Encapsulates, photos on Flickr

Placenta Encapsulation by Northeast Doulas

Ornela Vase Collection by PRECIOSA ORNELA

These artistic products encapsulate the old and the new. They use traditional Desná moulds and newly designed wooden moulds and they embody modern elements and ideas. The glass-maker can then conjure up an infinite combination of colors, patterns and shapes from what was just crystal and glass shards at the beginning. You will appreciate the simplicity of design and the color shades which decorate the diverse interiors.

If you are interested in purchasing any of these items, please come and visit our company shop in Desná, but you can, of course, also come across the items from the collection at a number of other shops which specialise in Czech glass.

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20150515Commencement484Ed-size by WSSU Photography

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Nearly 1,000 Students to Participate in WSSU Commencement on May 15

WINSTON-SALEM, NC -- Christina Wareâs story is one of the many inspiring testimonials of the nearly 1,000 undergraduate and graduate students from near and afar who are expected to participate in Winston-Salem State Universityâs commencement ceremony on Friday, May 15, at 9:45 a.m., at Bowman Gray Stadium, 1250 South Martin Luther King, Jr. Drive.

Academy Award-winning recording artist, activist and actor Common will be the keynote speaker. There are no guest limits or ticket requirements for the ceremony.

It is conceivable that Wareâs story of work ethic, undeniable spirit and enthusiasm encapsulates the sentiment of her graduating 2015 classmates.

Ware, 43, of Winston-Salem, is quite active on and off campus as a mentor to other students, a member of the non-traditional student organization, the first president of Epsilon Chapter 130 of Tau Sigma National Honor Society at WSSU, a wife and proud mother of two. She is also legally blind. She wants to blaze trails, set examples and raise the bar for others with disabilities.

âIn 2007, I lost my eyesight. After a six-month pity party, I decided to continue my education and make a difference for others. Since 2008, I have spent every day of my life proving to society that having a disability does not mean we are weak. I am now an advocate for persons with disabilities,â Ware, a business major, said, "We are not handicapped, we are handy capable!"

Ware, who can be described as always pleasant and having an unlimited enthusiasm for life, says every day alive is like Christmas. She demands to be treated like everyone else and has been noted to say, âI may physically fall, but mentally I can get back up and pull a 4.0 semester.â After graduation she wants to start a Kosher/Halal foods business and become active on community boards.

The China Connection

From the City of Harbin, the capital and largest city of the Heilongjiang province of the People's Republic of China, WSSU Master of Arts in the Teaching of English as a Second Language and Applied Linguistics students Yaowen Xing and Chunling Zhang have found a second home at WSSU and in Winston-Salem. They perhaps have come the farthest distance attend the university.

With a population of more than five million people, Harbin is situated in the northeast region of China so close to Russia that only the Songhua River separates the two countries. Nicknamed the Ice City, the average winter temperature is -3.5 Â°F with annual lows hitting -31.0 Â°F. Itâs no wonder the students say the warmer weather here in the Piedmont Triad has not been lost in translation with them and itâs one of the things they enjoy.

âWe really love the weather in North Carolina, especially the long summer time, since our hometown is so cold with snow for almost 6 months of the year,â Xing, 30, noted. âWe also love the people at WSSU and the faculty who all are nice and it has been a really good experience.â

Xing and Zhang, 35, are in America as part of a Chinese education immersion program to help exchange the cultures between China and America. They enjoy working as cultural ambassadors to students in both the cultures. The two came to the U.S. in 2013 and have been teaching at Konnoak Elementary school during the early hours and studying and researching later in the day. âComing to America was a dream for me after learning about it through books, movies and music, and my time here it has been amazing,â Xing said.

Zhang, said she didnât know much about WSSU or Historically Black Colleges or Universities (HBCUâs), but after a short time here she knew WSSU would be was special part of life. âI have met many African- Americans who have been friendly and helpful. I now can say I truly have many black friends,â Zhang said. She and Xing have taken advantage of the HBCU experience. They have been often seen attending evening lectures and presentations, sports events, musical and visual arts events. With their WSSU master degrees they will return to China one day in the future to make an impact on teaching and the quality of education there.

The All-In Approach

Olivia N. Sedwick, 21, a political science major from Indianapolis, has taken âthe all-in approach" to her WSSU experience. The current WSSU student government president (SGA), honorâs student and champion athlete, chose WSSU over other schools she could have attended.

