoned inside the Labyrinth created by Minos’ brilliant architect Daedalus, and there sacrificed to the Minotaur, a monstrous creature born of the unnatural union between Minos’ wife and a white bull.
The brave and ambitious Theseus gets himself chosen among the Athenians and, on arrival in Crete, seduces Minos’ daughter, Ariadne. She secretly arms him and slips him a “clew” of thread. (This is the old word for a ball or skein of yarn and is, fascinatingly, the origin of the English word “clue.”) Theseus kills the Minotaur, escapes the Labyrinth, runs off with Ariadne, and should return home happily—except that he abandons Ariadne on the island of Naxos and then, upon homecoming, forgets to change the color of the sails on his ship as he promised his father he would do if he survived. On seeing the black canvas, the old man drowns himself in the sea.
Speaking of leading people astray, here’s a clip of the third task of the Triwizard Tournament from Harry Potter and the Goblet of Fire. Professor Dumbledore counsels the champions: “In the maze, you’ll find no dragons or creatures of the deep. Instead, you’ll face something even more challenging—people change in the maze.”
Adrian Fisher has over 700 mazes across 42 countries to his name, “including one on a skyscraper in Dubai and another that’s now reproduced on Britain’s five-pound note.” He’s also likely the only person to make a successful business out of mazemaking. Twilley profiles Fisher comprehensively, and not a little warily.
Starting with the design of the medieval Christian labyrinth, the most famous of which is in the Chartres Cathedral, France, Fisher slowly included other complex features. “Fisher realized that if he wanted to make mazes he first had to make people want mazes,” Twilley writes. According to Oskar van Deventer, an engineer and creator of renowned mechanical puzzles, he’s the “world’s best maze psychologist,” using what he knows about how people behave “against the unsuspecting solver and even against the suspecting solver.”
In 1980, Fisher was twenty-eight years-old and working for I.T.T., a multinational manufacturing company, where he was responsible for productivity enhancement. He was increasingly drawn to the idea of designing mazes; he’d even formed a company, Minotaur Designs, with a wealthy labyrinthologist and former diplomat, Randoll Coate. But public commissions proved elusive. “At first, I thought it was impossible,” Fisher said. “How do you start? How do you do it?”
Runcie’s dream gave him an idea: Fisher wrote to the letters page of the London Times, briefly outlining the maze’s long history as a Christian symbol and noting that, as in the Archbishop’s dream, a maze’s goal is typically reached not by “pressing toward the center” but, rather, by “returning almost to the edge,” in order to find the proper path. In his signature, Fisher styled himself a “Maze Consultant,” and, before long, this stealth marketing had reeled in a customer, and Minotaur’s first public commission.
Crystals are known for stacking their atoms in repeating patterns in every direction, forming structured unit cells and lattices. But quasicrystals are mad materials. They, too, form patterns, but in non-repeating ways. Physicists exploring their use in carbon capture ended up with the world’s most diabolical maze.
What can live without a brain or a nervous system, eat better than you, navigate mazes, and win scientists not one, but two Ig Nobel Prizes? The answer is a single-celled organism called the slime mold, also affectionately known as the blob.
In the 2000s, Toshiyuki Nakagaki, a scientist at Hokkaido University, scattered bits of a single Physarum polycephalum in a maze, a few dots in a petri dish. The bits grew enough to find each other, and then grew some more to fill the maze. The mold then retracted itself from the dead ends, restricting itself to the most rewarding path—and this was the least it could do. Using its ability to grow up to a meter; its ability to analyze, solve problems, and optimize in real time; and its own slime as “externalized spatial memory,” it “effectively re-created Tokyo’s railway network in miniature as well as the highways of Canada, the U.K., and Spain.”
Catch a glimpse of this incredibly cool mold in action in this WIRED video: Mycologist Explains How a Slime Mold Can Solve Mazes. Looks like Nakagaki will have the last laugh, after all. And if you’ve ever wondered how other animals are so much better at this stuff than us, read Kathryn Schulz’s essay for The New Yorker, “Why Animals Don’t Get Lost.”
