View allAll Photos Tagged encapsulation,
The U.S. Air Force’s Global Positioning System (GPS) IIF-6 satellite is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch atop a United Launch Alliance Delta IV rocket. Photo credit: United Launch Alliance
This moment encapsulated Piers' character pretty well to me, so I'm really happy with this shot :)
At Unsensored 2010. Tri-X rated at 200 developed in XTol stock
Microscopic photo showing encapsulated lobulated lipomatous lesion with vascular congestion. The capsule is lined by benign mesothelial cells indicated by yellow arrows. H&E stain. Original magnification 10X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA
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The U.S. Air Force’s Global Positioning System (GPS) IIF-6 satellite is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch atop a United Launch Alliance Delta IV rocket. Photo credit: United Launch Alliance
The Wideband Global SATCOM-9 (WGS-9) spacecraft for the U.S. Air Force is encapsulated inside a 5-meter-diameter payload fairing in preparation for launch aboard a United Launch Alliance Delta IV rocket. Photo credit: United Launch Alliance
The National Reconnaissance Office’s NROL-35 satellite, encapsulated inside a 5-meter-diameter payload fairing, is transported and mated to its United Launch Alliance (ULA) Atlas V rocket in preparation for launch from Space Launch Complex-3 at Vandenberg Air Force Base, California. Photo credit: United Launch Alliance
A set of these antique Art Nouveau leaded panels were prepared for and encapsulated within new double glazed units .
Holme Valley Stained Glass is based in Holmfirth , near Huddersfield , West Yorkshire .
This shows the encapsulated underguide. The cover guide can be encapsulated in the side wall of the pool under the deck edge. The deck edge can formed by using a deck forming system or brick or stone can be installed over the encapsulation. Encapsulating the cover guide is the preferred method by many pool builders because it's ease of installation and service.
August 31, 2011 - Product Recall - Pure Encapsulations, Inc. Issues Allergy Alert On Undeclared Egg Allergen In Prenatal Nutrients. For additional information, please refer to the company issued press release available on FDA’s web site at www.fda.gov/Safety/Recalls/UCM270430.
The museum contains an interactive environment rich in history, while encapsulating the architecture and social history through its town centre location. The building is prominently located within the historic walled town of Ludlow, forming a key focal point at the head of Broad Street. The Buttercross occupies the main approach to the town centre from the south, forming a pivotal point on the dramatic spatial progression that leads from Ludford Bridge via Broadgate to the Ludlow Castle gates.
Ludlow is a market town in Shropshire. It sits near the confluence of the rivers Corve and Teme. The oldest part is the medieval walled town, founded in the late 11th century after the Norman conquest of England. It is centred on a small hill which lies on the eastern bank of a bend of the River Teme. Situated on this hill are Ludlow Castle and the parish church, St Laurence's, the largest in the county. From there the streets slope downward to the River Teme, and northward toward the River Corve. The town is in a sheltered spot beneath Mortimer Forest and the Clee Hills, which are clearly visible from the town.
Ludlow has nearly 500 listed buildings, including examples of medieval and Tudor-style half-timbered buildings. The town was described by Sir John Betjeman as "probably the loveliest town in England".
Shropshire (/ˈʃrɒpʃər, -ʃɪər/; alternatively Salop; abbreviated, in print only, Shrops; demonym Salopian /səˈloʊpiən/ sə-LOH-pee-ən, Welsh: Swydd Amwythig) is a county in England, bordering Wales to the west, Cheshire to the north, Staffordshire to the east, and Worcestershire and Herefordshire to the south. Shropshire Council was created in 2009, a unitary authority taking over from the previous county council and five district councils. The borough of Telford and Wrekin has been a separate unitary authority since 1998 but continues to be included in the ceremonial county.