Featured in a USA Today article highlighting the HBCU experience released last June, Sedwick is quoted as saying about WSSU, âI fell in love with the school.â She says, âWe talked about things that I had never had the chance to before coming from a predominantly white high school.â

Liking the intellectual and social environment, she was comfortable becoming involved around campus. In her first year, a walk-on athlete for the womenâs track and field team, she was a 2013 CIAA Indoor Womenâs Track and Field All-Conference competitor and the WSSU womenâs shot put record holder until earlier this year, although she never competed in the throws until coming to college. In her second year she served as the sophomore class vice president while also being appointed to serve on many committees throughout the university. In that same year, she was a delegate to the UNC Association of Student Governments (UNCASG), representing WSSU students on a state-wide level. At the end of that year, she became the first African-American female elected senior vice president of UNCASG and served in that capacity for the entirety of her third year while being active as the chief of staff for the WSSU student government association that year also. Toward the end of her term in UNCASG, she decided to run for student body president and has served as the voice of the students for the duration of her last year. With all of her activities, she has maintained a 3.95 GPA throughout her time in college.

Sedwick has been selected as a UNC General Administration Presidential Intern, which begins in July. Upon completion of the prestigious one-year appointment, Sedwick plans to attend Howard University School of Law.

A Drum Major who will March for a Noble Cause

Willie Davis, 22, a social work major from Fayetteville, N.C., who has led WSSUâs Red Sea of Sound Marching Band as a drum major for his senior year, will now march to lead the charge for helping veterans and their families cope with typical and unique challenges of serving in military. Davis will be one of four Cadets with the distinct honor of being commissioned as a 2nd Lieutenant U.S. in the U.S. Army during this yearâs commencement ceremony. Despite that professionally Davis will help vets, military and families with things like dealing with emotions, he said, âI donât think I will be ready for the commissioning part (of commencement) emotionally.â

Readiness for Davis is an understatement. The youngest of three siblings, who was age 10 when his father died, Davis has been an A average student throughout life. He was in the top ten of his high school class and the first generation in his family to attend college. At WSSU, besides maintaining high academic achievement and serving in the U.S. Army ROTC, Davis has been active with the WSSU Band, the University Choir, a Campus Ambassador, a mentor to freshmen students, vice president of the WSSU chapter of Kappa Kappa Psi National Honorary Band Fraternity, a Veterans Helping Veterans Heal intern and a member of Galilee Missionary Baptist Church in Winston-Salem.

After graduation, Davis is going to graduate school at the University of South Carolina. He plans to complete that program in one year and begin his military duties. As a clinical social worker, his responsibilities may range from clinical counseling, crisis intervention, disaster relief, critical event debriefing, teaching and training, supervision, research, administration, consultation and policy development in various military settings. He wants to specialize in helping military veterans who suffer from different traumas such as Post Traumatic Stress Disorder (PTSD), paranoid schizophrenia and other conditions.

Placenta Encapsulation by Northeast Doulas

Encapsulated Islets of Langerhans by Phase Contrast by Berkshire Community College Bioscience Image Library

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cross section: human pancreas

magnification: 100x by phase contrast

hematoxylin eosin stain

Technical Questions:bioimagesoer@gmail.com

encapsulated by Peter Fricke

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Sentinel-3B encapsulation by ESA_events

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Credits: ESA - S. Corvaja

Encapsulated by Robert Silverwood

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Placenta Encapsulation by Northeast Doulas

1973 Triumph Stag by Ruairidh MacVeigh

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Oh the possibilities, sadly missed through poor design and negligence! You cannot deny then that it's a British Leyland product, taking a car with a fantastic premise, but through sloppy workmanship make it something of nightmares! No car seems to encapsulate the problems with the nationalised company more than the humble Triumph Stag.

To compete with the likes of the Mercedes-Benz SL, British Leyland started work on a luxury Grand Tourer, styled by the world renowned Giovanni Michelotti, who had previously designed the Triumph 2000, the Triumph Herald and the Triumph TR6, and would later go on to design the ambiguous Austin Apache and the Leyland National bus. But either way his styling was sensational, but at the same time the car had substance too. In the late 1960's America was on the verge of banning convertible cars to increase safety. So the engineers at Triumph designed what was a very clever T-Bar rollcage over the passenger cabin, meaning the car was not only safe, but also allowed the owners to enjoy what was craved most in a Grand Tourer, drop-top open-air fun! This was complimented by a selection of cars with removable Hard-Tops, although not as popular due to being slightly more complicated. The name was great too, sounding very manly with a hint of beast-like qualities, which for the most part helps to form the image, a strong and noble creature of the wild stood proud amongst its peers...

...only without the antlers!

In 1970 the car was launched to the motoring press with some very favourable initial reviews, admiring the styling, the firm suspension that resulted in a smooth ride and the well-balanced handling. The car was immediately an image setter for the new-money, like the Mercedes it was competing with it had the image of being something for those who had made their money through more underhanded methods, a cads car if you will. But we've all got to make our money somehow I guess!