Gardeners sometimes encounter them in their backyards—spongy yellow masses squatting in the dirt or slowly swallowing wood chips. Hikers often spot them clinging to the sides of rotting logs like spilled bowls of extra cheesy macaroni. In Mexico some people reportedly scrape their tender bodies from trees and rocks and scramble them like eggs. They are slime molds: gelatinous amoebae that have little to do with the kinds of fungal mold that ruin sourdough and pumpernickel. Biologists currently classify slime molds as protists, a taxonomic group reserved for “everything we don’t really understand,” says Chris Reid of the University of Sydney.
Something scientists have come to understand is that slime molds are much smarter than they look. One species in particular, the SpongeBob SquarePants-yellow Physarum polycephalum, can solve mazes, mimic the layout of man-made transportation networks and choose the healthiest food from a diverse menu—and all this without a brain or nervous system. “Slime molds are redefining what you need to have to qualify as intelligent,” Reid says.
Teenaged Sarah is supposed to be babysitting her infant brother, Toby. But he won’t stop crying, and in a rash moment, she wishes him gone. Villainous Goblin King Jareth obligingly spirits him away to his dark labyrinth, which she must negotiate to save the baby before a terrible fate befalls him. If you’re not convinced you should see Labyrinth, this 1986 classic, know that the Goblin King is David Bowie.
I had some trouble choosing a quote from this retro maze of an essay. Every passage seemed appealingly contrarian, sometimes even to the essay’s own points, every idea poised for intertextual sparring with the other pieces in this reading list (something I secretly enjoy).
Yes, it is gleefully haunted by its own ideas going back and forth and switching back upon themselves, and yes, it will make you question a few axiomatic notions about labyrinths and mazes. But maybe because times have changed, maybe because no one seems to be saying labyrinths are better than mazes or vice versa any longer, some of the arguments may seem a little heavy-handed.
But some, like this one seemingly drawing from Freud/Jung psychological arcana, still sparkle: “The maze is the labyrinth’s uncanny.”
It seems to me that hidden behind contemporary etymological distinctions is an attempt to tame multicursality, by way of denigrating multicursal mazes as merely “childish” versions of more sober, unicursal ones. Multicursality challenges meditative clarity with multiple versions, no clear centers, and a sense of ambivalence and confusion. These complications, however, are the point of the labyrinth. Even if we grant that labyrinth merely designates the one-path New Age labyrinth recycled from the medieval era, the object is still haunted by a misrecognition. For even the medievals retained a sense of the unicursal labyrinth’s ambages—the equivocation at the heart of its windings, which the New Age version does not readily admit. Additionally, the labyrinth that is the legacy of the medieval period is enmeshed in a circuit of analogies to such a degree that it is impossible to map out all its symbolic equivalences and their implications without ending up in the muck of indistinction. This tendency of the labyrinth to connote so much is part of what makes it an antithesis to sureness, rationality, and clarity. Its structure is mystically congruent with the idea of a dark or enchanted forest; it is also a stand-in for earthly conundrum, brain fold, uterine canal, spiritual struggle, or psychosexual journey. Its center: Mary, the alchemical rose, Jerusalem, princess, Minotaur, inner-self, lotus blossom. And of course there are the various rewards that the multicursal maze holds out for its young adepts (pots of gold, pies and cakes, utopian wonderlands of bunnies and lollipops). Labyrinthine confusion is not merely an issue of its tortuous corridors, its solution not merely the cheese in the corner. Labyrinth enfolds into labyrinth across times, cultures, and myths.
Games heart mazes. Here’s the nuts-and-bolts story of the OG++: “How a Bunch of MIT Dropouts Created Ms. Pac-Man.”
It’s the yellow that first holds you down, like the yellow fog in T. S. Eliot’s The Love Song of J. Alfred Prufrock, like the yellow wallpaper in Charlotte Perkins Gilman’s story of the same name. There’s something about this sickly yellow, but there’s more.
Backrooms is young YouTuber Kane Parsons’s widely acclaimed horror debut. Failed architect Clark manages a strip-mall furniture store called Cap’n Clark’s Ottoman Empire. During his insomniac wanderings, he stumbles upon a doorway in the store’s basement—the entry to the mysterious Backrooms. (The trailer is a relatively safe place to start before you attempt full liminal dread.)