The county's population and economy is centred on five towns: the county town of Shrewsbury, which is culturally and historically important and close to the centre of the county; Telford, a new town in the east which was constructed around a number of older towns, most notably Wellington, Dawley and Madeley, which is today the most populous; and Oswestry in the northwest, Bridgnorth just to the south of Telford, and Ludlow in the south. The county has many market towns, including Whitchurch in the north, Newport northeast of Telford and Market Drayton in the northeast of the county. Wikipedia
In the Spacecraft Assembly and Encapsulation Facility -2 (SAEF- 2), Chris Voorhees and Satish Krishnan from the Jet Propulsion Laboratory remove a microprobe which will hitchhike on the Mars Polar Lander. Scheduled to be launched Jan. 3, 1999, aboard a Delta II rocket, the solar-powered spacecraft is designed to touch down on the Martian surface near the northern-most boundary of the south pole in order to study the water cycle there. The lander also will help scientists learn more about climate change and current resources on Mars, studying such things as frost, dust, water vapor and condensates in the Martian atmosphere. The Mars microprobes, called Deep Space 2, are part of NASA's New Millennium Program. They will complement the climate-related scientific focus of the lander by demonstrating an advanced, rugged microlaser system for detecting subsurface water. Such data on polar subsurface water, in the form of ice, should help put limits on scientific projections for the global abundance of water on Mars. Image from NASA, originally appeared on this site: science.ksc.nasa.gov/gallery/photos/ Reposted by San Diego Air and Space Museum
Lobster "Encapsulated" Chevre Gnocchi
Paired with Alfred Gratien, Rosé Classique, Epernay Champagne, France, NV.
The Crystal Room
The Greenbrier
White Sulphur Springs, West Virginia
(September 4, 2012)
the ulterior epicure | Twitter | Facebook | Bonjwing Photography
Again, it was hard to do Markarth justice to encapsulate the whole city in one shot. It looked quite spectacular with the various mods and this ENB, not too mention the great work Bethesda did in designing this city.
DigitalGlobe’s WorldView-3 satellite is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch atop a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance
Microscopic photo showing encapsulated lobulated lipomatous lesion with vascular congestion. The capsule is lined by benign mesothelial cells indicated by yellow arrows. H&E stain. Original magnification 10X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA
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The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
Detail from MARTYRS OF THE CITIES OF THE PLAIN, the Masculine Gestalt. Center panel of the triptych with the song of Procrustes "Religion is the embrace of Procrustes," the words transcribed below:
Religion is the embrace of Procrustes. Encompassing belief resisting all compromise. Wrapping, binding, encapsulating, belief bred and succored on the beds of Procrustes. I am the embrace of Procrustes. Within me heats the heat of passion. Within me beats the heart of cults and cultures—nationalities & creeds. From me juts the phallic imperium. From me breathes the breath of fire. Burning consuming denying all that lies between. I am the embrace of Procrustes. The binding blinding embrace of Procrustes. Do not offend me.... All who lie within the embrace of Procrustes are warmed by his warmth. Radiating, penetrating, absolving heat of Procrustes. Would you deny yourself comfort? Absolution? Would you stand outside when you could be inside? Why? Do you enjoy pain? Loneliness? Confusion? To what end? Why do you search for what has been found? Come! That which you seek lies here—here within the embrace of Procrustes. Deep within the breast of Procrustes. Within his heart. Do not play the fool. Do not toy with Procrustes! By his embrace are all men known. He is a stern and jealous lover. What do you believe? What do you profess? To what do you adhere? What covenant defines you? Where is your allegiance? What binds you to Procrustes—to his embrace—to his beds...? What qualifies you, makes you worthy? Makes you worthy of the embrace of Procrustes—worthy of his bed? What gives you worth? What would you give for the embrace of Procrustes, his warmth...his breast...his breath? Would you deliver unto him the deaths of children not your children? Would you kill for his embrace? Would you kill those who do not conform to the contours of his embrace—your embrace—the embrace of Procrustes? And their children...and their children’s children? Would you destroy those who do not fit your embrace? Would you kill for the embrace of Procrustes? As you lie within my embrace, the embrace of Procrustes, can you feel my heat? My penetration? My passion? Lie