However, lest we forget that this was a British Leyland product, so of course trouble was brewing. Very quickly the car gained a reputation for unreliability, which can be traced back to that all important piece of machinery known simply as the engine. In 1969 whilst the Triumph Stag was in development, Rover began using their new license built V8 engine derived from an American Buick 215 3L powerplant. Originally this was installed into the Rover P5, but a 3.5L version was installed as standard to the Rover P6 and the later SD1, as well as becoming the motive power behind the almighty Range Rover. The Rover V8 was an incredibly reliable and endlessly tunable engine, making it one of the most popular and successful powerplants in automotive history. It made its way into the TVR Chimera, the Morgan Plus 8, the TVR 350i, the Land Rover Defender, the Land Rover Discovery, the Sisu Nasu All-Terrain Military Transport, the MG RV8, the MGB GT, the TVR Griffith, the TVR S-Series, the Leyland P76, the Triumph TR8 and so on! It was eventually removed from production in 2006, being replaced in the Range Rover it had served so well by a BMW powerplant.

But back to the Stag, and seeing as Triumph and Rover belonged to the same parent company, you'd think that their first instinct would be to place this heavenly engine into the Stag. Apparently that was too much to ask for, and so Triumph, still thinking they were Triumph, decided to develop their own engine because apparently the Rover V8 wouldn't fit in the engine bay of the Stag. Rather than doing the simple task of redesigning the engine bay to accommodate the new engine, Triumph developed their own ragtag V8 by welding together two of the Straight-4 engines you'd find in a Triumph Dolomite. Chucked together at the last minute, the new Twin Dolomite V8 was not a stellar piece of engineering like the Rover variant, its main downfall being the failure to install a proper cooling system. This illogical oversight of something so obvious meant that the engine would heat up easily, and result in the cylinder heads warping, rendering the engine totally useless. The engine was also prone to corrosion and roller link chains that would fail before 25,000 miles causing expensive damage.

As a result of the bad press of the engine, mixed with the terrible build quality that we'd all come to expect from British Leyland, the Stag was removed from the American market in 1973, and finished off here in 1977 by its spiritual replacement, the Triumph TR7, an equally as flawed concept that chose not to learn its lesson and use exactly the same flawed engine, dashing that car's hopes of success too whilst adding a less than stellar body design to its troubles. Eventually the Stag slipped quietly away after 25,000 examples were built, although one did feature in the James Bond film 'Diamonds are Forever', being driven to Amsterdam by Bond after half-inching it from Diamond Smuggler Peter Franks.

This particular story maddens me because I consider the Triumph Stag my favourite of the British Leyland range as it really is a beautiful car and performs very well. Like I said, it's very smooth to ride in and very easy to drive, but the sheer lack of communication and cooperation between two parts of the same company resulted in it being one of the biggest flops in motoring history, and has often been cited as one of the worst cars ever.

Today however there is still quite a sizeable fanbase for this car, with 9,000 Stags still registered as roadworthy, making it one of the most numerous British Leyland products to remain in ongoing use, especially when you compare it to the Austin Allegro's 291 survivors, Morris Marina's 674, and the Rover SD1's 310. The surviving Stags are mostly made up of cars that have had their original Triumph engines replaced by the Rover V8 to improve the performance and reliability. With a Rover V8 under the hood, this car is simply one of the best classic cars ever in my mind, a mixture of style, speed, performance and that wonderful rumble from under the bonnet. For the remainder still with the Twin Dolomite V8, most have been fixed by installing a proper cooling system and solving the corrosion issues. Today the Stags enjoy the popular life that British Leyland had envisaged for their luxury machines way back in 1970, 45 years late mind you but I suppose you can't have everything first time round!

Expedition 49 Preflight by NASA Johnson

nhq201609150023 (09/15/2016) --- Workers monitor the encapsulation of the Soyuz MS-02 spacecraft in its fairing on Thursday, Sept. 15, 2016 at the Baikonur Cosmodrome in Kazakhstan. Expedition 49 flight engineer Shane Kimbrough of NASA, flight engineer Andrey Borisenko of Roscosmos, and Soyuz commander Sergey Ryzhikov of Roscosmos are scheduled to launch to the International Space Station aboard the Soyuz MS-02 spacecraft from the Baikonur Cosmodrome. Photo Credit: (NASA/Victor Zelentsov)

Placenta Encapsulation by Northeast Doulas

Encapsulation: Atlas V EchoStar XIX by United Launch Alliance

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meter-diameter payload fairing in preparation for launch on a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance

Sentinel-1A encapsulation by European Space Agency

Sentinel-1A is encapsulated within the half-shells of the Soyuz rocket fairing. Liftoff from Europe’s spaceport in Kourou, French Guiana, is set for 3 April 2014.

