View allAll Photos Tagged Normalizes
These images show the joint distributions of cloud top temperature, particle size, and optical depth with relative humidity with respect to ice (RHic), all of which are calculated from AIRS. (A) Normalized frequency distributions of RHic binned into intervals of 10%. (B) Percentage of cases with specific humidity between 15-30 ppmv; instances with specific humidity <15 ppmv not included because of the insensitivity and unreliability of specific humidity in dry conditions. (C) RHic vs. cloud top temperature (K). (D) RHic vs. particle size (microns). These figures show that RHic tends to increase with decreasing cloud top temperature, increasing optical depth, and decreasing particle size. Even though the thin cirrus clouds are usually geometrically thinner than the vertical resolution of AIRS temperature and specific humidity, these results are consistent with those from some in situ campaigns and demonstrate the utility of AIRS to characterize joint distributions of humidity and cloud properties.
Citation
Kahn, B. H., Liang, C. K., Eldering, A., Gettelman, A., Yue, Q., and Liou, K. N.: Tropical thin cirrus and
relative humidity observed by the Atmospheric Infrared Sounder, Atmos. Chem. Phys., 8, 1501-1518, 2008.
______________________________________________________________________
About AIRS
The Atmospheric Infrared Sounder, AIRS, in conjunction with the Advanced Microwave Sounding Unit, AMSU, sense emitted infrared and microwave radiation from the Earth to provide a three-dimensional look at Earth's weather and climate. Working in tandem, the two instruments make simultaneous observations all the way down to the Earth's surface, even in the presence of heavy clouds. With more than 2,000 channels sensing different regions of the atmosphere, the system creates a global, 3-dimensional map of atmospheric temperature and humidity, cloud amounts and heights, greenhouse gas concentrations, and many other atmospheric phenomena. The AIRS and AMSU fly onboard NASA's Aqua spacecraft and are managed by the Jet Propulsion Laboratory, Pasadena, California, under contract to NASA. JPL is a division of the California Institute of Technology in Pasadena.
Credit
NASA/JPL AIRS Project
Download the image
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1) Right-click on the image. Click on a size next to "View all sizes".
2) Click on the "Actions" menu located above the image. Select "View all sizes".
Resources
Atmospheric Infrared Sounder web site
How to get the AIRS data
"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."
People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.
--
Erik Carver
Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.
Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.
His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).
Marisa Jahn
Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org
"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."
People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.
--
Erik Carver
Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.
Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.
His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).
Marisa Jahn
Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org
nymag.com/daily/intelligencer/2017/01/lessons-from-putins...
qrius.com/geography-shaped-russia/
Artomatic For The People, 2017
8 frame extended RGB (IR3, GRN, UV3 filter) image of Enceladus taken during the Rev 131 (E10) flyby on May 18, 2010. This mosaic is produced at a normalized spacecraft distance of ~19,000 km.
The surface of Enceladus is relatively colorless in visible light, but color variations can be seen when including portions of the ultraviolet and infrared. Tectonically active faults appear to be slicked with fresh ice, which appears bright blue in this color combination. These faults are numerous in the moon's heavily tectonized leading hemisphere. Dusty material spiralling in towards Saturn is also swept up onto the surface on this hemisphere, leading to the accumulation of material that is slightly reddish in color, lending a yellowish tinge to the parts of the moon facing forward in its orbit.
Image Credit: NASA / JPL / Cassini-ISS / Justin Cowart
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
Markings: GROSS KARL W, TUCSON ,Az
Serial Number 1002
Specifications (2007 Mooney M20TN Acclaim)
General characteristics
Crew: one pilot
Capacity: 3 passengers
Length: 26 ft 9 in (8.15 m)
Wingspan: 36 ft 5 in (11.1 m)
Height: 8 ft 4 in (2.5 m)
Wing area: 175.7 sq ft (16.3 m²)
Airfoil: NACA 63-215
Empty weight: 2370 lb (1074 kg)
Loaded weight: 3374 lb (1528 kg)
Useful load: 1004 lb (454 kg)
Max takeoff weight: 3374 lb (1528 kg)
Powerplant: 1× Continental Motors TSI0-550-G Turbo-normalized with twin turbo and dual intercoolers air-cooled, 6-cylinder, horizontally-opposed piston engine, 280 hp (171 kW)
Performance
Maximum speed: 242 knots (278 mph, 448 km/h)
Cruise speed: 237 knots (272 mph, 438 km/h)
Range: 1445 nm (std tanks) (1662 mi, 2676 km)
Service ceiling: 25,000 ft (7625 m)
Rate of climb: 1240 ft/min (378 m/min)
Wing loading: 19.2 lb/ft² (96 kg/m²)
Power/mass: 12.0 lb/hp (0.11 kW/kg)
The Mooney M20 is a family of high performance, piston-powered, propeller-driven general aviation aircraft, all featuring a low-wing and tricycle gear, manufactured by the Mooney Airplane Company.[2][3][4]
The "M20" was the twentieth design from Al Mooney, and his most successful. The M20 series was produced in many variations over the last 50 years, from the wooden wing M20 and M20A models of the 1950s,[4] to the M20TN Acclaim that debuted in the 21st century and is currently in production.
