Podcast appearances and mentions of Michael Stearns

It's been almost 50 years since 1978, when the influential English recording artist and producer BRIAN ENO—in a historic bit of cultural appropriation—took the name “ambient” for an emerging genre of atmospheric contemporary music, and started an independent record label to publish it. The approach had been evolving since the early 20th century in artistic and experimental music circles, including impressionism, avant garde, electronic, psycho-acoustic soundscapes, new age, and minimalism. If there was a common element in these diverse genres, it was an emphasis on tone, texture, atmosphere, and spatial sound images, over traditional musical theory and structure. The genre was unusually open to influences from slow, quiet music from other cultures and historical eras, where it found hypnotic repetitions, psychoactive fractal patterns, modal drones, and consonant harmony. In time, modern listeners also came to appreciate the therapeutic power of ambient music to manage stress, enhance concentration, and support meditative and spiritual experience. Today, a new generation of dedicated ambient composers are creating new music of great subtlety and power. On this transmission of Hearts of Space, therapeutic ambient for unpredictable times, on a program called "RESTORATION." Music is by DAVID HELPLING & ERIC "THE" TAYLOR, MICHAEL STEARNS & CHRISTIAN HALTEN, ISHQ, MATTHEW STEWART, ANDREW HEATH, and STEVE ROACH. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

La existencia de Marte como un objeto errante en el cielo nocturno fue registrada por antiguos astrónomos egipcios. En el segundo milenio a. C. estaban familiarizados con el aparente movimiento retrógrado del planeta, que parece moverse en dirección opuesta a través del cielo. En el período del Imperio neobabilónico, los astrónomos realizaban observaciones sistemáticas de las posiciones y el comportamiento de los planetas. Sabían que Marte realiza 37 períodos sinódicos, o 42 circuitos del zodíaco cada 79 años. Los babilonios inventaron métodos aritméticos para realizar pequeñas correcciones a las posiciones predichas de los planetas. Los registros chinos sobre las apariciones y movimientos de Marte aparecieron antes de la fundación de la dinastía Zhou (1045 a. C.). Durante la dinastía Qin (221 a. C.) los astrónomos mantuvieron registros cercanos de las conjunciones planetarias, incluidas las de Marte. Las ocultaciones de Marte por Venus se observaron en los años 368, 375 y 405.​ El período y el movimiento de la órbita del planeta fue conocido en detalle durante la dinastía Tang (618 a. C.). La temprana astronomía de la Antigua Grecia fue influenciada por el conocimiento transmitido de la cultura mesopotámica. Los babilonios asociaron a Marte con Nergal, su dios de la guerra, y los griegos conectaron al planeta con su dios de la guerra, Ares. Los griegos usaron la palabra planēton para referirse a los siete cuerpos celestes que se movían con respecto a las estrellas de fondo y tenían una visión geocéntrica del firmamento, es decir, consideraban que estos cuerpos se movían alrededor de la Tierra. Aristóteles, estudioso de Platón, observó una ocultación de Marte por la Luna en 365 a. C. De esta observación concluyó que Marte está más alejado de la Tierra que la Luna. En el Egipto romano durante el siglo II d. C., Claudio Ptolomeo trató de abordar el problema del movimiento orbital de Marte. Las observaciones de Marte habían mostrado que el planeta parecía moverse un 40% más rápido en un lado de su órbita que en el otro. Esto entraba en conflicto con el modelo aristotélico del movimiento uniforme. Ptolomeo modificó el modelo del movimiento planetario añadiendo un punto desplazado desde el centro de la órbita circular del planeta alrededor del cual el planeta se mueve a una velocidad uniforme de rotación. Propuso que el orden de los planetas, al aumentar la distancia, era: la Luna, Mercurio, Venus, Sol, Marte, Júpiter, Saturno y las estrellas fijas.​ El modelo de Ptolomeo se convirtió en el tratado autoritario sobre la astronomía occidental durante los catorce siglos siguientes. En 1543, Nicolás Copérnico publicó un modelo heliocéntrico en su obra De Revolutionibus Orbium Coelestium. Este enfoque colocó a la Tierra en una órbita alrededor del Sol entre las órbitas circulares de Venus y Marte. Su modelo explicó con éxito por qué los planetas Marte, Júpiter y Saturno estaban en el lado opuesto del cielo desde el Sol cuando estaban en medio de sus movimientos retrógrados. Copérnico fue capaz de ordenar a los planetas en su orden heliocéntrico de forma correcta basado únicamente en el período de sus órbitas alrededor del Sol. El 13 de octubre de 1590, el astrónomo alemán Michael Maestlin observó una ocultación de Marte por Venus.​ Uno de sus alumnos, Johannes Kepler, rápidamente se convirtió en un seguidor del sistema copernicano. Tras la finalización de su educación, Kepler se convirtió en asistente del noble y astrónomo danés Tycho Brahe. Al no conseguir encajar el movimiento de Marte en una órbita circular como requería Copérnico, Kepler logró equiparar las observaciones de Tycho asumiendo que la órbita era una elipse y el Sol estaba localizado en uno de los focos. Su modelo se convirtió en la base de las leyes de Kepler del movimiento planetario, publicadas en su trabajo Epitome Astronomiae Copernicanae entre 1615 y 1621. Marte es demasiado pequeño para poder verlo a simple vista.​ Galileo Galilei fue la primera persona que utilizó un telescopio para realizar observaciones astronómicas y comenzó a observar Marte en septiembre de 1610.​ Este instrumento era demasiado primitivo para mostrar cualquier detalle superficial en el planeta,​ por lo que se fijó el objetivo de ver si Marte exhibía fases de oscuridad parcial similar a Venus o la Luna. La primera persona en dibujar un mapa de Marte que mostraba características del terreno fue el astrónomo holandés Christiaan Huygens. El 28 de noviembre de 1659 hizo una ilustración de Marte que mostró la región oscura distinta, conocida ahora como Syrtis Major, y posiblemente una de las capas polares.​ El mismo año logró medir el período de rotación del planeta, calculando aproximadamente 24 horas.​ Hizo una estimación aproximada del diámetro de Marte, suponiendo que es aproximadamente el 60% del tamaño de la Tierra, lo cual se acerca al valor moderno del 53%. El italiano Giovanni Cassini fue probablemente el primero en mencionar la capa polar sur de Marte, en 1666. En ese mismo año, utilizó observaciones de las marcas de superficie en Marte para determinar un período de rotación de 24 horas 40 minutos. Esto difiere del valor actualmente aceptado en menos de tres minutos. En 1672, Huygens observó un casquillo blanco borroso en el polo norte. El astrónomo británico de origen alemán Sir William Herschel comenzó a hacer observaciones del planeta Marte en 1777. En 1781, estimó el período de rotación de Marte en 24 horas 39 minutos y 21,67 segundos y midió la inclinación axial de los polos en 28,5°. Eno/Moebius/Roedelius, Ben Prunty, Martin Stürtzer, Rene de Bakker, Star Sounds Orchestra, yttriphie, Michael Neil, Brannan Lane & Davis Branch, David Helpling & Eric "the" Taylor, Christian Halten & Michael Stearns, Erik Wøllo. 🎧 El playlist detallado: lostfrontier.org/space.html#1050.