Credit: ESA–B. v/d Elst

Placenta Encapsulation by Northeast Doulas

Atlas V WorldView-4 Encapsulation by United Launch Alliance

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DigitalGlobe’s WorldView-4 satellite is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch atop United Launch Atlas V rocket from Space Launch Complex-3 at Vandenberg Air Force Base, California. Photo credit: United Launch Alliance

Artemis I Orion by NASA Orion Spacecraft

Three spacecraft adapter jettison fairings are being prepared for installation and will be moved into place by technicians with Lockheed Martin, lead contractor for Orion. They will be secured around the spacecraft, encapsulating the European Service Module to protect it from the harsh environment as the spacecraft is propelled out of Earth’s atmosphere atop the Space Launch System (SLS) rocket during NASA’s Artemis I mission. The next time the solar array wings will be visible will be when Orion is in space. Artemis I will test the Orion spacecraft and SLS as an integrated system ahead of crewed flights to the Moon. Under the Artemis program, NASA will land the first woman and the next man on the Moon in 2024.

Image Credit: NASA / Radislav Sinyak

Palisaded and Encapsulated Neuroma by Ed Uthman

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This cute little benign tumor presented as a 3-mm skin-colored papule on the nose of a 44-year-old man.

Because desmoplastic melanomas can look so bland, I tend to treat spindle cell lesions from sun-exposed areas with disproportionate respect and attention. In this case, I ruled out melanoma because of 1) encapsulation, 2) lack of lymphoid response, 3) no evidence of neurotropism, and 4) no junctional/epidermal component. And even after all that, I still sent it to our dermatopathologist for his opinion!

Encapsulating Emotions by Nikki Frankis

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Skindred by Omar Lanzetti

Fonte Official Skindred web page :

The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.

Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.

With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.

“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”

“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”

In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.

“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”

On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.

“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”

While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.

“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”

“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”

Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…

“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”

“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”

Air Jordan 1 Mid SE Men’s Size 10 Cyber Active Fuchsia CZ9834-100 by Red Deals Online

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Nike, Air Jordan 1 Mid SE, Men’s Size 10, Cyber Active Fuchsia, White, Black, Cyber Pink, Active Fuchsia, CZ9834-100, UPC 00194496106688, 2019, Patent Leather Pastels, Synthetic leather upper, patent leather overlays, Air Jordan "Wings" logo stamp on heel counter, Mismatched Patent Leather Nike Swooshes, black patent leather eyelet and toe overlays, Active Fuchsia collars and heel overlays, “Cyber” green lateral Swooshes, green tongue liners, black-branded tongue tags, teal green insoles, white midsole, Black rubber outsole, lace up closure, Air Jordan Wings logo on the lateral side, Encapsulated Air-Sole unit, Padded tongue with JORDAN logo, NIKE swoosh, Cushioned inner sole, Traction rubber outsole, Jumpman woven tag, NBA, released in 1985, reddealsonline, sneaker collection, redd3413

GOES-T Preparing for Encapsulation by NOAA Satellites

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NOAA’s Geostationary Operational Environmental Satellite-T (GOES-T) is secured on a work stand inside the Astrotech Space Operations facility in Titusville, Florida, on Jan. 28, 2022, as it is being prepared for encapsulation in its fairing. The fairing will protect GOES-T on its ascent into orbit.

GOES-T is scheduled to launch on March 1, 2022, atop a United Launch Alliance (ULA) Atlas V 541 rocket from Space Launch Complex 41 at Cape Canaveral Space Force Station.

GOES-T, the third satellite in NOAA’s GOES-R Series, is scheduled to launch on March 1, 2022.

The GOES-R Series is the Western Hemisphere’s most advanced weather-observing and environmental monitoring system, helping to protect the one billion people who live and work in the Americas. GOES-T will provide high-definition imagery and atmospheric measurements, real-time mapping of lightning activity, and monitoring of space weather.

NASA’s Launch Services Program based at Kennedy Space Center in Florida will launch GOES-T for NOAA.

Photo credit: NASA/Kim Shiflett

Placenta Encapsulation by Northeast Doulas

Last view of ATV-4 by ESA_events

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Encapsulation of ATV-4 on 24 May 2013 in Kourou. Credit: ESA/D. Guyomard

Placenta Encapsulation by Northeast Doulas

Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future by Kevin Durkiin

via WordPress bit.ly/2UHUqTD

Sound Tribe Sector 9, more commonly known as STS9, began in Atlanta in 1996 in the midst of the rise of the mid-1990s “jam band” scene, but since their inception, there hasn’t been a category that fully encapsulated just what the band was about. And even though mixing a live band sound with electronic elements has become increasingly common on the festival scene, there still isn’t a band that is quite like STS9. When meeting up with the band I asked them about how they felt about the rise in having more live elements being introduced into EDM and if they felt like they were a big part of inspiring this wave.