Variants
M20 and M20A
The original M20 (1955–1958) and the M20A (1958–1960) have wings made of wood and covered with cloth, but are otherwise similar to later all-metal models. With the M20A, the power was increased from the M20's 150 hp (110 kW) to 180 hp (130 kW).[5][4]
Early in the model's history there were several incidents of wooden tails breaking up in flight due to water damage and the resulting rot. Consequently, most tails have now been replaced with all-metal copies, as required by Mooney Service Bulletin M20-170A and the FAA Airworthiness Directive 86-19-10. Without the possibility of metal fatigue, the wooden wing has an indefinite life expectancy and is considered by some pilots provide a smoother ride in turbulence.[6][7]
The M20 received its type certification on 24 August 1955 with the M20A following on 13 February 1958.[8]
M20B
Mooney addressed the dwindling supply of woodworkers by switching to an all metal design in 1961 with the M20B. The all metal design added some weight and cost 5 to 8 knots (9 to 15 km/h) in top end speed versus the wood-wing models. There have been no reported in-flight breakups of all-metal M20s other than as a result of flight directly into a thunderstorm.[citation needed]
The M20B was type certified on 14 December 1960.[8]
M20C
An M20C Mark 21In 1962 Mooney made further incremental improvements in the M20C Ranger, produced between 1962–1978.[5][2]
The M20C was the last short body Mooney in production, with more M20Cs produced than any other Mooney model.[citation needed]
The M20C was type certified on 20 October 1961.[8]
M20D
In 1963 Mooney introduced the M20D Master,[5] essentially an M20C with fixed gear and a fixed-pitch propeller.[2][4]
The M20D was type certified on 15 October 1962.[8]
The aircraft was intended primarily for flight training and for owners seeking lower insurance rates.[citation needed]
The M20D lasted in production only until 1966. Most have now been converted to M20Cs for increased cruise speed and climb performance.[citation needed]
M20E
A very early production 1964 model Mooney M20E Super 21The first truly high performance Mooney, the M20E, was produced from 1964 to 1975 and marketed as the Chaparral and Super 21.[2][5]
The M20E was essentially an M20C with a more powerful 200 hp (150 kW) fuel-injected engine.[4] It was type certified on 04 September 1963.[8]
This short body Mooney still has the distinction of having the shortest takeoff runway requirement at lower elevations.[citation needed]
Turbocharging, which would maintain this performance at higher elevations, is available as an after-market option.[citation needed]
M20F & M20G
A Mooney M20F Executive in Gimli, Manitoba, May 1987
M20F Executive at Centennial AirportMooney stretched the fuselage and added a third fuselage side window for the first time with the M20F Executive 21, which was produced between 1966–1977.[5][2] The M20F is otherwise similar to the M20E.[4]
The M20G Statesman, produced 1968–1970, was a stretched M20C incorporating the carburated 180hp engine.[2] Many M20G owners later converted to the 200hp engine.[citation needed]
In 1969 Mooney made electrically-operated landing gear and flaps standard across all its aircraft. Prior to that, pilots extended and retracted the standard landing gear using a heavy metal Johnson bar. Electrically-extended landing gear was an option.[citation needed]
The M20F was type certified on 25 July 1965 with the M20G following on 13 November 1967.[8]
M20J
An M20J in Australia
Mooney M20J (VH-SPN) at Rottnest Island, Western AustraliaMooney hired Roy LoPresti to undertake an aerodynamic cleanup of the M20F, resulting in the 1977 model year debut of the M20J. The M20J was marketed under the name Mooney 201 because of its 201 mph (323 km/h) top speed in level flight. The M20J first flew in September, 1976 and was type certified on 27 September 1976.[5][2][4][8]
The improved aerodynamic shape and updated 200 hp (150 kW) engine made the M20J the second most popular variant of the M20 series, after the M20C. It is often used as a training aircraft for commercial pilots. It was originally designed as a private/commercial touring aircraft because of the high cruising speed and relatively low operational cost. This model was marketed as the Mooney 205. The J model had a long production run, lasting until 1998, thus ending the medium body M20 series.[citation needed]
M20K
Up through the M20J all Mooney M20s had four-cylinder Lycoming engines. After designing the M20J, Mooney modified the basic design to include a variety of more powerful six-cylinder engines, including some models with turbocharged engines. The first such design was the turbocharged M20K, which was produced between 1979–1998.[5][4]
The M20K was marketed as the Mooney 231. This model's Continental TSI0-360-GB engine was challenging to operate at acceptable engine temperatures, so by 1986 it was replaced with an intercooled engine, eliminating the temperature problems and achieving a top speed of 252 mph (406 km/h) in level flight (at FL 280). This variant was marketed as the Mooney 252.[5][2]
The M20K was type certified on 16 November 1978.[8]
M20L
In 1988 Mooney went to even greater lengths, partnering with Porsche to include their geared single-lever Porsche PFM 3200 N03 engine of 217 hp (162 kW) and stretching the fuselage the last time to produce the first long body M20. Most M20Ls no longer use this unique engine. M20L production ended in 1990. This model was marketed as the Mooney PFM.[5]
The M20L achieved type certification on 25 February 1988.[8]
M20M
The M20M (1989–2006) boosted output initially to 270 hp (200 kW) and was also turbocharged. The M20R (1994–) started at 280 hp (210 kW) and was normally aspirated. With minor changes in engine output (e.g. the M20S "Eagle") and various performance tweaks, these two basic models (both high power, both with long bodies, one with turbocharging) remain in production today as the "Bravo" and "Ovation".[5]
The M20M was type certified on 28 June 1989.[8]
M20R
Introduced in 1994, the M20R Ovation mated a long body fuselage to a Continental IO-550-G normally aspirated powerplant of 280 hp (210 kW). This model was named Flying Magazine's single-engine plane of the year in 1994.[5]
The M20R was type certified on 30 June 1994.[8]
M20S
The M20S Eagle was introduced in 199 and was powered by a Continental IO-550-G engine of 244 hp (182 kW). In 2001 the Eagle 2 was introduced. This model included such refinements as a 3-bladed propellor, a 100 lb (45 kg) gross weight increase and standard leather interior.[5]
The M20S was type certified on 07 February 1999.[8]
M20T
Mooney M20T Predator prototype, N20XT, on display at Sun 'n Fun 2006The M20T Predator, a canopy-equipped version of the basic M20 design powered by a Lycoming AEIO-540 engine, was Mooney's entrant in the USAF Enhanced Flight Screener competition. The prototype was built in 1991 and displayed in tiger-stripe paint scheme. The contract was won by the ill-fated Slingsby T-67 Firefly and the M20T was not developed or certified. The sole prototype, registered N20XT, was flown in the Experimental - Market Survey category and was still owned by Mooney Aircraft in 2008.[9][10][8]
Mooney M20TN AcclaimM20TN
The M20TN Acclaim is latest version of the M20 design, powered by a turbo-normalized Continental Motors TSI0-550-G powerplant with twin turbochargers and dual intercoolers. It was type certified on 15 October 2006.[8]
The Acclaim replaced the Mooney M20M Bravo in the current company product line.[11]
Mooney and Columbia Aircraft (now owned by Cessna) have frequently traded positions as producer of the fastest production single-engine piston aircraft. Currently, the Acclaim's 242 knot cruise speed at FL250[12][13] puts it ahead of the Cessna 400 (formerly known as the Columbia 400) and the turbo-charged version of the Cirrus SR22 GTS. The Cessna 400 is advertised has having a 235 kn (435 km/h) cruise speed, while the Cirrus SR22 GTS has a 220 kn (410 km/h) cruise, both attained at FL250. The Acclaim has retractable landing gear, while the Cessna and Cirrus both have fixed landing gear.