The worlds of DC and Sonic the Hedgehog collide, and David & Grant are here for it. This week we're sans Bo but joined by friends Michael Stearns and Abby Denton, who add a dash of chaos to the proceedings.For more Abby: GamerMom Kickstarter!For more Michael: His projects!Send us Mailbag Questions! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SonicWeeklyPodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more David: ⁠⁠⁠⁠⁠⁠⁠Sonic Retro!⁠⁠⁠⁠⁠⁠⁠For more Bo: ⁠⁠⁠⁠⁠⁠⁠⁠Rings of Saturn!⁠⁠⁠⁠⁠⁠⁠⁠For more Grant:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bluesky!⁠⁠⁠⁠⁠⁠⁠For more Smoovies: ⁠⁠⁠⁠⁠⁠⁠⁠⁠FTCR!⁠⁠⁠⁠⁠⁠⁠⁠For more Sonic Weekly: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube!⁠⁠⁠⁠⁠⁠⁠Special thanks to⁠⁠⁠⁠⁠⁠⁠ JACK OF OLD GAMES⁠⁠⁠⁠⁠⁠⁠ for the video capture and to Smoovies for the edit!EXTRA Special Thanks to our Executive Producers Sonikku, Kal Belgarion, PigDan, Pabsy , SavingThrows, and AltSynth!If you enjoy the show, consider ⁠⁠⁠⁠⁠⁠⁠DONATING TO OUR KOFI⁠⁠⁠⁠⁠⁠⁠ to become an EP!

In this episode of our podcast, we dive into the future of roofing marketing and explore what 2025 has in store for the industry. From emerging digital trends to the latest tools and strategies, we cover everything roofing businesses need to know to stay ahead of the competition.Learn more about Michael Stearns at; https://ascenddigitalexperts.comSubscribe to our page for more home services content / resources. Book a call with us: http://calendly.com/sydneeolsen/30minOur Website: https://hookagency.com/Connect with Tim on FaceBook: https://www.facebook.com/invigoratedOur meme page: https://www.instagram.com/roofermemes/DIY Website / SEO guide: https://youtube.com/playlist?list=PLaGuWc-oMSAr_vhmT-TgFkLYyC0Uikmcf&si=8-ocEQ9G5Xw2vznR#roofing #roofingcontractor #roofingmarketing #marketing #contractor #homeservices #hvac #plumbing #contractorindustry #constructionindustry #homeservicesbusiness #businessgrowth

In good times, life moves swiftly, with little time for reflection. Warnings of impending disaster may go unheeded — until it's too late: confusion and chaos rule the day. In stormy times, the wise remain calm, even when the world around them is in turmoil. Turbulence may destroy structures that lack a firm foundation, but this is necessary to build stronger ones. In nature and in society, excess must be corrected. Destruction...is also a path to renewal. On this transmission of Hearts of Space, an electro-ambient journey for turbulent times called INTO THE STORM. Music is by MARCONI UNION, ADHAM SHAIKH & TIM FLOYD, MICHAEL STEARNS, DAN BARRIO, RUBEN GARCIA, IAN BODDY, PHILIPPE EMANUEL GEUBLE, and KIT WATKINS. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

We mostly focus on Sega's launch line-up for the Dreamcast on that fateful day of September 9th, 1999, which was one of the biggest console launches in history, up until that point, arguably, supposedly. Listen, we all love the Dreamcast, including our returning guest Michael Stearns, but are we blinded by orange spiraled nostalgia? Find out! For more Michael: ⁠Twitter! For more Bo: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rings of Saturn!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more David: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sonic Retro!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more Grant: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter!⁠⁠ For more Sonic Weekly: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube!⁠⁠⁠⁠⁠ Special thanks to ⁠⁠⁠⁠⁠Jack of Old Games⁠⁠⁠⁠⁠ for the video capture. If you enjoy the show, consider ⁠⁠⁠⁠⁠⁠donating to our Kofi⁠⁠⁠⁠⁠⁠ and receive a custom gift from us!

Solénoïde (17.06.2024) - Préparez-vous à plonger dans un chaudron de sonorités psychédéliques, où vagues tourbillonnantes, boucles bourdonnantes et nappes planantes se mêlent à des distorsions et réverbérations envoûtantes ! Pas besoin de substances psychotropes – cette playliste gorgée de nutriments auditifs vous fera découvrir l'Extasie dans toute sa splendeur ! Durant un peu plus de 50 minutes, explorez de nouvelles zones de ce royaume virtuel, entre les Etats-Unis et l'Australie, sur des routes sinueuses balisées d'électro hybrides, free rock et néo-tribales ! Un périple hypnotique qui promet des figures brouillées et des moments aliénés.

Welcome to Aquarium Drunkard Transmissions. This week on the show, direct from his desert studio on the US/Mexico border south of Tucson: synth music pioneer Steve Roach.  As a kid in Costa Mesa, he became entranced with motorsports, prog rock, and kosmische musik by Klaus Schulze, Tangerine Dream, and other Berlin school fusionists. In 1984, he released his landmark third album, Structures from Silence. Record stores filed it in the new age section, where it sold like hotcakes. But as far as Roach was concerned, it was simply his take on the electronic music that fascinated him, with a humanistic touch: it's pace mimicked the pulse of human breath. Roach has maintained a steady flow of music ever since. This year, Roach and his longtime label Projekt released a 40th anniversary version of Structures. It was quickly followed by Reflections in Repose, a live set performed,  composed and recorded in Baja Arizona in late 2023. Add to that production on Serena Gabriel's The Saffron Sky and a three-night stint at Hotel Congress in Tucson, May 29th, 30th, and 31st, where he'll be joined by fellow synth lifers Robert Rich and Michael Stearns, and you can see why it's a miracle he time to join us for this episode, dedicated to discussing his creative process, learning to go with your own flow, and his lifelong sonic journey.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. For heads, by heads. Aquarium Drunkard is powered by our members. Keep the servers humming and help us continue doing it by subscribing to our online music magazine. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard Join us next week for a conversation with Jeff Tweedy of Wilco, who joins to discuss the Solid Sound festival, his literary work, and his vast songbook.

In the 1950s and 60s, the new sounds of electronic music emerged from academic laboratories in Europe and the United States. The motivations were self-consciously experimental, artistic, and technical. In Cologne, Germany, one great innovator was the powerful theorist and teacher KARLHEINZ STOCKHAUSEN. One of his surprising early discoveries was that unlike acoustic instruments, abstract electronic sounds seemed to create the impression of cosmic space. "In my imagination," Stockhausen said, "I can fly anywhere—to the stars—use the music as a flying device, to unify with the cosmic forces. I think it's important that...we are instruments ourselves, and that cosmic vibrations create sounds through us." It was the beginning of what we now call Electronic Spacemusic. Today, inexpensive instruments and recording software allow anyone to create electronic music, and the sounds of space are all around us — in music and film, games and video. On this transmission of Hearts of Space, another cosmic-electronic journey, on a program called STARSCAPES. Music is by VANGELIS, MICHAEL STEARNS, DAVE LUXTON, JIM OTTOWAY, JONN SERRIE, and JAJA (JANA ROCKSTROH). [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

You can't imagine inflation when our government puts an end to the Consumerist Economy...... and it may have to after damaging the Natural World. The evidence is overwhelming: Record heat across the globe has sparked wild fires in Greece, Spain, Morroco, Algeria, the United States, Canada and numerous other countries. You're wrong if you think the profits we make will protect us. We don't have a future without a balance in the Natural World. Our Consumerist Economy demands we get more. We've damaged the one thing that sustains us and we thought AI could. MUSIC Vic Mizzy, Mario Nascimbene, Michael Stearns, Franz Waxman

David & Grant are joined by game developers Jandê Saavedra Farias and Michael Stearns for a discussion of the 1997 racing game, Sonic R. Check out Jorel's Brother and the Most Important Game of the Galaxy Check out Sky Racket Check out Tiny Barbarian DX Edit provided by our friend Smoovies. Thanks Smoovies!