“It seems as such.” replies a laughing Zach. “We feel grateful. A lot of our contemporaries from Pretty Lights, Bassnectar, The Glitch Mob and I think the list kind of goes on [have spoken about the inspiration STS9 had on their sound]. There’s a new artist every day saying kind of ’We do this because our first kind of gateway into this kind of world was STS9.’ So you know we feel very grateful and blessed to be a part of a movement.”

Movement, collection, tribe. These are the words that are used to describe the band. Throughout our interview they often refer to themselves as being a smaller part of a larger picture. The vision of STS9 and the way they see themselves and speak about their place in the world around them is very humble. Part of what has made this band almost impossible to categorize and definitely impossible to replicate is the band’s core belief of never categorizing themselves. While preparing for my interview, I came across the very first STS9 interview published. The interview (also with Zach and Jeffrey) was conducted by Bob Wiely after a show on Feb 26, 2000 and published by Surrender To The Flow magazine.

Bob Wiely: How do you feel about the term “Organic Techno” being used to describe your music?

Zach: I don’t think anything should really be labeled. I think it’s a good term in the fact that its not what we set out to do… but its kinda what has cosmically happened just through playing music and listening to the connection of it. I guess kinda organic techno, but I don’t know if I would use techno.

Jeffrey: It’s not bad, it doesn’t hurt me. It’s so much more then that… that’s just an element of it.

Bob Wiely: What would you label it?

Jeffrey: That’s hard, it’s different every night. Its true fusion I guess, without too many tags. It’s just whatever comes.

Zach: I have a hard time describing it. How would you describe it? It’s almost like classical music in the fact that we have songs that are 35 minutes long, like a lot of other “jam bands” and the fact that they are not so much jams but movements, understand? For example tonight we opened up with the second part of the last song. Everything is really interchangeable, like our song frequency. Labeling just turns me off. We read articles and people say just that “fusion, techno, blah blah blah¦” and we’ve not yet come up with what it is and can be instead of using other genres not that we are creating our own it’s like you have to go see it instead of just reading about it. We’re still working on our label I guess.

During our interview, as we began speaking about how their sound has been perceived and labeled over the years. Zach shared what he felt was the best description of their music ever told to him in an interview, “We still use this one to this day, if we’re talking retro. One of my favorite quotes from an interview was when an interviewer tried to explain [our sound] ‘Going to see STS9 is like driving down the road at a hundred miles an hour with your hair caught on fire.’ I can get that.”

And even though electronic music fans (perhaps more than fans of any other style of music) take pride in categorizing the music they are listening too and forming their own communities based on which of the genres they listen too, STS9 seems to be the exception to the rule.

Music isn’t the only medium in which STS9 has pushed the use of the available technology as it has evolved over the years. When it comes to the internet, the concept of social media and using technology to interact with their fans and help build connections amongst them STS9 was also way ahead of their time. Way before artist began using Facebook groups to create interactive fan clubs and even before MySpace was founded in 2003, STS9 used their website as a primitive social media platform. As early as 2000, STS9 fans could go to the band’s official webpage to connect with the tribe in a forum-like section of the webpage called: the Lowdown.

During my interview with Zach and Jeffrey, I set the intention of really reminding the band about the early days, get an idea of how they have changed throughout the years, and try to get a sneak-peak into how they may evolve in the future. Looking at the early editions of their website to now, one of the biggest changes seems to have come in the way the band presents itself to the world. As ahead of their time the band was, first glance of STS9’s website presents a lot of information and ideas that are fascinating and interesting, but ultimately distracting from the site’s role in promoting the band’s music.

Early on in the band’s career, STS9 was steadfast in presenting themselves as an artistic collective at the forefront of musical experimentation. The Mayan culture played a heavy part in the creation of this atmosphere. According to early editions of STS9’s website, the ancient Mayans thrived in the ninth sector of 13 in the middle of the Central American rain forest. While Europe was in the Dark Ages, the Mayan culture mapped the stars and calibrated harmonic frequencies to converge the Earth toward resonance. And it was this idea of harmonic frequencies that inspired Sound Tribe Sector 9.

A visit to the band’s official site today is a very different experience than it was in 2000. There are no references to the Mayan culture and perhaps more sadly, the Lowdown has been removed as well. When I asked Zach and Jeffrey about the links on their old site and if the Mayan’s still had a presence in their life and music, Zach and Jeffrey were both quick to jump in on the somewhat touchy subject with Zach saying “I mean yeah,” as Jeffrey simultaneously said “In its own way.” Zach and Jeffrey both took turns sharing their thoughts on the real influence the Mayan philosophy had on the band, and why it has taken a smaller role as time has passed. Jeffrey said, “I think it became less cultural and more planetary. [In the beginning] it was kind of our gateway into just trying to understand [our place in the world]. That influence was a part of our youth, and expression, and is still part of us. Just not as overt.”