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Year of Yes: How to Dance It Out, Stand In the Sun and Be Your Own Person ―Shonda Rhimes, 2015
“There is no list of rules. There is one rule. The rule is: there are no rules. Happiness comes from living as you need to, as you want to. As your inner voice tells you to. Happiness comes from being who you actually are instead of who you think you are supposed to be. Being traditional is not traditional anymore. It’s funny that we still think of it that way. Normalize your lives, people. You don’t want a baby? Don’t have one. I don’t want to get married? I won’t. You want to live alone? Enjoy it. You want to love someone? Love someone. Don’t apologize. Don’t explain. Don’t ever feel less than. When you feel the need to apologize or explain who you are, it means the voice in your head is telling you the wrong story. Wipe the slate clean. And rewrite it. No fairy tales. Be your own narrator. And go for a happy ending. One foot in front of the other. You will make it.”
"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."
People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.
--
Erik Carver
Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.
Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.
His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).
Marisa Jahn
Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org
Post-Playtex Era Strong In Cullman
Chamber of Commerce weather greeted several dozen lactating women and their families at the Walmart Pavilion inside Heritage Park on Saturday morning.
The gathering celebrated the 4th annual BIG Latch On. This event ran from 10 am until noon.
Cullman County nursing mothers along with their husbands and other support members convened to breastfeed their babies in a supportive, lactation-friendly environment.
Ashley Wright, the lead organizer of this event, invited all area lactating moms as well as their friends, family, and community to come out and participate in the cause.
The BIG Latch On is an annual, global event that celebrates, promotes and supports breastfeeding.
The larger goal of the global BIG Latch On movement is to normalize breastfeeding.
There was a worldwide synchronization latch from 10:30 to 10:31 am Cullman time.
Groups of nursing moms and their supporters around the world either latched their babies, expressed milk or fed breast milk by spoon to their babies all at the same time across the world. It was a sacred, touching and profound moment at Heritage Park.
cullmantoday.com/2017/08/06/post-playtex-era-strong-in-cu...
as people try to normalized their daily routines,
for some it will take a longer time for normality to resume,
for some, life will never be the same,
some are deliberating on moving their homes to higher ground,
but all of us for sure are praying that another typhoon won't hit us this week again,
too much too soon...
- Clearly visible: Chlorophyll (II) spectrum (red) from the background
- Rod: Mixture of blue and chlorophyllic red (magenta)
- "Arms" in yellow and
- Blue for the ripe sporangae
Note: The excitation through the 365nm LED ist filtered with a sharp shortpass excitation filter at 400nm. Without this filter, all pictures would be superimposed with a violet fog.
Spectra measured with the following equipment:
Objective: Mitutoyo 100x NA 0.70, tube lense: 165mm (Thorlabs)
Illumination: UV (365nm)
Spectrometer: AvaSpec-2048 (Avantes)
Amplitudes normalized to respective peaks.
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
The 2020 EPI pollution emissions issue category includes the following indicators: sulfur dioxide (SO2) emission growth rate and nitrogen oxides (NOx) emission growth rate. All indicators and composite indices in the EPI are normalized as a 0–100 proximity-to-target score, with 100 representing "at target" and 0 being furthest from the target.
Captured at 11:30pm using 3X Barlow. Conditions were hot and humid, seeing slightly unstable.
Processed with Autostakert 2, best 80%. Normalize stack 80%, Sharpen Image with 25% raw image blend.
Minimal wavelet filtering with Registax 6. Adjustment layers and unsharp mask with Photoshop 7.
FireCapture v2.3 Settings
------------------------------------
Scope=Orion XT8-i
Camera=ZWO ASI034MC
Filter=CH4
Profile=Saturn
Diameter=17.14"
Magnitude=0.47
CMI=14.7° CMIII=115.4° (during mid of capture)
FocalLength=4540mm
Resolution=0.27"
Date=260714
Frames captured=831
ROI=288x288
Shutter=428.3ms
Gain=31
Date / Location: 12 July 2023 / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Optolong L-eXtreme Dual Bandpass
Processing Software: PixInsight
Processing Steps:
Up to and including the use of Star Xterminator to decompose the processed image into a Starless image and a Stars only image the steps are identical to the processing steps applied previously to create the IC 1396 image in www.flickr.com/photos/vasu-jagannathan/53041975750/in/alb....