Portland-based PROJEKT RECORDS  home to Thanatos, Steve Roach, Aurelio Voltaire, Black Tape For A Blue Girl, Lycia, Erik Wøllo and many more, celebrates PROJEKT RECORDS' 40TH ANNIVERSARY. Over the years, a two-genre approach has consistently covered both the electronic/ambient and goth/darkwave realms. Projekt's noteworthy and boundary-pushing darkwave acts established the label in the 90's as the American counterpart to England's famed 4AD. Lycia, Love Spirals Downwards, Lovesliescrushing and the aforementioned Black Tape For A Blue Girl each pioneered their own unique Darkwave sound. During the label's heyday in the dark genres from 1992-1997, Lycia toured withType O Negative, counting Peter Steele as one of the label's biggest fans. Voltaire's 1998 Projekt debut, The Devil's Bris remains a classic of the genre. Projekt released more than 75 Steve Roach titles (two were even Grammy-nominated), is reissuing Michael Stearns' classic catalog, and released an LP of 1995's beloved dark Christmas album Excelsis which warranted multiple sequels, Unto Ashes & Thanatos continue to release new music as well. With over 67 million tracks streamed in 2022, their roster grows with a biweekly schedule of new and classic titles adding to the 650+ albums. I spoke to musician, composer and founder SAM ROSENTHAL and SHEA HOVEY (Projekt's dedicated and long time Promotion Assistant )who also has helped Projekt thrive throughout the decades where so many other labels have perished. To this day Projekt continues to nurture the careers of its highly select roster of artists. Congratulations Projekt Records 40th Anniversary and many more !https://www.projekt.comYou can also watch the  interview on my YouTube channel : "Interview With DJ Nocturna : https://www.youtube.com/c/DJNocturnaPlaylist and podcast: https://djnocturna.comListen weekly every Saturday  : http://modsnapradio.comQUEEN OF WANDS with DJ Nocturna Every Saturday on Modsnap Radio  KMOD: San Antonio2pm (HST), 5pm (PST), 6pm (MST), 7pm (CST), 8pm (EST)#samrosenthal, #sheahovey,  #ProjektRecords

Between 1964 and 1966, Stearns served in Vietnam and Japan as a photographer while on active duty in the U.S. Navy. Following his time in the service, he was a partner in a ceramics studio, Opus ll, where he taught ceramics as well as drawing and painting.Stearns was a fire captain and paramedic with the Los Angeles County Fire Department from 1967 to 1988 and was a consultant on the television show Emergency!Michael studied at California State University at Los AngelesIn 2002 he opened Gallery 33 in Long Beach, California. It exhibited artists such as Lori LaMont, Todd Brainard, Richard Lopez, Elizabeth Washburn, Adam Normandin and Roderick Briggs. The gallery closed in 2008.In 2012 he moved his studio and gallery to San Pedro, under the name Michael Stearns Studio 347 and later to Michael Stearns Studio at the LOFT.As a sculptor Michael works with cardboard and newspaper as a way to bring nature and urban society together. In Michael's artist statement, he explains how his work exemplifies his spirit. It reads in part:"In my work I dig deep into the origin of life and explore the universal questions; how did we arrive and what is the force driving this existence?I strive also to invite the observer into this place of examination.As a painter, I work with organic shapes and mostly bold colors to intensify the imagery. In my sculptures I incorporate natural materials along with urban components, creating communication out of discord."https://www.michaelstearnsstudio.com/ 

Game developer Michael Stearns (Tiny Barbarian) joins us for a chaotic chat about Sonic's family members. Email us: sonicweeklypodcast@gmail.com.

Join ContractorCoachPRO Head Coach and the Host of Contractor Radio, Jim Johnson as he talks with Michael Stearns from Ascend Marketing about marketing to create what Michael has coined "the social snowball effect" within your organization.Get a Free Assessment of your business here: https://bit.ly/CTR-podcastFollow us on social media!Facebook: https://www.facebook.com/contractorcoachproYoutube: https://www.youtube.com/c/ContractorCoachPROInstagram: https://www.instagram.com/contractorcoachproLinkedIn: https://www.linkedin.com/company/contractorcoachproPodcast Facebook: https://www.facebook.com/contractorradioTOP REP Facebook: https://www.facebook.com/topreptrainingThe host of Contractor Radio, Jim Johnson, is also a best selling author! Get his book here so you can get control, grow and achieve freedom: Click Here for Contractor's Blueprint

1983…the year before the infamous 1984. Seems lifetimes ago, doesn't it? But that was the year that a syndicated music program called Hearts of Space began to appear on public radio stations around the U.S. And that means that 2023 is the 40th anniversary of the national program! I'm STEPHEN HILL, producer of Hearts of Space, and I was taught that if something was worth doing, not only was it worth doing well, it was worth doing for a long time. That, and the support of my colleagues, hundreds of stations, thousands of artists, and millions of listeners like you—has kept us going all this time. To mark our 40th year, we're rebroadcasting program number One, 'FIRST FLIGHT' from January 1983. It's a perfect example of the open-minded, multi-genre, multi-cultural sonic integration of contemporary Ambient, Space, and Contemplative music. On our premiere program we featured music by a group of artists who became familiar names in the Hearts of Space pantheon of composers: KITARO, VANGELIS & IRENE PAPPAS, THOMAS DE HARTMANN, MICHAEL STEARNS, DEUTER, PAUL LLOYD WARNER & STEVEN KINDLER, CHARLES LLOYD, and DAVID DARLING. It's a journey across time...and space. FIRST FLIGHT...on this hour...of HEARTS OF SPACE. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

For over 60 years Michael Stearns has been discovering and exploring the world of and through sound. He is an ambient music composer and performer, film composer, sound designer and soundtrack producer for theatrical films, documentaries, large format films, commercials and themed attractions. His award winning scores to Ron Fricke's non-verbal global film masterpieces “Chronos”, “Baraka” and “Samsara” have played to audiences around the world.Michael's music has been used by Laserium, NASA, and choreographed by the Berkshire Ballet. Through his soundtrack production company, Michael Stearns Productions, he has created the soundtracks to Universal's “Back To The Future, The Ride” and Paramount's “Star Trek, The Experience.”David and Michael look back ... and forward ... over Michael's expansive career.

