BLAST! is a feature-length documentary by Paul Devlin. The film follows a team of astrophysicists who launch a telescope, upon a high altitude balloon from northern Sweden and again from Antarctica. The film follows the crew of scientists as they travel on a search to answer humankind's most basic question, how did we get here? An approach rarely seen in science programming, BLAST! de-emphasizes talking-head interviews and dispenses with anonymous narration in favor of capturing the action as it happens. Through dynamic storytelling, BLAST! reveals the human side of scientific pursuit, the personal sacrifices of scientists and the philosophical perspectives of discovering the origins of the universe.
BLAST! premiered at Hot Docs on Tuesday, April 22, 2008. It is now playing at film festivals around the world. Festival screenings include:
Blast! is a Broadway production created by James Mason for Cook Group Incorporated, the director and organization formerly operating the Star of Indiana Drum and Bugle Corps. It was the 2001 Winner of the Tony Award for "Best Special Theatrical Event" and also won the 2001 Emmy Award for "Best Choreography".
Blast!'s instrumentation is exclusively brass and percussion, a nod to the show's roots in the drum and bugle corps activity. Blast!'s performers use trumpets, flugelhorns, mellophones, baritone horns, tubas, trombones (including one on a unicycle during "Gee, Officer Krupke!"), french horns, and a full complement of percussion instruments including snare drums, tenor drums, bass drums, xylophones. vibraphones and marimbas, timpani, and other standard percussion equipment. In addition, Blast! adds instruments not normally found in drum corps, such as French horns, concert euphoniums, trombones and bass trombones, didgeridoos and synthesizers. Accompanying the wind and percussion is the Visual Ensemble (or VE for short), a group of dancers who manipulate a variety of props, similar to a color guard.
The myeloblast is a unipotent stem cell, which will differentiate into one of the effectors of the granulocyte series. The stimulation by G-CSF and other cytokines triggers maturation, differentiation, proliferation and cell survival. It is found in the bone marrow.
These cells descend from the primitive reticulum cells, which are found in the stroma of the marrow. There is also an intermediate phase between the myeloblast and these primitive reticulum cell, namely the hemocytoblast. At this time several developing blood cell lines are available, like erythropoiesis and thrombopoiesis. The granulopoiesis is regulated by humoral agents, like colony-stimulating factor (CSF) and interleukin 3.
The myeloblasts reside extravascularly in the marrow. The hematopoiesis takes place in the extravascular cavities between the sinuses of the marrow. The wall of the sinuses is composed of two different types of cells, the endothelial cells and the adventitial reticular cells. The hemopoietic cells are aligned in cords or wedges between these sinuses, the myeloblasts and other granular progenitors are concentrated in the subcortical regions of these hemopoietic cords.
In Greek mythology, Medea (/mɪˈdiːə/; Greek: Μήδεια, Mēdeia, Georgian: მედეა, Medea) is a sorceress who was the daughter of King Aeëtes of Colchis, niece of Circe, granddaughter of the sun god Helios, and later wife to the hero Jason, with whom she had two children, Mermeros and Pheres. In Euripides's play Medea, Jason leaves Medea when Creon, king of Corinth, offers him his daughter, Glauce. The play tells of Medea avenging her husband's betrayal by killing their children.
The myths involving Jason have been interpreted as part of a class of myths that tell how the Hellenes of the distant heroic age, before the Trojan War, faced the challenges of the pre-Greek "Pelasgian" cultures of mainland Greece, the Aegean and Anatolia. Jason, Perseus, Theseus, and above all Heracles, are all "liminal" figures, poised on the threshold between the old world of shamans, chthonic earth deities, and the new Bronze Age Greek ways.
Medea figures in the myth of Jason and the Argonauts, a myth known best from a late literary version worked up by Apollonius of Rhodes in the 3rd century BC and called the Argonautica. However, for all its self-consciousness and researched archaic vocabulary, the late epic was based on very old, scattered materials. Medea is known in most stories as an enchantress and is often depicted as being a priestess of the goddess Hecate or a witch. The myth of Jason and Medea is very old, originally written around the time Hesiod wrote the Theogony. It was known to the composer of the Little Iliad, part of the Epic Cycle.
Medea, Op. 23, (1946–47) is a musical composition for ballet by American composer Samuel Barber. It was commissioned by the Ditson Fund of Columbia University for Martha Graham and was premiered on 10 May 1946, at Columbia University's McMillin Theater, New York City. It was originally called Serpent Heart, but the work was revised in 1947 and retitled Cave of the Heart. Costumes were designed by Edythe Gilfond and the set was created by Isamu Noguchi. The original cast list included Graham, Erick Hawkins, Yuriko, May O'Donnell, and other members of the Martha Graham Dance Company. Graham used the title Cave of the Heart for her ballet, but the composer preferred to use the original source of the idea, the Medea-Jason legend, as the title for the suite for full orchestra.
Neither Barber nor Graham desired to use the legend literally in the ballet. Instead, these mythical figures served rather to project psychological states of jealousy and vengeance which are timeless. The choreography and music were conceived, as it were, on two time levels, the ancient mythical and the contemporary. Medea and Jason first appear as godlike, super-human figures of the Greek tragedy. As the tension and conflict between them increases, they step out of their legendary roles from lime to time and become the modern man and woman, caught in the nets of jealousy and destructive love; and at the end resume their mythical quality. In both the dancing and music, archaic and contemporary idioms are used. Medea, in her final scene after the denouement, becomes once more the descendant of the sun.
A remotely operated underwater vehicle (ROV) is a tethered underwater mobile device. This meaning is different from remote control vehicles operating on land or in the air. ROVs are unoccupied, highly maneuverable, and operated by a crew aboard a vessel. They are common in deep water industries such as offshore hydrocarbon extraction. They are linked to a host ship by a neutrally buoyant tether or, often when working in rough conditions or in deeper water, a load-carrying umbilical cable is used along with a tether management system (TMS). The TMS is either a garage-like device which contains the ROV during lowering through the splash zone or, on larger work-class ROVs, a separate assembly which sits on top of the ROV. The purpose of the TMS is to lengthen and shorten the tether so the effect of cable drag where there are underwater currents is minimized. The umbilical cable is an armored cable that contains a group of electrical conductors and fiber optics that carry electric power, video, and data signals between the operator and the TMS. Where used, the TMS then relays the signals and power for the ROV down the tether cable. Once at the ROV, the electric power is distributed between the components of the ROV. However, in high-power applications, most of the electric power drives a high-power electric motor which drives a hydraulic pump. The pump is then used for propulsion and to power equipment such as torque tools and manipulator arms where electric motors would be too difficult to implement subsea. Most ROVs are equipped with at least a video camera and lights. Additional equipment is commonly added to expand the vehicle’s capabilities. These may include sonars, magnetometers, a still camera, a manipulator or cutting arm, water samplers, and instruments that measure water clarity, water temperature, water density, sound velocity, light penetration, and temperature.