The difference between the previous image and the present one is the elimination of the cumbersome steps of decomposing the RGB image into individual channels and recombining them with different weighting parameters as determined by experimentation. Instead, I used Narrowband Normalization and a Generalized Hyperbolic Stretch as follows:
Starless image > Color Calibration > Narrowband Normalization > HOO Palette > Create an H alpha file (using blend mode 2, default blend amount and an OIII boost of 0.500) and an OIII file (using mode 1, a blend amount of 0.650 and an OIII boost of 2.000).
Intensity Transformation > Generalized Hyperbolic Stretch > Apply to the H alpha file and the OIII file from above.
Pixel Math > 60% Stretched H alpha file + 40% Stretched OIII file.
Apply Curves Transformation to taste.
Use Pixel Math to combine the processed image from above with the Stars only Image to get a Rejoined Image.
Rejoined Image > Topaz DeNoise AI > Topaz Gigapixel AI.
Use Pixel Math to combine 25% of the Rejoined Image with 75% of the Topaz AI Image to get a final image.
Simple estimation of "desirability" of locations as the sum of factors (each normalized to be in [0,1]) corresponding to level of precipitation, deviation from 15 degrees temperature, closeness to the sea and local economy. The most desirale location was Tokyo. Other high-scoring places were California, Chile, south Australia, Osaka, Paris and the Namibian coast.
This is the less-detailed, overview graph of everything we listened to in 2009. The resolution is 1439x788; about 1 megapixel, versus the 27.7 megapixel detail graph.
Basically, the Top 15 bands I listened to in 2009 are graphed at 2 week intervals, and normalized so the shape is approximately rectangular. I then hand-edited the labels to make them easier to read.
Most of our music habits were influenced by the 10 shows bands we saw in 2009, and you can actually correlate the graph with the dates of the shows we went to. When we get tickets for a concert, we throw that band's discography into our playlists until the concert. When the concert is over, it comes out of the playlist. This is very visible on the graph.
Major concerts this year included:
Kreator
Nine Inch Nails/Jane's Addiction
The Church
KMFDM
Pixies
And yes, I realize that all 5 of those concerts are pretty much completely different genres. [The closest 2 bands are KMFDM and NIN.]
P.S. Forgive the January discontinuity; a Winamp upgrade made my www.last.fm/user/ClintJCL plugin stop working, and I had to start using their 3rd party utility to log my tracks. It took me 2-4 weeks to notice I wasn't logging my songs.
www.last.fm/user/ClintJCL, bands, chart, music graph.
music: Agent Orange. music: Alex Skolnick Trio. music: Gwar. music: Hanson Brothers. music: KMFDM. music: Kreator. music: Nine Inch Nails. music: NoFX. music: Pixies. music: Screeching Weasel. music: The Church. music: Tiamat. music: Ween. music: X-Ray Spex.
top 15.
December 31, 2009.
... Read my blog at ClintJCL.wordpress.com
... View KMFDM's official website at kmfdm.net/
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
Dus, zeggen wij, kom van die vlaktes af, en ga naar diep om te winnen. Once we were all sailors!
Looking at the sails on the ships: the sails were already lifting the boat a bit out off the water.
When we look at sailing ships on the river Nile, 4000 years ago, and war ships of the Vikings from the year 700 AD, and, so, the trade ships of the compagnies in the 14 - to the 19 th century: the sails are lifting the boat up.
And now comes the point, because trade ships, and war ships bearly sail half wind, but if they do, they fly at the same time. Yes, running away might have been done on the half wind's sailing course, perpendicular or, flat to the wind.
To get organized, we see that ships are build with respect to serve a country. Not for fun.
The steam machine was not for fun.
Only when the people were free, they invented the "other wheel" after the other in the forms of stable sailing, which is wind surfing and kite surfing, and using waves.
Using waves: is that an invention?
The wheel, was that an invention?
Those were here already, waiting to be discovered / found. We used trees. Without trees, no axles, no wheels. Who invented the tree? The same who invented the wheel, in fact.
Taking the momemtum out of the equation, and all is normalized. When action equals reaction, then we have defined the normalization between the two forces.
This is to the children, and also to the children hidden far away inside the hulls of grown ups: Stable sailing goes 700 km / hour along a special rails.
We have plenty of energy: we made a mess, luckily, because the wind and the sun are more and more powerfull every day.
For now, universities think that they have to judge.
Well, ask Galileo, what that judgement means. Nothing, in fact.
A round world is the same as stable sailing: Perfect, of course, but both not acknowledge at the time.
People, the energy problem is solved. Hydrogen is the new fuel, ever since hydrogen is liquified. The judges can not wind surf, and judge wind surfing from a capsizing sailing boat.
The slaves, to serve the rich. When slavery ended, then, we used the earth's natural sources as slaves. In fact, now the rich use nuclear power as slave.
All people can work. Only, then we have to get rid of the money and the slaves.
By not seeing the wind and the sun in our world, where 3 / 5 of the earth's surface is water and where on land are endlessly deserts with a lot of sun, the rich go to war for energy: the new slaves.
It is now a matter of calculating the amount of Windriaan turbines and the size of the Spailboat fleet.
Every body in the world can eat.
We can now build on the ground, so to speak. As we were building in a tree, so to speak.
How fast goes a wind surfer over a rail?
Well, we have to incentive correctly assume, that wind surfers make the most out of the wind in the half wind's sailing course. Wind mills also sail half wind, so to speak. Wind mills are flat to the wind, and wind surfers too. The speed they make, is therefor always the maximum speed to ever achieve.
Look, that is why sailing ships are not made for surfing alone. Well, I mentioned the flying types, and those were indeed able to fly. Assuming that the boat tacks means that getting maximum speed is leading to end up at the same point on sea. We go however very, very, fast. Energy.