Zach adds, “Yeah, I think it [the Mayan influences to their site and music] kind of originated because of the lunar calendar. The concept, not even really a concept, but the feeling [of the Mayan culture] was that idea of being more harmonious with planet Earth. And just to expand on what Jeffrey was saying, at that time in our youth we were kind of bombarded with ‘time is money.’ From management to record labels, [Every conversation was] ‘money, money, money.’ And the concept of harmonious ‘time is art’ and ‘use your time just to make art, be creative, and be authentic in that way.’ I think that that was the biggest takeaway and some of the resonance that we had with that whole thing.”

Jeffrey continuing his thought adds, “And being introduced to Jose Arguelles [founder of Planet Art Network and the Foundation for the Law of Time], getting to know him, and to have his samples in Artifact. So to have that connection was great … Honest answer, it [the Mayan influences] became such a big thing about what people are talking about. I think for us it became ‘Time is Art’ and that was the big takeaway. We spend our time creating. And [while that] was a big inspiration, to be so labeled and with a cultural thing… I think we just kind of took that to a more personal level. We want people talking about the music, and when you’re an original authentic band it’s hard for people to understand.” In order to clarify things, the band has made a concerted effort to make sure the music is the main focus: of the official website, the live shows, and even the conversation. “We promote the Tribe as art – that’s the vision,” Zach says. “We’re more inspired than we’ve ever been. It’s like a river, and when it flow’s it really flows. And right now we’re flowing.”

One thing hasn’t changed over the band’s 20 years of making and performing music, and that is the emphasis on not only creating art but creating art as a family. As a tribe. The band held their first ever festival, Wave Spell Live, in the small northern California town of Belden last August. During a solo DJ session, Zach brought a very special surprise guest artist to the stage. His daughter, Isis.

When asked if she would be joining them in the future Zach gave the enthusiastic answer, “Absolutely! Yeah. We have a lot of plans. A lot of plans. A lot of fun things. My daughter is fierce. It was actually her idea. I’m just the vessel for her right. To support her in her aspirations. It’s insane. She’s six. And the reason she didn’t come down [for the Los Angeles show] is she’s auditioning for Alice in Wonderland. She has a voice lesson two times a week, and then she’s in this program called All About Theater and she wants to be the Queen of Hearts. That’s her goal. She’s fierce. We’re trying to raise a strong child.”

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#WHOLESOME Isis Velmer stealing the show and hearts of everyone at Wave Spell Live. #STS9

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In spite of the exciting prospects on bringing his little girl into the STS9 fold, Zach isn’t unaware of the influence festival culture has and foresees a time when her presence in the scene probably won’t always be as innocent as jumping onstage and jamming with her father’s band. During the interview, Zach was laughing and began to cover his eyes with his hands as if to block out a future mental image when saying “She’s gonna be the 18-year-old at the festivals. Naked, hula hooping and someone’s going to be saying ‘she has a father’. And I’ll have to say ‘that’s me.’” And while Zach may not be looking forward to that particular scenario, the main thing I took away from the anecdote was that STS9 plans to stick around, creating art, and sharing the vision of the tribe for many years to come.

This article was first published on Your EDM. Source: Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future

Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future published first on soundwizreview.tumblr.com/

KSC-20241013-PH-SPX03_0001 by NASA Kennedy

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The Earth’s Moon appears with NASA’s Europa Clipper spacecraft encapsulated in a payload fairing atop SpaceX’s Heavy rocket at Launch Complex 39A on Sunday, Oct. 13, 2024, at the agency’s Kennedy Space Center in Florida. The Europa Clipper spacecraft will travel to Jupiter’s icy moon Europa to determine if there are conditions suitable for life beyond Earth. Photo credit: SpaceX

NASA image use policy.

1010 Latrobe Street, Melbourne by Iain

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With its striking visual façade, the 1010 LaTrobe Street building, completed in 2007, encapsulates the very spirit of innovation that the Digital Harbour precinct in Melbourne's Docklands area aims to harness. But it’s also the cutting edge internal design that helps create a truly unique and distinctive building.

From an architectural perspective, the 1010 LaTrobe Street building on La Trobe Street at Digital Harbour completely embodies the digital age.

Externally, the building’s striking façade references many of the themes and visual codes of our technological era. Offset precast concrete panels and solar glazed curtain walling allude to the visual language of circuit boards, bar codes, morse codes and binary numerals.

Internally, 1010 LaTrobe Street encapsulates the spirit of contemporary workplace culture. On a large footprint of 2,000+ sq m, the building is designed around flexibility and functionality, using open-planned spaces to facilitate easy technology upgrades, rapid space reconfiguration and to enhance cross-pollenation of ideas between tenants.

Award-winning architects Ashton Raggatt McDougall, who developed the overall urban design plan for Digital Harbour, are continuing the vision for the precinct in every facet of 1010 LaTrobe Street.