Nayman’s critical voice stands a little apart from what seems to be near-universal approbation for the film, which he says “exists in its own liminal space between ambitious experiment and fascinating failure.” But he sounds, I must say, somewhat like a parent speaking of his gifted kid—one who could go very far if only he applied himself a little more. What if the kid knows something that others don’t?
[O]ne of the lurking, not so elusive themes of Backrooms—a movie that doesn’t lack for entry points—is the postmodern terror of reiteration without end, the unsettling and melancholy notion of reality as a series of adjoining, subterranean echo chambers, each a slightly altered copy of the last. “Six hundred million square miles of randomly segmented back rooms,” read the original, anonymous, and extremely viral 4chan post that ended up being used as a blueprint by hordes of online architects eager to build their own additions onto a freestanding urban legend; the sprawling, relentlessly subdivisional logic of this online lore, and the fact that anyone could contribute to it at any time, turned the expanse of the Backrooms into a pretty nifty allegory for itself.
Parsons was 16—and going by the online handle Kane Pixels—when he made his first Backrooms short in 2022: a found-footage-style clip created in Blender and After Effects. His innovation was to place the preexisting images into a paranoid narrative framework about a research facility offering egress to another dimension; the first clip centered on an amateur filmmaker who gets lost in the Async complex and chased by an unseen creature.
“In Hokusai’s Thirty-Six Views of Mount Fuji, most of the woodblock prints show the famous conical peak, but one shows pilgrims climbing a Fuji that is the very ground under their feet. You can’t see the mountain’s form while you’re on the mountain. There are subjects you can better understand through analogy, context, parallels, the view from the distance, rather than via direct and dogged pursuit.” Solnit expands on the same ideas for Literary Hub in “In Praise of the Meander,” this time “letting nonfiction narrative find its own way.”
Solnit describes one summer she spent on an Icelandic peninsula, “in the company of strangers and birds.”
“Creation is always in the dark because you can only do the work of making by not quite knowing what you’re doing, by walking into darkness, not staying in the light. Ideas emerge from edges and shadows to arrive in the light, and though that’s where they may be seen by others, that’s not where they’re born,” she says, and goes to the last dark place she could find that summer—a labyrinth called the Path, lit by the faintest lavender-blue light.
Lyrical and more atmospheric than her engaged treatment of labyrinths in Wanderlust: A History of Walking, this essay shows us a gentle way of being we would do well to heed.
A labyrinth is an ancient device that compresses a journey into a small space, winds up a path like thread on a spool. It contains beginning, confusion, perseverance, arrival, and return. There at last the metaphysical journey of your life and your actual movements are one and the same. You may wander, may learn that in order to get to your destination you must turn away from it, become lost, spin about, and then only after the way has become overwhelming and absorbing, arrive, having gone the great journey without having gone far on the ground.
In this it is the opposite of a maze, which has not one convoluted way but many ways and often no center, so that wandering has no cease or at least no definitive conclusion. A maze is a conversation; a labyrinth is an incantation or perhaps a prayer. In a labyrinth you’re lost in that you don’t know the twists and turns, but if you follow them you get there; and then you reverse your course.
The end of the journey through the labyrinth is not at the center, as is commonly supposed, but back at the threshold again: the beginning is also the real end. That is the home to which you return from the pilgrimage, the adventure. The unpraised edges and margins matter too, because it’s not ultimately a journey of immersion but emergence.
In 1922, William H. Matthews published a book called Mazes and Labyrinths in London. Sam Dolbear introduces this classic for The Public Domain Review, offering a selection of beautiful images and the book itself in full. He concludes with a quote from Matthews, which seems to prefigure Eco’s third model and Borges’s predilections: “The boundaries of knowledge are still misty and ill-defined, a circumstance that only gives zest to the subject.”
Dale, reader of “Hellenic myth” and all-round good sport, has organized the Pumpkin Jamboree. It’s a way for the townspeople to have some weekend fun while raising money for the local fire department. Its highlight is always the corn maze. “Only it isn’t a maze this time,” Dale says, “It’s a labyrinth.”