E = M V ^2 / 2
Mass times the square value of the velocity of the mass divided by factor two is energy.
Just like after diner you go to sleep. And Energy is all we need. energy means water, and so, food, and trees, and plants, but also to the replacement of steel by oil, hemp and wood products, whereby the last two mentioned are products of the irrigation in the fromer deserts.
Around the killimanjarro can be made some wood. For instance.
The lift and the reaction are always looking to line with each other
when it is used, people just say yes, when they hear that the speed is high and the mass is enormous. Or, try to stop a rock, or a mountain, speeding at you? Energy is enjoying his parameters, and makes us hydrogen. Once hydrogen is used, it is there. Of course, what a crap, so, we klnow how to store the sun shine. Also sunshine can be transformed into hydrogen, and to be carried home in / by the wagons. but forst we bring water to the deserts for all means; with the gigantic wagons - with wheels 10 meter diameter or more -, driven by hydrogen.
and now, go to sleep. you just had diner.
"Wings are coming as falling from the sky."
Rock rolling from an endless hill is therefor like Spailing. Spailing is in fact wind surfing and wind surfing is, riding waves and using the wind. Well, if you were a rock falling, and you hade wings, would you spread your wings? Wings can track in the highest wind speed possible, 560 km / hour. holding is Spailing. Sure, this extreme high wind is wind not to comprehent with every day.
Spailing goes to 300 km / hour wind, for now.
In fact for now, the pilot version for 100 km / hour wind speed.
Blades go up to ten times faster than the wind speed.
are eventually for getting maximum speed out of the wind.
"Only the ends of conventional wind turbine blades are similar postioned with respect to the blades of wind surfers or turbo wind mills, respectively windriaan turines for hurricanes."
Stablizing the ends of the blades is done with the help of my father.
The new scientist, who can do every thing stands up.
This is why we need to focus on the future, for all times, by means of using the elements, in stead of short notice policy, leading to what ever.
Car making, et cetera, take away the scientists, the engineers. Make a good car. Let robots make them and put the force into making hydrogen propelled world, propelled by wind and sun, no matter where on earth. Set the engineers free for the planet.
Create a world in where the one can rise and shine, and takes care. I love to see a clean world made by the engineers, in stead of what ever.
Using storm with Spailboat is being in the rock that is falling, while being able to steer a little bit. But, the direction is one way. Spailing is the same thing. Only go half wind, only race, to avoid the dangers of the sea. wind surfing is reading the sea, first. Seen from an Albatros, flying over sea, counting the waves, using the thermals coming from the sea waves, practising the sea. Only by telling that the sea is patron, but you do not know what comes next. Maybe a big wave, maybe a smaller one. Spailboats go to avoid the big ones. Wind surfing is daring the waves, and avoiding the breakers. Please, knowledge about surfing first: Surfing is done in the pipeline of the wave. What is the use of riding pipelines in history? After all, wind surfing and kite surfing are flying as possible, while it is unbeleivable indeed how they mange to use the waves.
In plane words. Waves are making a very wide ramp. The Spailboat sails flat to wind and stays when possible in one particular point in the wave, the ramp, say, somewhere near the bottom, while going with enormous speed in the direction which is not to be seen from the cross section of the wave and the pipeline it makes. A fish will be sliced, when cut open by the spailboat, so fast as it goes between the waves.
It is like: Skating over ice. the skater goes forward, but his force is ut side ways. the ice tracks the skates. Without railing, one cannot speed skate. Spailing has also side ways forces, to be send forward, because of the walls of the water created buy the swords. Wheels for swords are like class cutters: they cut and prevent sideways drifting.
That is why spailing and wind surfing are like falling things. Wind force 12 bft might speed up the mill to 400 km / hour. That is the same speed of the rock falling out of the sky. Normal forces at work, in falling it is the gravity that pulls and in wind surfing is the wind speed, that says how fast it goes. The lift makes speed. The bigger the lift, the bigger the value of the speed. Normal. Using this normal transfer between the lift and blockage of it makes Spailboat.
A Spailboat knows, just what I knew, that if the blades are positioned just right, that we have compulsion. Using the compulsion makes me speed. Once in the racing course, let me check that wave, it seems, well, surfing it, makes more speed, and then I can fly.
Spailing is wind surfing on / at open oceans -no defraction or refreaction af wave patern!- , and is like riding from a permanent ramp. Why not propell a turbine? See pictures at beginning of this show.
We are specific in the need of energy, of spinning axles.
Kite surfers, and, they are also lifted a bit upwards by the position of the kites / sails.
The next step down the line concerning the usage of sails at the beginning of the 19th century, was, logically, to slant the mast, so that the line of the lift would be more and more corresponding / lining up with the mast. Lining up the lift with the mast, eventually to almost horizontal, is successfully eliminating the capsizing momentum.
We never came so far to slant the masts, with respect to deck, because the steammachine showed up. We left the wind and, consequently, we never came so far to let the mast originate from out a co-axial base. At the time, we did not have steel. Yes, we did have iron, but iron is not the same as steel. A co-axial origin for the mast was, at the time, not an option without steel. We did not have cog wheels from steel et cetera.
The wind came back in the 1950's, when windsurfing and catamarans were invented. The quest for speed returned in sailing world.
Now we have spailboat, a mechanized mix between wind - and kite surfing, with totall control over the remote from deck standing wings. This is not very special at all, however, the operating mechanisms are near deck, so that the SB is even stable without wind at all!
In order to proof that also stable compositions might be moved by wind, via the sails, I made a prototype of a, in a loop moving, wind surfer: the wooden Windriaan turbine. The test simply implied the question: Would the mass, that holds the sails / blades / wings, be moved by the wind?
You saw the ring with the blades spin, in the 11th frame of this show.