Here's some encouragement to be in local FB groups, how to find them, and get free leads by scaling your customers into them for referrals. We also discuss ethics and leadership, should you use charity in marketing, and other free ways to get leads. Ascend's Website: https://ascenddigitalexperts.com/Hook's Website: https://hookagency.com

Tras el lanzamiento de las sondas soviéticas Mariner y Venera a principios de los años '60, y de las Pioneer Venus y Venera 11 a 16 a finales de los '70 y principios de los '80, y de las Vega 1 y 2 en 1985, el 4 de mayo de 1989 fue puesta en órbita terrestre la sonda estadounidense Magallanes lanzada a bordo del transbordador Atlantis hasta el momento en que el motor de su etapa superior inercial le diera el empuje necesario para ubicarla en una trayectoria de transferencia a Venus. El 10 de agosto de 1990 Magallanes llegó a Venus y empezó a tomar imágenes en radar. Cada día completaba 7'3 órbitas de imágenes en franjas que cubrían entre 20 y 25 kilómetros de ancho y unos 70.000 km de largo. La cobertura de todo el planeta requirió de 1.800 franjas de imágenes que fueron debidamente combinadas en un mosaico para recrear una imagen coherente. Las primeras imágenes de Venus fueron recibidas el 16 de agosto de 1990. El primer ciclo de mapeo duró 243 días terrestres y concluyó el 15 de mayo de 1991 habiendo mapeado el 84% de la superficie de Venus. Durante este tiempo realizó mediciones conjuntas con la sonda Pioneer Venus, que todavía permanecía operativa, hasta que finalmente agotó su combustible de maniobra, momento en el que perdió su orientación. En agosto de 1992, la Pioneer Venus cayó en la atmósfera de Venus y se destruyó. Tras la primera etapa de mapeo se continuó con el Ciclo 2, que se extendió hasta el 15 de enero de 1992. En este segundo ciclo, el mapeo de la superficie fue hecho con una inclinación de observación derecha para compensar la inclinación izquierda utilizada durante el Ciclo 1. Estas técnicas de observación radar hicieron posible determinar la altura de ciertos patrones geográficos. El Ciclo 3 debía finalizar el 14 de septiembre de 1992, pero su conclusión tuvo que adelantarse un día debido a problemas con el equipo de a bordo. En total se logró una cobertura radar del 98% de la superficie de Venus con el 22% de las imágenes en estéreo. Las imágenes proporcionadas por la sonda Magallanes son las más nítidas que tenemos de Venus y su número es mayor a las producidas por todas las sondas anteriores. El Ciclo 5 se dedicó a la recopilación de datos de gravedad y concluyó el 24 de mayo de 1993. Los Ciclos 5 y 6 se dedicaron a recoger datos de gravedad con mayor precisión; para conseguirlo, hubo que situar la sonda en una órbita más baja. La órbita segura más baja en Venus se encuentra a unos 200 km sobre la superficie. La sonda redujo su velocidad por la fricción con la atmósfera de manera que empezó a ser atraída por la gravedad del planeta. Esta maniobra se llevó a cabo desde el final del Ciclo 4 hasta principios de agosto de 1993. Se había programado que la sonda entrara en la atmósfera de Venus el 12 de octubre de 1994 para estudiar su dinámica. Ese día los controladores en la Tierra perdieron el contacto. Se dio por hecho que Magallanes se había desintegrado en la atmósfera de Venus pudiendo haber alcanzado algunas partes la superficie del planeta. Tangent, Jeff Greinke, Wings of an Angel, ATŌMI, Michael Stearns, Solar Fields, Stellardrone, Thomas Newman, José Manuel Guerra, AstroPilot & Spacecraft, Joseph Loibant. El playlist detallado con enlaces a las audiciones íntegras de cada album: lostfrontier.org/episodios/2022/990.

Autumn brings transformations both subtle and powerful. The shadows lengthen as the focus of the sun moves south below the equator. Here in the Northern Hemisphere, we now experience rapid seasonal climate change on top of slow global climate change. It's a transition marked by familiar changes in temperature, color, and activity in the natural world, disrupted by increasingly extreme weather events. For ambient musicians, it's a time for complex tone colors burnished with glints of silver and gold, bittersweet harmonies, descending progressions, and gently melancholy emotions. On this transmission of HEARTS of SPACE, we transition to the darkening electro-acoustic soundscapes of autumn, on a program called SHADOWLANDS 2. Music is by MYCHAEL DANNA & TIM CLÉMENT, STEVE ROACH & MICHAEL STEARNS, MIGUEL NOYA, CLIFF MARTINEZ, ALEX HAAS, and LISA BELLA DONNA. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

This is Episode 44 of ‘To Etherea and Beyond'. The show broadcasts on Harrogate Community Radio at 9am Sunday 25th September, and is then available via the station's Listen Again button, and everywhere else here: https://ssyncc.com/toethereaandbeyond Titled ‘Atmospheres for Autumn', it features music by: Rival Consoles, Myna Cycles, Mount Forel, CASTLEBEAT, Holy Loaf, She's In Parties, Clem Leek, Dark Sky, Nonkeen, Peter Broderick, Fyfe, North Americans, Rachika Nayar, Ernest Hood, Indian Wells, Dark Sky, Manami, Martinou, Kuedo, Plaid, Seahawks, Tom Rogerson, Brian Eno, Russian Circles, Michael Stearns, and Hello Meteor. This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

The timeless sound of prehistoric hand drums, brought to the present with space-defining ambient electronics. In the 1980s, elements of ancient indigenous music were embraced by electronic musicians searching for an earthy, vital sound to balance the dematerialized tones of electronic instruments, ground the atmospheric soundscapes of ambient, and gain the power of ritual experience. The genre was originally termed “Techno-Tribal,” but as the Techno label became associated with electronic dance music, it was renamed “Tribal Ambient.” Today, the period of discovery is long over, but a core group of electro-acoustic artists with a taste for psychedelic experience and a talent for rhythm, continue to refine the sound and release new albums. On this transmission of HEARTS of SPACE, another report from the creative intersection of tribal rhythms and ambient electronics, on a program called TRIBAL AMBIENT REVISITED. Music is by BYRON METCALF, FRORE & SHANE MORRIS, STEVE ROACH & MICHAEL STEARNS, SERENA GABRIEL, BIFF JOHNSON, and REMANENCE. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

We were lucky enough to get Michael Stearns, owner and founder of Ascend Digital Agency, on the show! Michael helps ASCEND roofing companies by building their brand, getting more calls, and generating more leads. Michael talks directly to you, the roofing company owners, on how to maximize your marketing strategy. Plus - join him as he plays a competitive round of “Who Wants To Be a Roofing Millionaire” with some Buffalo Bills trivia!

SEO is slow. It sucks... but then it's frickin awesome! Here's how to speed it up, or at least – everything we've experimented with. We're all trying to find ways to make it happen.