This unexpected turn of events thins the crowd, but it looks like Jim, his friend, might be willing to give it a go. “Now, you go on, Jim. This is my life’s effort distilled. Find out what it’s all about.”
It’s not easy to take a well-worn, spoiler-free myth known since Plutarch and make it sound fresh. Gray has done that here in her short story without a wasted word, and her Daedalus, cornfield architect, is just getting started.
Dale watched them leave, fingering a pumpkin’s thick stem and surely considering his hours of lost work. He starts his mazes a few months beforehand, cutting into the young corn when it’s tall but not yet sprouted, taking a pass first with the tractor and then with the riding mower to pull out the brace roots and tamp the corn down. He draws the maze plans on drafting paper and displays them afterward in his swept-out garage addition—he calls it the Hall of History—with other jamboree memorabilia: the gearshift from the original hayride truck, trotter prints from the winning pigs. We gather around to reminisce about which wrong turn we took and what was waiting for us on the other side.
Knowing what he must have put into it, I thought it was a shame to stand by and see everyone go. The sun was still low in the sky, and it was lonely at home, where the TV had been broken for a week, and the tap water had begun to taste oddly of blood. “I’ll go first,” I said. “I’ll do it.”
Kanya Kanchana is a writer from India.
Editor: Krista Stevens
Copyeditor: Carolyn Wells
American Rheinmetall and General Dynamics Land Systems have now delivered the first prototypes of their proposed XM30 Mechanized Infantry Combat Vehicle (MICV) designs to the U.S. Army. The XM30 program is the Army’s latest attempt to replace its fleet of Bradley Fighting Vehicles. The competing MICV designs are set to be put to the test alongside early prototypes of the next-generation M1E3 Abrams tank in the spring.
The U.S. subsidiary of Germany’s Rheinmetall has been developing a version of its Lynx family to meet the Army’s MICV requirements, and announced the delivery of the first example today. General Dynamics Land Systems (GDLS), which is offering the Wolf, a further evolution of the company’s Griffin III, itself derived from the ASCOD 2 infantry fighting vehicle, said last week that its first prototype had arrived at the Aberdeen Proving Ground in Maryland. Variants and derivatives of the Lynx and ASCOD 2 are already in service with several countries, which we will come back to later on.
The press release today from American Rheinmetall says the company will eventually deliver eight prototypes to the Army for further testing. It is very likely General Dynamics Land Systems will be supplying an equivalent number of vehicles, but the company does not appear to have confirmed that explicitly at the time of writing. Army budget documents released earlier this year show the service is planning to acquire at least 108 XM30s through Fiscal Year 2031. The Army has some 2,500 Bradleys in service today, a figure that includes multiple variants and subvariants.
“Delivering our first prototype to the Army is an important step as the XM30 Combat Vehicle program enters a more visible phase,” Matt Warnick, CEO of American Rheinmetall, said in a statement accompanying the release. “Team Lynx now has the opportunity to show the Army that we can deliver on the promise of a modern replacement for the Bradley.”
“I could not be happier to be part of the GDLS team that is delivering this incredible new capability on schedule to the Army – they need it now,” Geoffrey Norman, Director for U.S. Strategy & Growth at General Dynamics Land Systems, had written last week in a post on LinkedIn. “The work continues as this first vehicle gets into the Army’s hands.”
The Lynx and Griffin III-based XM30 designs both feature hybrid-electric propulsion. This will offer improved fuel economy, added electrical power generation, and other benefits compared to the Bradley with its traditional diesel engine. The vehicles both have remotely operated turrets, with their two-person crews, as well as up to six passengers, all riding in the hull.
The Army expects the winning XM30 to provide significant boosts in lethality and other capabilities compared to any existing version of the Bradley. The main weapon on both competing designs is an XM913 50mm automatic cannon, offering a significant increase in firepower compared to the 25mm M242 on the Bradley.