We have shown, that the mass to hold the sails firmly, still moves, and with that the road is broken open to make the Spailboat. SB do not need tracks, so that the formerly expensive parts are out.
SB operate in water and does not need rails. The Windriaan was just to show that stable compositions, with as mentioned consequence more mass for the construction, move by wind.
DA NANG, Vietnam (Aug. 12, 2010) Hospital Corpsman 2nd Class Joseph Smith, assigned to the guided-missile destroyer USS John S. McCain (DDG 56), performs a pre-surgery check on a patient during a medical civic action project at Da Nang hospital. John S. McCain is on a scheduled port visit to commemorate the 15th anniversary of the normalization of diplomatic relations between Vietnam and the United States. (U.S. Navy photo by Mass Communication Specialist 2nd Class Jessica Bidwell/Released)
Chief Petty Officer Jascha Janssen, a Navy counselor attached to Commander Task Force 72 comforts his sons Nathan, 9, and Lars, 1, as they prepare for their voluntary departure to the continental United States. Department of Defense has authorized eligible Misawa Air Base family members to voluntarily depart the northern Japanese-located military installation until conditions normalize in Japan. (U.S. Navy photo by Mass Communication Specialist 1st Class Jose Lopez Jr./Released)
Naval Air Facility Misawa
Date Taken:03.22.2011
Location:MISAWA, 2, JP
Related Photos: dvidshub.net/r/ylywaa
JODI JAECKS is the distinguished recipient of this week's Walter award for significant contributions to "normalizing" the human body.
Jaecks is a breast cancer survivor who underwent mastectomy surgery twice as the disease claimed parts of her body, but didn't conquer her spirit. She pursued swimming for exercise and to build stamina, but couldn't get a swimsuit to fit properly. Moreover, nerve endings in her doctored chest caused her pain when the suit tugged in the water.
Ms. Jaecks asked the Seattle Parks and Recreation department if she could swim topless in department pools and was initially told, "no." When her story made local headlines, the Parks and Recreation department reconsidered and said it would make an exception to its rule requiring "gender appropriate" swimwear.
Realizing that a sole exception will benefit her but leave other breast cancer survivors to potentially the same experience she endured, Ms. Jaeks is now pressing Seattle to change its rules on topless swimming for all who have had to undergo the surgeon's scalpel.
To Jodi Jaecks who overcame breast cancer and made us all rethink what is "appropriate" swim attire, this week's Walter is for you!
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
These sub-panels show differences in the characteristics of RHic histograms within thin cirrus clouds for different regions and time periods. (A) Normalized RHic distributions over the N. Indian Ocean and partitioned by year (2002-2006). (B) same as (A) except for the S. Indian Ocean. (C) Normalized RHic distributions for the tropical ocean average (±20 latitude) and for four sub-regions: the NH, SH, and N. and S. Indian Oceans. These histograms show that the variability from year to year is somewhat higher in the N. Indian Ocean versus the S. Indian Ocean, even though the total counts in the histograms are very similar. Furthermore, they also show that the North Indian Ocean tends to have 5-10% higher RHic compared to other regions. Whether this is caused by anthropogenic activity (e.g., aerosols) or controlled by the dynamics of the South Asian monsoon, or another cause is yet to be determined.
Citation
Kahn, B. H., Liang, C. K., Eldering, A., Gettelman, A., Yue, Q., and Liou, K. N.: Tropical thin cirrus and
relative humidity observed by the Atmospheric Infrared Sounder, Atmos. Chem. Phys., 8, 1501-1518, 2008.
______________________________________________________________________
About AIRS
The Atmospheric Infrared Sounder, AIRS, in conjunction with the Advanced Microwave Sounding Unit, AMSU, sense emitted infrared and microwave radiation from the Earth to provide a three-dimensional look at Earth's weather and climate. Working in tandem, the two instruments make simultaneous observations all the way down to the Earth's surface, even in the presence of heavy clouds. With more than 2,000 channels sensing different regions of the atmosphere, the system creates a global, 3-dimensional map of atmospheric temperature and humidity, cloud amounts and heights, greenhouse gas concentrations, and many other atmospheric phenomena. The AIRS and AMSU fly onboard NASA's Aqua spacecraft and are managed by the Jet Propulsion Laboratory, Pasadena, California, under contract to NASA. JPL is a division of the California Institute of Technology in Pasadena.
Credit
NASA/JPL AIRS Project
Download the image
Various sizes of the image are available, and there are two ways to download:
1) Right-click on the image. Click on a size next to "View all sizes".
2) Click on the "Actions" menu located above the image. Select "View all sizes".
Resources
Atmospheric Infrared Sounder web site
How to get the AIRS data
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
Oily skin with blackheads (acne) is the most common skin problem of youth. With the end of the transition age, most acne passes on its own, but some of this disease may persist until the age of 30 or even older. In this article we’ll discuss about acne causes, signs, treatment and natural home remedies.
Content of Article:
This terrible word acne – what does it mean?
What affects the appearance of acne?
What are the underlying causes of acne?
How to properly perform hardware care in the case of problem skin?
This Terrible Word Acne – What Does It Mean?
Adolescence (or, as it is also called, puberty) is very often characterized by oily problem skin, acne, and inflammatory formations. All these phenomena in cosmetology are called the word “acne”. Usually, with the normalization of the hormonal background, the disease disappears, but it is not uncommon for the problem of acne to persist throughout life. The most common manifestations of this problem are purulent inflammatory processes, acne, enlarged pores and comedones. Another danger is the consequences of the disease-scars, infiltrates, post-acne spots. In addition, the presence of acne is a serious cause of complexes, depression, and low self-esteem. That is why acne treatment should be timely and comprehensive, you can not let the situation take its course.
What Affects the Appearance of Acne?