close! Breathe the breath of my breath. Live the life of my life. Dream the dreams of my dream. Can you feel the heat? Lie still! Lie still! Lie close within the embracing heat of Procrustes. All that lies outside—outside the embracing heat—the embracing heat of Procrustes is your enemy. You must fear it as it fears you. Hate it as it hates you. Destroy it as it would destroy you. All that lies without the embracing heat of Procrustes is your enemy. Do not compromise! Do not compromise your embrace! Do not compromise the embrace of Procrustes! As you engage him so, too, does he engage you. With force, with purity. With fire. Believe! Do you love me? Do you love me? Would you kill for me? Would you die for me? Do you love me? Embrace me! Embrace the embrace of Procrustes! My passion is your virtue. My rage is your honor. My resolve is your redemption. Do you love me? Do you love me? Do you love? Do you fear me? Do you fear the wrath of the embrace of Procrustes? The strength of me...the heat of me.... As I embrace, so would I engulf. Do not provoke me. Do not tempt the wrath of Procrustes! Do not resist my embrace. Do you shun me? Would you shun me? Do you avoid the bed of Procrustes? Come! Let me inform you. Let me catalogue your desire. Come to the bed of Procrustes. Enjoin my embrace.... Confide in me. Confess to me. Come, let us conspire. Let us conspire on the bed of Procrustes. Come, let me inform you—conform and reform you, adjust and prepare you for my promises. To make you ready for my promises. Would you wear rags to a wedding? Come, let me prepare you for my promises. Do not shun me. Do not shun the embrace of Procrustes. Do not tempt the wrath of Procrustes. Come, let me prepare you. Let me cleanse you. Purify you. Wash away all question and doubt. Let me embrace you in the nakedness of your fear...of your weakness. Let me cleanse you. Let me adorn you. Let me tattoo the rhetoric of persuasion, indelible, unassailable rhetoric of persuasion. Let me adorn you. Let me clothe you in the armored plates of bigotry. Let me clothe you. Let me rivet your frailty with plates of burnished arrogance. Blinding, deflecting. Let me burnish your plates with arrogance. Let me clothe you in the armored plates of bigotry. Embrace me! Embrace the embrace of Procrustes.... Embrace me! I will create you in my image. In my image I will create you. Trimmed, stretched, and formed on the beds of Procrustes, you are my army. Created and creating army of Procrustes. As I create so, too, am I re-created re-creating embrace of Procrustes. Creating and re-creating embrace of Procrustes. As I live, so will you live. As I embrace you, so, too, am I embraced. Protected and protecting embrace of Procrustes—cloned and cloning embrace of Procrustes. By you through me will redress come. Through me, the final victory. Come! Join the army of Procrustes. Lie on his beds. Embrace his embrace. Would you be victorious? Let him clothe you. Let him uniform you. Let him make you uniform. Come, lie on the beds of Procrustes. Embrace his embrace. Let him razor your edges. Trim and razor your edges. Sharp. Sharp with hate. Let him make the edges—your edges—sharp with hate. Would you be victorious? Would you make uniform your edges with other edges? Would you join and enjoin the army of Procrustes? Joining your edges with other edges your hate with equal hate? Would you reshape them with your hate? Would you kill for the love of Procrustes? For his embrace? Would you create enemies? Would you create enemies on which to hone and preen your hate? Would you reshape them with your hate? Would you hate your enemy with the love of Procrustes? For the embrace of Procrustes—for his embrace...all serving, self-serving embrace...Come! Sing the songs of Procrustes. The creeds and cantos of Procrustes. Come, sing his song. Sing the songs of Procrustes. Hear my screed. Listen to the lyrics of Procrustes. The screed of Procrustes. Listen to my words. March to the songs of Procrustes. March to the beat. The heat of the songs of Procrustes. March to his heat. The beat of the heart of Procrustes. The embrace of Procrustes. The beating heat of Procrustes. March to his beat. Come, soldiers of light—soldiers of heat. Let the songs of Procrustes burn and sear. Those who would not share our beds, share the bed of Procrustes, will burn and sear. Let the songs of Procrustes burn and sear. Sing the song of Procrustes. Sing his songs. Crush the foes of Procrustes! Crush those who would not embrace his embrace. Who would not sing his songs or join the beat of his heart. Crush the foes of Procrustes! Crush his foes.... Honor him. Honor the embrace of Procrustes. Conform to his beds. Let him conform you to his beds. Lie. Lie on the bed of Procrustes. Embrace his embrace. Enjoin his laughter and his hunger. Lie. Lie on the bed of Procrustes. Lie on his bed.... Honor him! Lie on his bed. On his Bed. On his bed.