The XM30 will also be able to launch loitering munitions. AeroVironment’s Switchblade 300 has been integrated onto General Dynamics Land Systems’ design. American Rheinmetall’s entry is designed to be able to fire versions of Raytheon’s Coyote Block 3, but whether it can launch other munitions is unclear. The launchers on the Lynx-based XM30 are known to also be capable of firing anti-tank guided missiles, such as the TOW and Javelin. The Army has demonstrated the ability to fire a version of the Coyote from the TOW missile launcher on the Bradley, as well.
Next-generation fire control, sensor, and networking/communications capabilities are also key to the Army’s current Bradley replacement plans. With its improved network connectivity, the service envisions XM30s acting as controllers for uncrewed ground vehicles, as well. The Army has already been working to prove out future crewed-uncrewed teaming concepts using the Bradley.
Overall, the Army sees the XM30 as a future “cornerstone of the Armored Brigade Combat Team (ABCT), designed to enhance lethality, survivability, and maneuverability in high-intensity combat against near-peer adversaries,” according to the Army’s Fiscal Year 2027 budget documents. “The XM30 is versatile in its operational roles, capable of leading the charge, scouting ahead, or providing overwatch while Soldiers dismount and maneuver. Its ability to control robotic systems and semi-autonomous platforms adds another layer of capability, allowing the formation to extend its reach and maintain dominance across the battlefield.”
“The XM30 program is not just a replacement for the Bradley Fighting Vehicle – it represents a transformative leap in ground combat vehicle development. The XM30 is more than a vehicle; it is a software-defined platform designed for interoperability and adaptability, ensuring it evolves with changing technologies and operational demands,” the budget documents continue. “By leveraging digital engineering and modular open systems architecture (MOSA), the XM30 ensures infantry units always have the cutting-edge tools they need to outmaneuver and outgun the enemy. The XM30 also achieves a level of logistical efficiency that ensures sustained operational readiness while reducing costs and complexity.”
The Army now plans to put the XM30 prototypes to the test during a regular rotation at the sprawling National Training Center (NTC) at Fort Irwin in California next spring, according to a report last month from Breaking Defense. Soldiers assigned to the 1st Brigade Combat Team, 1st Cavalry Division out of Fort Hood in Texas, will operate the vehicles. 1/1st Cavalry is one of the Army’s so-called Transformation In Contact (TIC) units, which are supporting the service’s broader modernization objectives. The brigade is expected to bring prototypes of the next-generation M1E3 Abrams tank to the NTC, as well.
The Army has talked in the past about aiming to field a winning XM30 design by Fiscal Year 2029. However, it remains to be seen when it might make a final selection and when the first of those vehicles actually enter operational service.
“We have a plan to carry two vendors as long as we possibly can. It becomes a question about resourcing the money, because you’re not paying necessarily double, but you’re kind of paying double,” Army Brig. Gen. Troy Denomy, Program Acquisition Executive of Maneuver, told Breaking Defense for its story in August. “We’re absolutely trying to keep our options open as long as we can, but money matters.”
That being said, “if there’s not a clear winner at the end of the NTC rotation, ‘then it may be worth not selecting at that point,’ Denomy said,” per Breaking Defense.
This is hardly the first time the Army has attempted to replace the Bradley since it first entered service in the 1980s. Cost, weight, and other factors have derailed several previous attempts, including the Optionally Manned Fighting Vehicle (OMFV) effort that directly preceded the current MICV program. In February, another report from Breaking Defense had raised questions about the XM30’s future after at least a temporary program pause within the last year. That was followed by a new request for information for a different, but very similar-sounding vehicle.
As mentioned, the two competing XM30 designs are based on vehicles that are in operational service today. Hungary became the first operator of a Lynx variant last year, and Ukraine is also in the process of procuring versions of that design. Today, Spain is the primary operator of the ASCOD 2, with Latvia also working to field a fleet of those vehicles. The British Army’s much-troubled Ajax is also derived from the ASCOD 2. The U.S. Army’s now-cancelled M10 Booker ‘light tank’ is another member of this broader family.