“Digital Harbour is designed to encourage informal interaction and collaboration, fostering a dynamic community that develops new ideas while crossing traditional boundaries,” says Howard Raggatt, Design Architect. “The precinct comprises active facades that employ cutting edge building technologies. The vision we have for Digital Harbour is to create much more than a place to anchor in the digital world.”

For example, the on-off perimeter wall system allows maximum flexibility of fit-out. And the building adopts a new approach for technology savvy companies, incorporating 3.6m high ceilings, exposed cable trays and services that make reconfiguring of spaces and upgrading of technology a relatively simple matter that can be done over a weekend.

1010 LaTrobe Street also benefits from a generous foyer that is anchored by a ground floor café – encouraging ‘time out’ to socialise and get to know other tenants. 1010 LaTrobe Street provides an environment that nurtures research and commercial development of innovative ideas.

The orientation of 1010 LaTrobe Street allows maximum energy efficiency, incorporating glazed curtain walls used to increase ambient light, and solar water heating systems. To minimise the environmental impact, the building has been constructed of materials with low toxicity and low embodied energy. Significantly, 1010 LaTrobe Street incorporates a closed loop black water treatment system to recycle all waste water.

Ashton Raggatt McDougall Project Architect, Jesse Judd, adds: “The overall design and construction process for 1010 LaTrobe Street has been remarkably smooth. There has been a clear focus on reducing energy demands. The primary design challenge was the orientation of the building towards the west, which required us to employ a double-glazed solar controlled curtain wall.

“On the rest of the façade our approach was to add thermal mass, using an alternating precast concrete panel system and glazed curtain wall. It creates that unique optical illusion on the outside of the building known as the Munsterberg Effect, which not only looks impressive but functionally has achieved the desired results.” - From the Digital Harbour website.

Bugatti Type 27 Brescia Torpedo - 1923 by Perico001

Chassis n° 1693

Motor n° 555

'Bugattis encapsulate concepts of engineering which, once seen, change your ideas radically and definitively. Drive them, and you realise that each car is form and engineering in equilibrium, and a work of art.' – William Stobbs, Les Grandes Routières.

By the early 1930s Ettore Bugatti had established an unrivalled reputation for building cars with outstanding performance on road or track; the world's greatest racing drivers enjoying countless successes aboard the Molsheim factory's products and often choosing them for their everyday transport.

The original Type 13 'Brescia' was developed from the first Bugatti to be built at Molsheim - the short-wheelbase Type 13 of 1910. Longer wheelbase Type 22 and Type 23 models were made, both of which used the single-overhead-camshaft, 16-valve, long-stroke engine that Ettore Bugatti had designed in 1914, and were built alongside 8-valve 'Petit Pur Sang' versions. First seen in 1919, the 16-valve car won at Le Mans in 1920 and took the name 'Brescia' following the factory's first four places at the 1921 Italian Grand Prix for Voiturettes, held at the eponymous racetrack in Lombardy. Some 2,000 Brescias were built between 1914 and 1926 with engine capacities of 1,368, 1,453 and 1,496cc.

The Bugatti Brescia was one of the outstanding small sports cars of its day, being able to cruise comfortably at around 100-110km/h while delivering surprisingly good fuel economy; indeed, a quarter-century later there were few 1½-litre cars capable of matching its performance.

The Bugatti Type 27 Brescia, as seen here, was essentially the same as the preceding Type 22/23, but with a more powerful 16-valve, 1,496cc engine producing 50bhp, some 10 horsepower more than before. This particular car was delivered to Le Claux in France on 15th May 1923 with the registration '3624 M3'. On June 13th 1924, Joseph Barrel of La Seyne sur Mer bought the Bugatti, which one week later was registered to one M Cordesse of 363 Rue Paradis in Marseille.

Between January 1925 and October 1926, the Brescia had a further five owners: Raoul Peralai of 98 Boulevard de la Madeleine in Marseille; Raymond Leon, Boulevard Roi Rene, Aix en Provence; Alphonse Pogalatti, 6 Cours Gambetta, Aix en Provence; Robert Mallet, Martigues; and Olivier Fernand, 6 Boulevard de la Republique in Salon de Provence.

Towards the end of the 1920s, the car was - reputedly - used for a hold-up in Le Bois de Boulogne, Paris. Apparently, the owner, together with an accomplice, would cruise Le Bois de Boulogne looking for potential lady victims. When a target was spotted, the accomplice would jump out of the car, grab the unfortunate woman's handbag, and jump in the back. Swift and nimble, the Brescia would have been the ideal getaway car for negotiating the dense Parisian traffic. From 13th June 1930, the registration was '8106 RB 9'.