The main cause of such a disease as acne is excessive production of sebum (sebum). In normal skin, the secretion of the sebaceous glands does not exceed a certain level, after which the fat is removed through the skin ducts to the surface of the skin. This is necessary to protect the upper layer of the skin from negative environmental factors: sun, dust, drying, etc. However, if the production of sebum exceeds the norm, a phenomenon known as “fatty seborrhea”occurs. This is mainly observed in the areas of the skin with the largest number of sebaceous glands – on the face, neck, back and chest.
Various forms of seborrhea are known, but most often you can find a mixed type of seborrhea, which is expressed in the appearance of an unsightly Shine on the surface of the skin, the expansion of the pores that remove the sebaceous secret. Due to improper functioning, the skin becomes thick in places, flaking appears, blood circulation worsens – the skin acquires an uncharacteristic bluish hue. In this case, the chemical composition of the sebaceous secretions may change, which leads to a deterioration of the sebaceous glands and ducts. The pores are forced to increase in diameter, and dirt accumulates in them, which leads to the formation of comedones and blackheads. Too much sebum is a medium for the development of harmful micro-organisms and bacteria, resulting in reduced skin protection, purulent pimples and inflammatory infiltrates.
As a rule, everyone has faced such an unpleasant phenomenon as oily skin, acne, but usually these phenomena pass by themselves and rarely become a serious problem. But if the process becomes a disease, then it is necessary to fully treat acne, both with a dermatologist and at home. To begin with, it is necessary to determine the causes of acne in order to fight the problem at the root.
What are the Underlying Causes of Acne?
An inherited factor that often causes acne the level of sebum production by the endocrine glands.
An imbalance of sex hormones, which is most intensively manifested in the transition age, but may be important during pregnancy, menopause.
Diseases of the digestive system, an irrational diet with an excess of sweet, fatty, spicy, overweight, a lack of vitamins and trace elements – all this can provoke the development of acne.
Reduced immunity due to various factors also leads to deterioration of the skin and sebaceous glands.
In case of severe course of the disease, complex treatment of acne is necessary, which is prescribed by a dermatocosmetologist. As prescribed, peels, ozonation, various types of sanding are performed, as well as various medications of a medicinal nature are taken.
If you detect a mild form of acne after consulting with a cosmetologist, you can combine both professional methods of acne treatment and home care. In this case, it is necessary to use anti-acne cosmetics in combination with hardware methods to combat acne. That is, it is necessary to properly care for the skin in order to prevent both the development of a severe degree of disease and to prevent negative consequences. The company “Constellation of Beauty” provides all the necessary tools and devices for competent and professional care of oily skin problems at home.
How to Care Skin Problem with Beauty Gadgets?
Stage 1: Preparation
To properly prepare the skin for subsequent cleansing, you need to use a steam sauna for the face to open the pores, soothe and moisturize the skin. Usually, a sauna for the face is equipped with a special container where liquid is poured, in addition to water, it can be herbal solutions. Steam saunas for home use Gezatone help to cope with deep cleansing of the skin, but they are not used for pustular inflammatory processes.
If heat exposure is contraindicated, you can replace the steaming stage with galvanic desincrustation. As a result of this galvanic cleansing, the pores open, and the sebum is better removed. In a home environment, it is not difficult to carry out such preparation for cleaning using portable home electroplating devices, such as m777 and M777 Gezatone. Positively charged ions remove spasm from the pores, normalize their diameter, split the sebum, contributing to easy skin cleansing.
Stage 2: Cleansing
For self-cleaning the skin at home, several methods can be used, let’s look at the most popular of them:
Brushing-brush cleaning of the skin, removes the upper keratinized layer of skin and removes dirt. This type of cleaning is ideal for mild acne, suitable for daily use, and can be combined with cosmetics.
Vacuum cleaning of the skin is a deep removal of dirt from the pores, which is much less traumatic than manual mechanical cleaning of the face. Vaccum does not stretch the skin, does not cause bruises and spots on the skin, does not require a recovery period. For home use, the optimal device is Super Wet Cleaner, which is easy to use and suitable for cleaning even adolescent skin. Immediately before the procedure, a cleanser can be applied to the skin to increase the effectiveness of the effect.
Ultrasonic peeling provides a delicate and deep cleaning of the pores using high-frequency vibrations. Thanks to this intensive action, the pores are completely cleared, the skin surface is freed from epithelial particles, and fat is emulsified. Ultrasonic skin cleaning can be performed at home using compact devices HS-2307I and Biosonic Kus-2000.
Stage 3: Skin Restoration
To relieve the skin from the effects of rashes, eliminate congestion and smooth out scars after acne, the ideal tool is ultrasonic massage. This anti-acne effect can be carried out by peeling devices switched to the micro-massage mode, or by special massage devices such as m355 SuperLifting, m115 Ultra-Tonic, M350 Super Sonic Gezatone. Intensive tissue massage guarantees a de-fibrous effect, which leads to the elimination of infiltrates, micro-scars, and resorption of scar tissue.
Stage 4: Anti-Inflammatory Therapy
Acne treatment and control of the consequences is impossible without local darsonvalization procedures. A course of procedures with darsonval increases blood circulation, restores the activity and diameter of the pores, reduces the production of sebaceous secretions, which leads to a stable and visible result. When exposed to darsonval currents on the skin, ozone is released, which inhibits the microbial flora, so that darsonvalization can be used even in acute inflammation.
Portable models of darsonvals are very convenient for individual use, acne treatment with their help becomes the most effective and efficient. The most convenient for regular use on the face, body and even hair is the Gezatone BT118 model with 4 attachments, which are designed for complex correction of acne, cellulite, varicose veins and many other problems.