"MARTYRS OF THE CITIES OF THE PLAIN examines the First Holocaust. Based on the blue triangle that descends the back panel of PROCRUSTES IN SITU, the third section of the Trilogy concerns itself with the destruction of the cities Admah, Gomorrah, Sodom, and Zeboiim which the Old Testament attributes to the wrath of God. It examines the procrustean constrictions of patriarchy and the liberating challenge of feminine entelechy through the songs of Procrustes and the opposing chants of Chance, Being, and Desire. Masculine gestalt versus feminine insurrection." Robert Cremean
Collection:
Fresno Art Museum
Fresno, California
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The U.S. Air Force’s Global Positioning System (GPS) IIF-7 is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch on a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance
The Cuban National Schools of Arts, originally imagined by Fidel Castro and Che Guevara in 1961, are perhaps the largest architectural achievements of the Cuban Revolution. The innovative design of the schools, which aimed to bring cultural literacy to the nation, encapsulated the radical, utopian vision of the Revolution. Unfortunately, the nation’s idealistic enthusiasm lasted for a fleeting moment in time and the Schools quickly fell out of favor; they were left to decay before even being completed. Today, following nearly four decades of neglect, the architects have returned to try and bring these derelict schools to back to their intended glory.
The National Schools of Art were built on the grounds of a famed country club in Havana, thus transforming an emblem of wealth and capital into a tuition-free, educational institute. Castro commissioned Cuban architect Ricardo Porro, a Latin American modernist, who was then joined by two Italian architects, Vittorio Garatti and Roberto Gottardi; the three were given a mere two months to devise a plan for the Schools.
The architects were guided by three major principles: first, to integrate the schools into the varied, wild character of the site’s landscape; second, to use locally-produced bricks and terracotta tiles, which, following the US embargo on Cuba, were cheaper than imported materials such as steel and cement; and, thirdly, to use the Catalan Vault as the dominant architectural element, as its unique spatial formation would stand in bold contradiction to the geometrical, “capitalistic” architecture of the International Style.
A total of five schools were constructed: Modern Dance, Plastic Arts, Dramatic Arts, Music, and Ballet. All shared a similar approach to material and structure; however, each presented a different interpretation of the site and reflected its specific program. Garatti’s School of Music was a 330-meter serpentine structure, which followed the contour of the river, and was complemented by the Catalan Vaulted spaces and two vast concert and practice halls. Another design of Garatti’s was the School of Ballet, which consisted of a cluster of terracotta-covered, domed pavilions, between which wound intertwining paths that encouraged chance encounters within the complex.
Porro’s School of Dance presents a dynamic composition of non-rectilinear streets and courtyards that sprout from a central entry plaza, covered by fragmented glass sheets that are symbolic of the dramatic shatter of the previous regime. Porro took a different approach with the design of the School of Plastic Arts, which was inspired by the nation’s Cuban-African heritage and assumes an archetypical village structure made up of a series of oval-shaped pavilions of various sizes, connected with curved, shaded colonnades.
The school of Dramatic Arts, the only school designed by Roberto Gottard, contains a dominant, central amphitheatre. Cellular, inward-facing classrooms create a unique, intimate environment; in contrast, the exterior, punctured only by small, unshaded alley-like paths, gives the school a fortress-like appearance.