El 1 de marzo de 1966, la sonda soviética Venera 3 se estrelló deliberadamente en Venus, convirtiéndose en la primera nave espacial en alcanzar la superficie de otro planeta. La cápsula de descenso de la Venera 4 entró en la atmósfera de Venus el 18 de octubre de 1967. La Venera 4 fue la primera sonda en transmitir datos medidos directamente en otro planeta. La cápsula midió temperaturas, presiones, densidades y realizó once experimentos químicos para analizar la atmósfera. Sus datos mostraban un 95% de dióxido de carbono y, en combinación con los datos de ocultación de la sonda Mariner 5, mostró que la presión en la superficie era mucho mayor de lo previsto (entre 75 y 100 atmósferas). Estos resultados fueron verificados y refinados por las misiones Venera 5 y Venera 6 los días 16 y 17 de mayo de 1969, aunque ninguna de estas misiones alcanzó la superficie mientras aún transmitían. La batería de la Venera 4 se agotó mientras la sonda aún flotaba lentamente en la masiva atmósfera de Venus, y las Venera 5 y 6 se colapsaron por la alta presión a 18 kilómetros sobre la superficie. En la década de 1960 EE.UU. y la Unión Soviética desarrollaron estudios técnicos sobre un posible sobrevuelo tripulado a Venus. A mediados de la década de 1960 la NASA realizó una serie de propuestas sobre un posible sobrevuelo tripulado de Venus en el contexto del Apollo Applications Program, usando material procedente del programa Apollo. El lanzamiento del Apollo-Venus tendría lugar el 11 de octubre de 1973, realizando un sobrevuelo del planeta Venus el 3 de marzo de 1974, regresando hacia la Tierra a continuación y llegando a esta en torno al 1 de diciembre de 1974. Estaba basada en un cohete Saturno V modificado de manera similar a lo que sería posteriormente la estación espacial Skylab. Coincidiendo en el tiempo, se desarrollaron varias propuestas similares en la Unión Soviética. La principal fue la nave TMK-MAVR. Tendría que haber sido operativa, según los primeros planes, a inicios de la década de 1970. El planteamiento inicial suponía una misión de 680 días integrada por 3 cosmonautas. Ambas iniciativas serían posteriormente desechadas por los dos países. Mientras los americanos orientaron sus recursos al programa del transbordador espacial, los soviéticos se centraron en el cohete Energía y en la estación espacial MIR. El primer aterrizaje con éxito en Venus lo realizó la sonda Venera 7 el 15 de diciembre de 1970. Esta sonda reveló unas temperaturas en la superficie de entre 457 y 474 grados centígrados. Tras el fracaso de la Cosmos 359, llegó el éxito de la Venera 8, que aterrizó el 22 de julio de 1972. Además de dar datos sobre presión y temperaturas, su fotómetro mostró que las nubes de Venus formaban una capa compacta que terminaba a 35 kilómetros sobre la superficie. Con un espectrómetro de rayos gamma analizó la composición química de la corteza. En febrero de 1974 la sonda Mariner 10 sobrevoló a Venus en su camino de encuentro con Mercurio, fotografiando la atmósfera venusiana en ultravioleta, además de realizar con éxito otros estudios atmosféricos. La sonda soviética Venera 9 entró en la órbita de Venus el 22 de octubre de 1975, convirtiéndose en el primer satélite artificial de Venus. Una batería de cámaras y espectrómetros devolvieron información sobre la capa de nubes, la ionosfera y la magnetosfera. El vehículo de descenso de la Venera 9 se separó de la nave principal y aterrizó, obteniendo las primeras imágenes de la superficie y analizando la corteza con un espectrómetro de rayos gamma y un densímetro. Durante el descenso realizó mediciones de presión, temperatura y fotométricas, así como de la densidad de las nubes. Se descubrió que las nubes de Venus formaban tres capas distintas. En 1978, la NASA envió la sonda espacial Pioneer Venus. La misión consistía en dos componentes lanzados por separado: un orbitador y una multisonda. La multisonda Pioneer Venus consistía en una sonda atmosférica mayor y otras tres más pequeñas. La sonda mayor fue desplegada el 16 de noviembre de 1978 y las tres pequeñas el 20 de noviembre. Las cuatro sondas entraron en la atmósfera de Venus el 9 de diciembre, seguidas por el vehículo que las portaba. Aunque no se esperaba que ninguna de las sondas sobreviviera al descenso, una de ellas continuó operando hasta 45 minutos después de alcanzar la superficie. Las Venera 13 y 14 llegaron a Venus el 1 y el 5 de marzo de 1982. Los datos sobre fluorescencia por rayos-X mostraron resultados similares a rocas basálticas ricas en potasio. El 10 de octubre de 1983, las Venera 15 y 16 entraron en órbita polar sobre Venus. La Venera 15 analizó y realizó un mapa de la atmósfera superior con un espectrómetro de infrarrojos. Del 11 de noviembre al 10 de julio, ambos satélites hicieron un mapa del tercio norte del planeta con radar de apertura sintética. Estos resultados proporcionaron el primer conocimiento detallado de la geología de la superficie de Venus, incluyendo el descubrimiento de los volcanes ocultos inusualmente masivos «coronae» y «arachnoids». Venus no tiene evidencias de placas tectónicas, a menos que todo el tercio norte del planeta forme parte de una sola placa. Las sondas soviéticas Vega 1 y Vega 2 llegaron a Venus el 11 y el 15 de junio de 1985. Descubrieron que las dos capas superiores de nubes estaban compuestas de gotas de ácido sulfúrico, aunque la capa inferior probablemente está compuesta por una solución de ácido fosfórico. Las misiones Vega también desplegaron globos aerostáticos que flotaron a unos 53 kilómetros de altitud durante 46 y 60 horas respectivamente, viajando alrededor de un tercio del perímetro del planeta. Estos globos midieron velocidades del viento, temperaturas, presiones y densidad de las nubes. Se descubrió un mayor nivel de turbulencias y convección de lo esperado. 404.zero, Solace Road, Ocoeur, Steve Roach & Michael Stearns, Black Tape for a Blue Girl, Brian Eno, Terminus Void, Marcus Denight, Endless Melancholy, Stellardrone, Suso Saiz, Meg Bowles, The Expanding Universe, Vangelis. El playlist detallado con enlaces a las audiciones íntegras de cada album: lostfrontier.org/episodios/2022/980

Here's the moment to sit down and relax …. no shouting, no news, no media. Where people meet music and music boosts the people. Interested? Tune in for ‘Essentials' for pure listening pleasure in the ambient, soundscape, instrumental, new world music genre. Featuring Ambient Worlds, Motionfield, Sikha Pros, Meg Bowles, Odysmod, Michael Stearns, Scann-Tec, Halcyon Hall, Spacecraft, Tauon, One of Them, Forest Robots. This show is available as a free podcast (96Kbps), also available in the support plans through my Patreon page and Ambient Zone site at high quality levels. Help to keep this station podcasting and enjoy the mixes that will last a lifetime. Cheers! START… 0:00:00 - Welcome to ‘Essentials' !0:06:01 - Pulsar - AMBIENT WORLDS0:07:39 - North Wind - MOTIONFIELD0:12:06 - Land-Of-No-Where - SIKHA PROS0:17:15 - Cloudburst over a Parched Land - MEG BOWLES0:23:06 - The Abandoned Ariadne - ODYSMOD0:27:47 - In The Beginning - MICHAEL STEARNS0:34:09 - White Sun (Live edit) - SCANN-TEC0:38:06 - Last Transport - HALCYON HALL0:41:47 - Tranquility - SPACECRAFT ( voice over )0:42:51 - Outside - TAUON0:46:19 - Maggie is Napping - ONE OF THEM0:51:21 - A Challenging Path Is Best Approached … - FOREST ROBOTS …END ———> NEW SHOW NOTES VERSION———> PLEASE SEND ANY FEEDBACK IF YOU WANT———> admin@ambient.zone———> visit our site www.ambient.zone———> SUPPORT THIS STATION https://paypal.me/ambientzone