Stage 5: Regular Cosmetic Care
Problematic, mixed skin needs full care, and it needs properly selected cosmetics. For procedures 2-3 times a week, Beauty Style cosmetic masks for problem skin are ideal. Anti-inflammatory masks “Pure Silver” and “Strawberry and sage” will not only relieve inflammation, but also perfectly moisturize the skin, restore its freshness and even tone.
The most important thing in the treatment of acne is to know the acne causes and apply a comprehensive approach, use different methods, and then the result will be obvious.
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The post Acne Causes, Signs, Treatment and Home Remedies appeared first on Acne Vulgaris.
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Gotye's "Somebody That I Used to Know", mean averaged and normalized over the entire video.
See more video amalgams here: www.flickr.com/photos/patdavid/sets/72157635597155264
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
Discovery STO - 70 Ton, Single Stage to Orbit Fixed Wing Aircraft - Space Plane - Hypersonic Plane, U-TBCC / Unified Turbine Based Combined Cycle & Aerospike
Iteration 1, Mach 8-10 in amtmosphere, 195ft long, Heavy Lift Single Stage To Orbit Fixed Wing Aircraft. 70 TONS, ie 140,000 LBS, 60 ft X 15ft X 15ft payload bay. Up in the Falcon Heavy and Delta IV class, except not $400 million to launch giant payloads into orbit, but below $250 per lbs, or about $28 million to launch giant payloads, and normalized orbital flight, as normal as a 737 commercial flight. Load up, refuel, take off in an afternoon. I estimate this aircraft would cost about $750 million each for space capable. In atmosphere commercial, roughly $300 million each for a 200 passenger M8-10 (not designed yet)
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www.ioaircraft.com/hypersonic/ranger.php
Drew Blair
www.linkedin.com/in/drew-b-25485312/
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Unified Turbine Based Combined Cycle. Current technologies and what Lockheed is trying to force on the Dept of Defense, for that low speed Mach 5 plane DOD gave them $1 billion to build and would disintegrate above Mach 5, is TBCC. 2 separate propulsion systems in the same airframe, which requires TWICE the airframe space to use.
Unified Turbine Based Combined Cycle is 1 propulsion system cutting that airframe deficit in half, and also able to operate above Mach 10 up to Mach 15 in atmosphere, and a simple nozzle modification allows for outside atmosphere rocket mode, ie orbital capable.
Additionally, Reaction Engines maximum air breather mode is Mach 4.5, above that it will explode in flight from internal pressures are too high to operate. Thus, must switch to non air breather rocket mode to operate in atmosphere in hypersonic velocities. Which as a result, makes it not feasible for anything practical. It also takes an immense amount of fuel to function.
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tbcc, glide breaker, fighter plane, hyperonic fighter, stealth fighter, boeing phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, office of naval research, defense advanced research project agency, defense science, missile defense agency, aerospike, vtol, vertical take off, air taxi, personal air vehicle, boeing go fly prize, go fly prize,
Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
16Days of Activism 2018 #HearMeToo | UN Women Indonesia
25 Indonesian influencers were participated in the video message to end violence against women. The video message was produced with the objective to encourage people to take action to end violence against women. In the video, the influencers encourage everyone to stand in solidarity with survivors, speak out, and take action to stop normalizing violence against women and girls. The video was published on the 25th November 2018 to mark 16 Days of Activism against Gender Based Violence.
Photo: UN Women/Putra Djohan
Yongsan students, teachers and administrators get into the rhythm of the new school year.
U.S. Army photo by Dan Thompson
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
Standards purchased for $1,274.68 with a weight of 2.7 pounds for a normalized cost per pound of public safety specifications of $472.10/pound. (The package includes ISO standards, so for those of you who are internationally-inclined that works out to 812.56 Euros per Kilogram.)
By contrast, Germanium costs $568.18/pound, but of course it is a non-renewable resource. Likewise, fresh black winter truffles retail for $400-$600/pound, but they taste better than paper.
This is the less-detailed, overview graph of everything we listened to in 2009. The resolution is 1560x619; Less than 1 megapixel, versus the 33 megapixel detail graph.
Basically, the Top 15 bands I listened to in 2008 are graphed at 2 week intervals, and normalized so the shape is approximately rectangular. I then hand-edited the labels to make them easier to read.
Most of our music habits were influenced by the 14 shows/15 bands we saw in 2008, and you can actually correlate the graph with the dates of the shows we went to. When we get tickets for a concert, we throw that band's discography into our playlists until the concert. When the concert is over, it comes out of the playlist.
Concerts this year included:
1/5: Ozzy/Rob Zombie
1/23: Ween
1/24: Marilyn Manson (full of douchebags</a? - I had to pour my drink on some bitch)
2/4: Voltaire
4/19: Sabbat (together again after 16 yrs) (review of show)
4/26: Ministry (final tour)
5/18: Type O Negative
6/26: Dethklok (review of show)
10/10: Freezepop (review of show)
10/24: NoFX
11/5: Sisters Of Mercy (review of show)
11/28: They Might Be Giants (review of show)
12/13: Gene Ween Band (review of show)
12/14: GWAR (review of show)
www.last.fm/user/ClintJCL, music graph.
music: Black Sabbath. music: Chemlab. music: D.O.A. music: Dethklok. music: Freezepop. music: Gwar. music: Marilyn Manson. music: Ministry. music: NoFX. music: Ozzy Osbourne. music: Sabbat. music: They Might Be Giants. music: Tiamat. music: Ween.
top 15.
December 31, 2008.
... Read my blog at ClintJCL.wordpress.com
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...
Full Feature in 9 Parts
American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.
Synopsis
Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.
PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.
The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.
Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.
Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.
Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.
Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.
The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.
Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.
Macklemore & Ryan Lewis' video for "Thrift Shop", mean averaged and normalized over the entire video.
See more video amalgams here: www.flickr.com/photos/patdavid/sets/72157635597155264