LIKES- Goes fast and feels safe- Power to tow anyone- Great, smooth ride and very solid across wake- Good ski wake but good all-rounder too DISLIKES- Some mechanical noise from gearbox OVERVIEW- Modern version of the old-school ski boat According to Ride Australia’s Sanders brothers, the Mobius line is the Holden alternative to their BMW-equivalent Supra range. Josh and Justin build Supra and Mobius boats under licence from the American parent company at their facility in Nowra, on the NSW South Coast. A recent visit revealed a pedantic level of attention to detail on the production line and a building process that operates with enviable efficiency. So, while the brands benefit from the R& D of a large and progressive US company, the boats are Australian made. What’s a Mobius, you may ask? Literally, it’s a geometric shape with only one side and one boundary component. It’s a bit of a puzzle, if you like, or in some hands, a magician’s trick. But this boating example is much more straightforward. It’s a skiboat in an old-school vein, but with a modern approach to construction and design. Sound like a contradiction? Well, by “old school” we refer to the centrally-mounted shaft-drive engine. There’s nothing retro about the motor, however, as we’re talking about a direct-injection V8 Indmar, with 325hp that pushed our Mobius IXL test boat to 45 knots (83km/h) on the broad reaches of the Shoalhaven River. Josh explained that a wakeboat with the engine set in the rear will inevitably cause some degree of wake because the weight down aft lowers the hull in the water. Skiers, on the other hand, require flat water, and a well-designed centre-mount boat that leaves a smooth surface. For this reason, Mobius has a strong following as a tow boat in the United States in three-event competitions - slalom, trick and jump. The Mobius gains its crossover credentials by being able to pump.
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Tuesday, February 18, 2014 at 8:46 AM Nancy Holt. Sun Tunnels, completed in 1976. Photographed by Mary Kavanagh (image is linked to her site). Four large concrete tubes are arranged in an open X. The 9' diam x 18' long sections of culvert are pierced by holes of varying size that correspond to the pattern of the constellations Draco, Perseus, Columba and Capricorn. The tunnels line up with the rising and setting sun on the summer and winter solstices. Nancy Holt, who died last week, was one of the original land artists working in New Mexico, Utah and Arizona, along with Dennis Oppenheimer, Michael Heizer, James Turrell, Walter de Maria and Robert Smithson, all of whom had little time for the constricting space and rules of urban galleries and art museums. They said they were making art for the land, the ultimate expression of 1960s freedom – at the beginnings of the environmental movement and working at the scale of infrastructure, the military and the mining industry. Land Art had its roots in Minimalism and Conceptual Art, where 'art products' are often ephemeral, unrecognisable or self-destructing. Looking back on it now it appears as a real struggle to return agency to the artist: Nancy Holt bought the 40 acres of Utah desert for Sun Tunnels, and hired, as she listed: '2 engineers, 1 astrophysicist, 1 astronomer, 1 surveyor and his assistant, 1 road grader, 2 dump truck operators, 1 carpenter, 3 ditch diggers, 1 concrete mixing truck operator, 1 concrete foreman, 10 concrete pipe company workers, 2 core-drillers, 4 truck drivers, 1 crane operator, 1 rigger, 2 cameramen, 2 soundmen, 1 helicopter pilot and 4 photography lab workers' to install it. Plus the culverts. The places that Land Artists worked were marginal – in those vast deserts of the American southwest, there were hardly any roads. When in 1982 Reyner Banham wrote Scenes in America Deserta, a reprise.
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