It is worth noting here that there has been much debate in recent years about the utility of heavy armored vehicles like the Bradley, as well as the Abrams tank, in future conflicts. Armored and unarmored vehicles face a growing multitude of threats, including more and more capable anti-tank guided missiles and especially kamikaze drones. Reporting earlier on in the conflict in Ukraine had underscored the continued value of heavy armor, including of the Bradley, even if its place as a decisive factor on the battlefield was diminishing. However, a report just last week from The New York Times indicated that tanks, in particular, have become increasingly sidelined, largely due to the threat of drone attacks.
The Army is also now in the midst of a new leadership shakeup with the resignation of Army Secretary Dan Driscoll. Reports say Driscoll’s departure follows growing friction with Secretary Pete Hegseth, including over modernization efforts.
In the meantime, examples of both of the designs competing to become the future XM30 are now in Army hands and are set to be tested alongside the M1E3 next year.
Update: 5:23 PM ET –
GDLS has now put out a brief press release regarding the delivery of the first Wolf prototype to Aberdeen Proving Ground, which it says occurred on August 21.
“This on-time delivery will allow Soldiers to start putting the Wolf through its paces, with the ultimate goal of getting it fielded into armored brigades as quickly as possible,” GDLS’ Norman said in a new statement accompanying the release. “I would like to congratulate our XM30 team on the successful design and production of this game-changing solution. The Wolf is the most technologically advanced combat vehicle ever assembled.”
The release also included the picture below, showing the Wolf prototype entirely under wraps on a trailer.
Contact the author: joe@twz.com
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George Michael’s rich voice, emotional performances and songwriting helped turn him into a worldwide superstar.
The post George Michael reclaims pop music crown on Smooth Radio, leaves Michael Jackson behind appeared first on BOL News.
Talks focus on agriculture, water resources, food security and investment.
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America’s elders need more places to live, but even in liberal enclaves that recognize the problem, developers are facing fierce foes: America’s elders. Make it make sense! Charley Locke reports from her hometown of Oakland, California, where boomers are organizing against two proposals that would add 618 market-rate residential units to the city’s senior housing stock:
Many in the crowd had been marching against governmental and corporate overreach for half a century: against the Vietnam draft and the invasion of Iraq; against Wall Street; against police brutality. They’re part of a generational force that’s antiestablishment and suspicious of power. But in this fight, it wasn’t so clear who the establishment was or who had the power. Were these righteous middle-class activists fending off greedy developers who would charge high rents, or were they wealthy seniors prioritizing neighborhood character over ameliorating the housing crisis? Were they once again David, or had they become Goliath?
In this edition: in a pickle; gut feeling; king of pain; life (or something like it); for those about to rock.
People are choosing cremation far more often these days. Open-casket funerals are on a steep decline, along with the professions that allow for loved ones to comfortably view their dead for the last time. For Harper’s Magazine, John Semley talks to Anthony Saldivar, Berri Cooper, Danielle Colquitt, and Hannah Bugos, all of whom competed in the Restorative Art Technical Showcase, “the highlight event of last year’s National Funeral Directors Association convention.” These elite undertakers are highly skilled in what’s known as restorative art, the process by which humans disfigured by grievous injury or disease are made to look like they did in life, so that their loved ones can bid farewell to someone they recognize.
Cooper has dealt with several particularly complex restoration cases during her long career. While we chatted, she pulled up images on her phone of a father who’d been burned so badly in an accident that he was, save for some faintly visible protruding teeth, barely identifiable as a person. She was able to perform a full facial reconstruction on him based on photographs, so that his loved ones could say goodbye to someone who was not only recognizably human, but familiar to them. “There’s not a body where I’ve said, ‘No, I couldn’t,’ ” she told me. That includes the mutilated body of a stillborn baby, whom Cooper embalmed and restored at a grieving mother’s request.
The vanishing of any craft is a tragedy to all who prefer the existence of a thing to its opposite, but restorative art represents more than just a niche domain of aesthetic achievement or a macabre postmortem racket. With its disappearance, we stand to lose a whole way of memorializing our dead: one that might be pricey, unnecessary, and even a little absurd, but only out of commitment to the notion that an occasion as final as death is worthy of pomp and circumstance.
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