In 1934, the Brescia was purchased by Louis François Arfeuille, maitre d'hôtel at Fouquets restaurant on the Champs Élysées, whose name is recorded on a plate fixed to the car. For the next 25 years, the Bugatti remained off the road in barn storage at Saint-Martial-le-Vieux in central France, concealed beneath layers of straw and earth. Reregistered as '457 00 AA 23', it was purchased in 1959 by Rene Moeuf and brought back to working condition that same year (see letter on file). Bugatti collectors, the Schlumpf brothers, went to see Moeuf and offered to buy the car for their Mulhouse collection for 800,000 French francs. The Schlumpfs' letter is available, and we are advised that there are three photographs of this car in the Bugatti Trust archive at Prescott.

Rene Moeuf must have declined their offer, for the car's next owner was Bruno Dalmas, who bought it in 1969 and kept it until 1977. On 12th March '77, Bruno Dalmas sold the car for 25,000 French francs to J P Oosterbaan of The Hague, Netherlands. The registration at this time was '457 AA 23', changing to 'AM-04-76' in the Netherlands. Mr Oosterbaan had restored two Morettis, and to pay the bill for the coachwork, he gave the Brescia to the coachbuilder, who sold it to Hugo Modderman at the beginning of 2006. Mr Modderman then had the Bugatti mechanically restored at Ventoux Moteurs Ingénierie (Laurent Rondoni) in Carpentras. This most fastidious restoration involved completely rebuilding engine, gearbox, brakes, coachwork, etc. Related invoices are on file and the car also comes with a Monegasque Carte Grise. While in the vendor's possession, the Brescia has successfully participated in numerous events run by the Dutch Bugatti Club (BCN), and in 2014 won the Preservation Class at the Schloss Bensberg Concours d'Élégance. A wonderful opportunity to acquire a well and original documented Brescia.

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 506.000

Estimated : € 380.000 - 540.000

Parijs - Paris

Frankrijk - France

February 2017

Placenta Encapsulation by Northeast Doulas

The Waiting Room / Domestic Violence Tableau by Topeka Library

DOMESTIC VIOLENCE TABLEAU

Invisible

Sheer domestic curtains slipcover, PVC ‘house’ armature

The Facts

Audio composition: actors read personal accounts of abuse

Chemical Healing (Bruise)

Lambda platinum print encapsulated in acrylic

Slip-away Suitcase

Modified vintage suitcase with upholstery, pockets and escape items

Surviving

Headphones; audio recordings and sound compositions: Under the Surface, I Want To Stop, Superman, The Best Choice, Life on Life’s Terms, Seeking Change

On entering the space, the first thing you see is a pattern…. or something…a colorful splotch. This is not an abstract painting, but a depiction of an actual bruise (or contusion) blown up to the average height of an American woman. This design contains drawings of (invisible) hemoglobin molecules layered over the blue, purple and yellow bruised skin colors we can see. To the side is an upended mattress, box springs exposed and filled with prayers and notes for victims of domestic violence. In front of the box spring, an open suitcase has one padded side to receive a broken, tilted table chair. Transparent pockets on the other side contain items counselors recommend that women considering leaving an abusive relationship keep hidden and packed, ready to go.

In the corner a fabric structure floats above a single chair, sort of like a roof, a tent, or maybe a kid’s fort. Enter the sheer, skin-like shelter, sit in the chair, put on the headphones and listen to stories based on recent interviews with survivors of abuse. Through translucent layers of domestic curtains, both the (vulnerable, half-exposed) sitter and the exterior space are murky, there but not there –as is the violence that so often occurs behind closed doors, keeping victims ‘invisible’-- even in plain sight.

Domestic violence is illegal, misconstrued, perpetuating, and sometimes fatal. It affects both women and men in all economic groups, ages, ethnicities and sexual orientations. It is particularly malicious as the physical and psychological injuries afflicted are from our most needed and trusted-- intimate partners and family members. While it can happen to anyone, most affected are women; roughly 1 in 4 women will be in an abusive relationship at some point in their lives. Women under 25 are at the highest risk, and most cases of domestic abuse remain unreported. Invisible.

Placenta Encapsulation by Northeast Doulas

KSC-20180423-PH_DNH01_0037 by NASA Kennedy

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Encapsulated in its payload fairing, NASA's Interior Exploration using Seismic Investigations, Geodesy and Heat Transport, or InSight, Mars lander is transported to Space Launch Complex 3 at Vandenberg Air Force Base in California. InSight will be the first mission to look deep beneath the Martian surface. It will study the planet's interior by measuring its heat output and listen for marsquakes. The spacecraft will use the seismic waves generated by marsquakes to develop a map of the planet’s deep interior. The resulting insight into Mars’ formation will provide a better understanding of how other rocky planets, including Earth, were created. InSight is scheduled for liftoff May 5, 2018.

Photo credit: USAF 30th Space Wing/Daniel Herrera