The enthusiasm that accompanied the schools' inception began to deteriorate with the Cuban Missile Crisis of 1962. The schools seemed out of scale with the Revolution: an extravagant, unnecessary use of resources. Furthermore, Cuba’s new ally, the communist Soviet Union, preferred anonymously pragmatic, functional architecture, which stood in striking contrast to the organically-inspired, craft-oriented, site-specific designs of Porro, Gottard and Garatti. The three architects were accused of promoting ideals of individual expression, branded as “bourgeois,” cultural elitists, and compelled to leave the country.
In July 1965, and despite the schools’ various stages of completion, construction came to a complete halt. In the years that followed, the schools became a haven for squatters and vandalizers; cattle and wild jungle vegetation soon took over the site. In addition, by the 1970s, people began to adapt the site, constructing prefabricated concrete dormitories as well as roads and paths, which answered pragmatic needs but disrupted the original design.
Changes began to unfold in 1999, when the American architect and historian John Loomis published a book titled Revolution of Forms, which brought the story of Cuba’s forgotten schools into international awareness. That same year in Cuba, José Villa, the chair of the National Council of the National Union of Cuban Writers and Artists, declared the Schools the most important architectural work of the Cuban Revolution.
At last, Castro’s personal attention was piqued and he declared that the time had come to restore the beloved project of his youth. The completion of the schools became a national mission, led by the Minister of Culture himself. Porro and Garatti were invited back to Havana, where they joined Gottard for a historical meeting in which they discussed the challenge of restoring their derelict masterpieces. As part of the plan,the world renowned architect Norman Foster was invited to redesign the school of Ballet; however, as of now, the Cuban government has paused the restoration due to the global financial crisis.
Mario Coyula, the architect in charge of preservation in Havana, aptly stated of the project: “In most cases, architecture must adapt itself to human need, but in cases of exceptional works of architecture, human need should adapt itself to architecture.”
From "arch daily" article of September 12, 2013 by Gili Merin
See: www.archdaily.com/427268/ad-classics-the-national-art-sch...
In the Spacecraft Assembly and Encapsulation Facility-2 (SAEF-2), the petals on the Mars Pathfinder lander are being closed for flight and won't open again until the lander has touched down on the Martian surface in July 1997. Tucked inside the compact lander are the Surveyor small rover, which will become the first vehicle to traverse the Martian surface, and the lander's Mars Pathfinder Imager, a stereo-imaging system camera that will capture images of both the surrounding terrain as well as the rover's excursions, and other instrumentation and equipment. The outside of the tetrahedral- shaped lander is padded with airbags that will help cushion the lander from the impact of landing. Once assembly of the entry vehicle is complete, it will be mated to the cruise stage that will carry Pathfinder on its direct trajectory to Mars, and then to an upper stage booster. The Mars Pathfinder is slated for launch aboard a Delta II expendable launch vehicle on Dec. 2 at the beginning of a 24-day launch period.
Image from NASA, originally appeared on this site: science.ksc.nasa.gov/gallery/photos/
Reposted by San Diego Air and Space Museum
A set of these antique Art Nouveau stained glass windows were prepared for and encapsulated within new double glazed units .
Holme Valley Stained Glass is based in Holmfirth , near Huddersfield , West Yorkshire .
Algae encapsulated with pH indicator solution. The pink halo indicates that photosynthesis has just started to take place
The U.S. Air Force’s Global Positioning System (GPS) IIF-6 satellite is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch atop a United Launch Alliance Delta IV rocket. Photo credit: United Launch Alliance
No single image can encapsulate Macau's mystique, but the ruined facade of St Paul's Cathedral comes pretty close. The Italian-designed hilltop cathedral was built by Japanese Christian exiles in the early 17th century, and even in ruins its grandiose scale is a stunning reminder of Macau's glorious past. The cathedral was all but destroyed by fire during a disastrous typhoon in 1835, which spared only the screen-like facade, mosaic floor and 66-step approach [www.istc.org]
For the repair of leaking lead or rubber gasket socket or flanged joints on water pipes while under pressure as, the encapsulation collar / muff can
be installed without turning off or
reducing the water pressure.