Desde que el Hombre ha levantado la mirada, se ha maravillado al contemplar el espectáculo del firmamento nocturno. Ahora que comenzamos a comprender algunos de los misterios del infinito, seguimos sintiendo esa misma fascinación al observar la inmensidad del Universo. Muchos artistas han encontrado la inspiración para sus obras en la magnitud del cielo nocturno; y algunos de ellos han tenido el privilegio de haber creado música para planetarios. AVAWaves, Narrow Skies, Endless Melancholy, Phil Thornton, Michael Whalen, David Salvans, Sam Vitoulis, Michael Stearns, Mychael Danna, Kevin Braheny, Mars Lasar, Jonn Serrie, The Expanding Universe. El playlist detallado con enlaces a las audiciones íntegras de cada album: lostfrontier.org/episodios/2022/979

Popular electronic music was born out of the creative ferment of the 1960s. As a result, it took on some of the character of the cultures from which it emerged. In academic settings, it was dry, intellectual and experimental; in Germany, technical and mechanistic; in France, lush and romantic; in England, it was integrated into Progressive Rock; in the U.S. and Japan, it became part of the commercial record business, with electronic versions of classical works by Bach, Debussy, Satie and Pachelbel. While in California — as you might expect — it was embraced by grassroots psychedelic and spiritual subcultures creating music for a New Age. In Los Angeles and San Francisco, sonic explorers like TERRY RILEY, MICHAEL STEARNS, STEVE ROACH, KEVIN BRAHENY, IASOS, and DON ROBERTSON discovered the power of electronic music to take listeners on virtual journeys across time and space. Soon, an international cohort of electronic musicians—aided by drugs and new instruments—began to create an informal genre of electronic "spacemusic." A young rock guitarist from Tucson, Arizona named MICHAEL STEARNS became fascinated with electronic music and moved to Los Angeles in 1975 to be part of the emerging scene. He learned to program synthesizers, started an independent record label, and began releasing his own music in 1977. In 1981 he produced a classic of California electronic journey music called PLANETARY UNFOLDING. Long out of print, it was remastered and re-released by Projekt Records in 2022. Combining early analog synthesizers with natural ambient sounds, ethereal chorales, and powerful electronic effects, it's a profound journey across time and space. On this transmission of HEARTS of SPACE, we feature PLANETARY UNFOLDING in two continuous "sides" (remember sides?) with an interlude by MICHAEL STEARNS from THE SOFT TOUCH OF MORNING LIGHT, and complete the hour with additional music by MICHAEL STEARNS...

Co-hosted by Chris Kissel and Chuck Soo-Hoo, the twice-monthly dublab program Contact Wave enthusiastically celebrates the best experimental, avant-garde, psychedelic, and off-the-grid music crafted in L.A. and beyond. This episode features a conversation with ambient and New Age music pioneer Michael Stearns, who is also a multi-genre composer, sound designer, and soundtrack producer. His credits include music for television, feature films, planetariums, twenty-two IMAX films and seventeen solo albums. As one of the pioneers of American electronic music from his earliest self-released cassette in 1977 up through his 2021 Beyond Earth & Sky collaboration with Steve Roach, Stearns creates engaging textures melding with soaring melodies. He has created music for NASA, Laserium, Disney Films, HBO, 20/20 and the Berkshire Ballet. His award-winning scores for Ron Fricke's non-verbal global film masterpieces Chronos, Sacred Site, Baraka and Samsara have been heard by audiences around the world. Stearns creates at his The Guest House studio in Santa Fe, New Mexico. This year marks the rerelease of Stearns' groundbreaking and long out-of-print Planetary Unfolding (1981). Featuring the sound of the Serge Modular Synthesizer in 6 movements, the slowly evolving atmospheric swirls of this early spacemusic classic are a journey within inner and outer space. TRACKLIST: Michael Stearns – “In the Beginning…” – from “Planetary Unfolding” (Continuum Montage/Projekt) (1981/2022) **Michael Stearns Interview** Michael Stearns – As the Earth Kissed the Moon – from “Planetary Unfolding” (Continuum Montage/Projekt) (1981/2022) Cool Maritime – Temporal Dryft – from “Big Earth Energy” (2022) Patricia Wolf – Springtime in Croatia – from “See-Through” (Balmat) (2022) Charlatan – Sinking Between Pyramids – from “Streams” (The Jewel Garden) (2022) Jonas Reinhardt – Oxus – from “A Ragged Ghost” (Trouble In Mind) (2022) OHYUNG – tucked in my stomach! – from “imagine naked!” (NNA Tapes) (2022) Julian Stein – herons at night – from “pattern river” (Self-Released) (2022) Forest Management – One After Another – from “Palm Life” (Husky Pants) (2022) MAW – Prophase – from “A Maneuver Within” (Atlantic Rhythms) (2022) Andrew Bernstein – in flux (excerpt) – from “a presentation” (Hausu Mountains) (2022) JOYFULTALK – Take It To The Grave – from “Familiar Science” (Constellation) (2022) Mary Halvorson – Night Shift – from “Amaryllis” (Nonesuch) (2022) Noah Howard – Olé – from “Live in Europe Vol. 1” (Altsax) (1975/2020) --- Support this podcast: https://anchor.fm/dublab-inconversation/support

Michel Stearns's Planetary Unfolding

My guest on this episode is Micheal Stearns, he is an ambient music composer and performer, film composer, sound designer and soundtrack producer. For more information visit: http://www.michaelstearns.com/ https://projektrecords.bandcamp.com/album/planetary-unfolding Tones & Drones is hosted and produced by Jason M. Miller in the studios of 91.3 FM KVLU. For more information visit: kvlu.org Music in this episode of the podcast was used with the permission of the artist.

What makes ambient electronic spacemusic different from other music genres? Well, think of it as a kind of sonic "imagery" — a term from literature, art history, and photography. But unlike literary or pictorial images, the sound images of ambient electronic music reveal an underlying quest for psychological expansion into a world of infinite space, and ultimately, a way to transcend the limits of the physical world we live in. In the formative years of ambient and electronic spacemusic in the 1970's and 80's, leading artists influenced by the ecology and environmental movements explored terrestrial themes, with albums like "SEA & SKY" by Japanese progressive musician STOMU YAMASH'TA, and "EARTH" and "SOIL FESTIVITIES" by VANGELIS. Other electronic artists found earthly themes too limited, sought release in the vastness of cosmic and contemplative space, and created the ambient soundscape we have today. That quest for expansion is still with us, not just in music, but as a plan for human survival in ELON MUSK's project to colonize Mars. On this transmission of Hearts of Space, we embrace the quest for infinite space...on a program called BEYOND EARTH AND SKY. Music is by MICHAEL STEARNS & STEVE ROACH, MICHAEL STEARNS & ERIK WØLLO, MASSERGY, ANDREW LAHIFF, and MAX CORBACHO. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Solénoïde (03.01.2022) - Entre minimalisme et gigantisme, de diagonales écolos en métaphores astrales, préparez-vous à vivre une heure de lévitation musicale, une heure dédiée à l'infini et à l'intangible, une heure de dépaysement garanti sur les hauts plateaux de l'ambient music !

The austere folk music of Norway and the Scandinavian countries has a paradox at its heart: in a land of frigid Arctic winters and stark, glacial landscapes, the music overflows with warmth and beauty. And while the winter days are dark, the nights are illuminated with the intoxicating spectacle of the northern lights. On this transmission of Hearts of Space, a Nordic winter's journey called NIGHT LIGHT, featuring Norwegian lullabies sung by VIDIA WESENLUND with music by MICHAEL STEARNS, plus selections by ANNBJORG LIEN, LENA WILLEMARK & ALE MOLLER, OYSTEIN SEVAG, and STREIF. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

John DeNicola is an American songwriter and producer. He is best known for co-writing the song "(I've Had) The Time of My Life", for which he won both an Academy Award and a Golden Globe Award, as well as receiving a Grammy nomination, in 1988. In 1989 he was the co-winner of ASCAP Awards' "Most Performed Songs from Motion Pictures" for "Time of My Life" as well as for "Hungry Eyes", another song from the film. Listen in as John tells Joseph about his latest release and the early days of analog recording.

How does one become a tech privacy attorney and a musician? How do you go to Mumbai to find your way? This is the story of Alan Chapell. Growing up on the multi-ethnic streets of Stamford, Connecticut, Alan Chapell was exposed to a multitude of music – playing piano and trumpet before the age of six and at age 15 recording with the legendary producer Jimmy ienner (Dirty Dancing, KiSS, etc) Along with his musical success, Alan has carved out a niche as an attorney . . . advising tech companies on privacy issues. When the producers of HBO's Silicon Valley consider creating a character to lampoon your role in the tech space, you know you've made it.

Finally welcome to another extended podcast no199, filled with great sounds from recent album releases before our 200th special edition with exclusive tracks from well-known musicians to celebrate 30 years since the formation of Sequences, beginning with audio cassettes, progressing to magazines with accompanying CD, podcasting from 2012. & Mick's journey in electronic music started 55 years ago, (yes he's that old geezer). We kick off with two legends & pioneers of electronic music Steve Roach & Michael Stearns collaborating on Beyond Earth & Sky, this is, celestial stunning boundary-defying music. Playlist No 199 01.48 Steve Roach & Michael Stearns ‘Primal Return' (album Beyond Earth & Sky) www.projekt.com 07.19 Steve Roach & Michael Stearns ‘The Long Road' 18.31 Ian Boddy ‘For Here To There' (album Nevermore) www.DIN.org.uk 33.12 Frore & Shane Morris ‘The Eye Of Everything' (album Horizon) www.spottedpeccary.com 45.11 Rodrigo Passannanti ‘Once In A Lifetime' (album Inner Dialogues) https://rodrigopassannanti.bandcamp.com 50.37 Rodrigo Passannanti ‘Second Skin' (album Underworld) https://rodrigopassannanti.bandcamp.com 58.44 Serena Gabriel feat Steve Roach ‘Seeing Inside' (album Seeing Inside) www.projekt.com 01.10.23 Forest Robots ‘To Return To The Valley One Has To Have Reached The Peak' (album Horst & Graben) https://forestrobots.bandcamp.com https://www.forestrobots.com/ 01.14.08 Forest Robots ‘As Every Crevice In The Woods Waits Patiently For Sunrise' 01.17.33 Kloob ‘Radiation Cloud' (album Parallel States) www. winter-light.bandcamp.com 01.24.09 Keith Richie ‘Dusk' (album Epica) http://music.krichie.com 01.29.50 Keith Richie ‘Remote Isolation' 01.35.23 Aphrayth ‘Ahsh' (album Aphrayth) https://23stabwounds-records.bandcamp.com 01.39.23 Aphrayth ‘Kreenh' 0143.24 ELEON ‘Autumn Leaves In Motion' (album Deep In A Forest) www.higherlevel.media 01.47.57 ELEON ‘Deep In A Forest; Trees Dance' 01.53.27 Andrea Bacci 'Nebula' (album Sleeping On The Clouds) www.heartdancerecords.com 01.59.07 Andrea Bacci 'Space Bubbles' 02.01.30 Baltes & Erbe ‘Gradient' (album A Four Stories Live Session) ***https://balteserbe.bandcamp.com 02.13.17 Andre Michele Vincenti ‘Relaxation Sphere III' (EP Relaxation Sphere) https://relaxationsphere.bandcamp.com 02.17.25 Sonic Research Society ‘Drifting Further. (album Drifting Forward) www.syngate.net 02.21.12 Sonic Research Society ‘Lateral Thinking' 02.26.05 Josefin Runsteen ‘BLOOM - Scene III (Fire)' (album HANA-Three Bodies, Original Soundtrack) https://josefinrunsteen.bandcamp.com 02.33.06 Thaneco ‘Charyvdis.' (album Journey To Ithaca Vol 2) www.syngate.net 02.38.14 Thaneco 'Sirens' 02.44.10 Black Tape For A Blue Girl ‘The Cleft Serpent' (album The Cleft Serpent, Instrumental & Alternate Mixes) www.projekt.com 02.49.41 Black Tape For A Blue Girl ‘Alabaster, Stortorget 1520' 02.56.48 Black Tape For A Blue Girl ‘The Cleft Serpent Mix' 03.01.06 Gleisberg & Bernd Scholl ‘Distant Land Of Mystery' (album Culture & Spirit) www.bscmusic.com 03.08.58 Gleisberg & Bernd Scholl ‘Enchanted Of Bhaktapur' 03.16.16 Michael Whalen ‘Phonic' (album A Flight Of new Summer Songs) www.myndstream.com 03.20.22 Carl Borden ‘Good Morning Light' (album A Flight Of new Summer Songs) www.myndstream.com 03.25.39 Suzanne Teng & Gilbert Levy ‘Genesis' (album Whisper) www.higherlevel.media Edit ***

Richard Humann is a Brooklyn-based neo-conceptual artist whose work has been included in the Venice Biennale, represented the United States in the 2017 Karachi Biennale in Pakistan, and has had multiple national and international solo gallery and museum exhibitions. Richard was born and raised in the Lower Hudson Valley region of New York State. He divides his time between Brooklyn and Woodstock, NY. This podcast is not about art, it's about being an artist. Listen to Joseph and Richard talk it up.

Autumn brings transformations both subtle and powerful. The shadows lengthen as the focus of the sun moves south below the equator. Here in the Northern Hemisphere, we now experience rapid seasonal climate change on top of slow global climate change. It's a transition marked by familiar changes in temperature, color, and activity in the natural world, disrupted by increasingly extreme weather events. For ambient musicians, it's a time for complex tone colors burnished with glints of silver and gold, bittersweet harmonies, descending progressions, and gently melancholy emotions. On this transmission of HEARTS of SPACE, we transition to the darkening electro-acoustic soundscapes of autumn, on a program called SHADOWLANDS 2. Music is by MYCHAEL DANNA & TIM CLÉMENT, STEVE ROACH & MICHAEL STEARNS, MIGUEL NOYA, CLIFF MARTINEZ, ALEX HAAS, and LISA BELLA DONNA. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Franke Previte: Academy Award and Grammy award winning songwriter, singer, talks with Joseph about his early childhood, selling cars in his driveway to earn money and how (I've Had) The Time of My Life and Hungry Eyes were written and how they found their way in movie Dirty Dancing.

Ambient mix for the twilight hours. Tracks from Skee Mask, Michael Stearns, Beverly Glenn-Copeland, Acid Mothers Temple, Danny Wolfers, Nala Sinephro, The Orb, and more.