For use on ductile iron, cast iron,
cement, asbestos cement and steel
8 ft high, over 1 tonne in weight. 16 bottles of Stoli encapsulated in each. 5 blocks in total around Belfast.
Nike Air Force 1 Low '07 QS, Men’s Size 11, City Pride Toronto, Game Royal, Blue, Sail, Football Grey, Mystic Green, AH8462- 401, UPC 00193147634884, 2019 City Pride pack, 2019, MLB’s Toronto Blue Jays, baseball theme, baseball-esque stitching on the tongue, classic leather upper, Green sock liner, Nike Swoosh on the sides, special-edition Air Force 1 colorway, bright blue on nylon ankle heel area, green insole, tongue features red baseball stitching, Polyester textile tongue, encapsulated Air Sole unit, Perforated toe box for ventilation, Padded collar, Foam midsole, Nike Air unit for lightweight cushioning, Pivot points in the forefoot, Non-marking rubber outsole for durable traction, iconic AF-1 silhouette
Nike Air Force 1 Low '07 QS, Men’s Size 11, City Pride Toronto, Game Royal, Blue, Sail, Football Grey, Mystic Green, AH8462- 401, UPC 00193147634884, 2019 City Pride pack, 2019, MLB’s Toronto Blue Jays, baseball theme, baseball-esque stitching on the tongue, classic leather upper, Green sock liner, Nike Swoosh on the sides, special-edition Air Force 1 colorway, bright blue on nylon ankle heel area, green insole, tongue features red baseball stitching, Polyester textile tongue, encapsulated Air Sole unit, Perforated toe box for ventilation, Padded collar, Foam midsole, Nike Air unit for lightweight cushioning, Pivot points in the forefoot, Non-marking rubber outsole for durable traction, iconic AF-1 silhouette
Microscopic photo showing encapsulated lobulated lipomatous lesion with vascular congestion. The capsule is lined by benign mesothelial cells indicated by yellow arrows. H&E stain. Original magnification 10X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA
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DigitalGlobe’s WorldView-3 satellite is encapsulated inside a 4-meter-diameter payload fairing in preparation for launch atop a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance
Nike Air Force 1 Low '07 QS, Men’s Size 11, City Pride Toronto, Game Royal, Blue, Sail, Football Grey, Mystic Green, AH8462- 401, UPC 00193147634884, 2019 City Pride pack, 2019, MLB’s Toronto Blue Jays, baseball theme, baseball-esque stitching on the tongue, classic leather upper, Green sock liner, Nike Swoosh on the sides, special-edition Air Force 1 colorway, bright blue on nylon ankle heel area, green insole, tongue features red baseball stitching, Polyester textile tongue, encapsulated Air Sole unit, Perforated toe box for ventilation, Padded collar, Foam midsole, Nike Air unit for lightweight cushioning, Pivot points in the forefoot, Non-marking rubber outsole for durable traction, iconic AF-1 silhouette
Nike Air Force 1 Low '07 QS, Men’s Size 11, City Pride Toronto, Game Royal, Blue, Sail, Football Grey, Mystic Green, AH8462- 401, UPC 00193147634884, 2019 City Pride pack, 2019, MLB’s Toronto Blue Jays, baseball theme, baseball-esque stitching on the tongue, classic leather upper, Green sock liner, Nike Swoosh on the sides, special-edition Air Force 1 colorway, bright blue on nylon ankle heel area, green insole, tongue features red baseball stitching, Polyester textile tongue, encapsulated Air Sole unit, Perforated toe box for ventilation, Padded collar, Foam midsole, Nike Air unit for lightweight cushioning, Pivot points in the forefoot, Non-marking rubber outsole for durable traction, iconic AF-1 silhouette