Joseph met Diana at a SAG-AFTRA workshop and have been friends since. Diana is an actor, voice actor and producer. Known for her recurring roles on "The Young and the Restless" and "Days of Our Lives", she has also done a number of TV Commercials. She began working in Group ADR in 2010, on "Eureka", and has been heard on "Alphas", "Defiance", "Code Black", "Quantico", "Midnight Texas", "Into The Dark" and more. The daughter of an avionics mechanic from Sri Lanka and a Danish mother, Diana's unusual ethnic background has granted her a strong sense of culture. Her love of travel began at a young age and she's been to over 30 countries. www,dianalansleen.com

Artefact or artefiction? Interstellar space-music transmissions from Michael Stearns, Rudy Adrian, Jim Ottaway, Johnan Agebjorn, Mikael Ogren, Erik Seifert and Josef Steinbuechel.

Max Corbacho's sonic mythology encompasses primordial and futuristic themes rooted in the territories first explored by Steve Roach, Michael Stearns, and Robert Rich. Although his style shares lots of similarities with the work of these American pioneers, it organically grew into more personal directions, integrating the influences and evolving toward a wider abstractisation. But better to listen to the artist himself speaking about his musical journey.

It's a Cloud full of Sound today … More music for your ears than words can describe ✨Featuring Nicholas Gunn, Alina Renae, Banco de Gaia, Meg Bowles, Fallen, City of Dawn, Martin Stürtzer, Blue is Nine, Erik Wøllo, Michael Stearns, Andrew Heath. " It may be that the words I spokeTo cheer him on his way,To him were vain, but I myselfWas braver all that day. " ------ Winifred Webb ----- We hope the music brings you strength, hope and joy.Whatever you do and wherever you are! ~ START… 0:00:00 - Welcome to Spacemusic 13.3 “ CloudSound ”0:00:51 - The Promise - NICHOLAS GUNN ft ALINA RENAE0:04:21 - Language - NICHOLAS GUNN0:10:39 - Kintsugi - BANCO DE GAIA0:10:41 - Evensong - MEG BOWLES0:22:17 - La Mia Preghiera - FALLEN0:27:38 - Quiet Years and Broken Shells - CITY OF DAWN0:31:35 - Nightscape - MARTIN STÜRTZER0:37:19 - Rinascita - FALLEN0:31:50 - A Pool Appears - BLUE IS NINE0:44:49 - Electrical Pylons - BLUE IS NINE0:47:23 - Stable Wormhole - MARTIN STÜRTZER0:54:48 - Room with a View - FALLEN1:00:31 - The Way Ahead 1 - ERIK WØLLO & MICHAEL STEARNS1:05:33 - The Muse and her Dreams - ANDREW HEATH …END ———> NEW SHOW NOTES VERSION ———> PLEASE SEND ANY FEEDBACK IF YOU WANT ———> admin@ambient.zone ———> visit our site www.ambient.zone ———> SUPPORT THIS STATION https://paypal.me/ambientzone

Erik Wollo's newest partnership is with the American master Michael Stearns. With the release of 'Convergence', they have taken a significant step forward in exploring new and promising ambient vistas. My interview with Erik gravitates around this collaborative album and connects the present achievements with some essential moments of his career.

Michael Stearns is a forefather of Ambient music and one of the most original composers and sound designers in the film industry. In our interview, Stearns review some significant moments of his career, explains his creative approach to composing and sound design, and discusses the impact of technological evolution on his music. Throughout the conversation, we uncovered many interesting stories, including also details about his spiritual interests and personal life.

In this episode, Christopher shares how life can be a long and uphill road. Stress in his life was very common. He grew up in an area where public education was on the level of private schools and 90% of peers went to college. It was expected.  For Christopher, it was "butt-kicking" from the very beginning, and he wouldn't change it for anything. He's no stranger to Rising up to his ‘best self'. It's taken hours upon hours of hard work and commitment. That's been his life journey. He shows us all how following our true path involves looking deeply at what we want, not concerning ourselves with what others think, and just doing the work.   Show Notes In this interview, we share Christopher's journey to include: Navigating life's long and bumpy road The power of early childhood influencers Setting benchmarks Overcoming disbelief Perfection can be an illusion "Health is wealth" The value and power of silence Contact Info Website: https://www.sonic-ocean.com/ More Info Christopher Drummond is a recording and audio mix engineer, music producer, composer, sound designer, violinist, and Grammy Award voting member.  He has composed and produced original musical scores for radio, television, and film including collaborations with Fulvio Valsangiacomo (Eddie-winning/Oscar-nominated editing team for Gladiator) and Ralph Farris (Grammy-nominated arranger of The Lion King NYC, Roger Daltrey, and Depeche Mode).  His engineering and production style are influenced by a decade-long mentorship with renowned Grammy-nominated, Emmy-winning classical engineer, Edward Kelly, an electronic music pioneer, and IMAX scoring veteran, Michael Stearns and space-music visionary, Jonn Serrie. Christopher operates in Washington, DC and Atlanta, GA and is the Technical Director for Robert Aubry Davis's Millennium of Music, a weekly radio program celebrating the mainstreams of European music for the thousand years preceding the birth of J. S. Bach. Millennium of Music airs on Sirius XM Radio Symphony Hall, XM Public Radio and over 250 National Public Radio affiliates. Christopher has produced feature programming for XM Satellite Radio, National Public Radio and Public Radio International featuring Paul McCartney, Sting, Billy Joel, Jon Anderson, The National Symphony Orchestra, Kiri TeKanawa, Bryn Terfel, Anonymous 4, the Cistercian Monks of Stift Heiligenkreuz and many others.

When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, all set to Michael Stearns' powerful score from the IMAX film "Chronos," it set the stage for an epic film that promised to deliver "Aliens" underwater. When the film was released, it received good reviews and earned its money back, but wasn't what people expected. Plus, it had an ending that left audiences scratching their heads a bit. But 3 years later, Cameron was able to return to it and release an extended version with nearly 30 minutes of new material, including an extended ending that answered a lot of questions, even if it did add an element to the story that feels heavy handed. His new version was received very positively and showed that going back and meddling with a film could result in a better product, and it's definitely a film worth rewatching. Join us — Pete Wright and Andy Nelson — as we continue our Original SciFi series with "The Abyss." We talk about what works for us and what doesn't in this film, and how much that really matters in the end. We talk about the amazing cast that really sell the story — even the cheesy lines and heavy-handed plot elements — and why some of them refuse to talk about production of this film to this day. We chat about the effects and where this film fits in the context of the history of special effects development. We discuss Cameron and his ability to make films as well as his passion for technologies and undersea exploration, and how those two passions came together perfectly here. And we discuss the nature of film worlds versus the real world, and how accurate a film needs to be when depicting real things. It's a great film with some problematic elements that we're perfectly willing to overlook, and we have a great time talking about it. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)

When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, all set to Michael Stearns' powerful score from the IMAX film "Chronos," it set the stage for an epic film that promised to deliver "Aliens" underwater. When the film was released, it received good reviews and earned its money back, but wasn't what people expected. Plus, it had an ending that left audiences scratching their heads a bit. But 3 years later, Cameron was able to return to it and release an extended version with nearly 30 minutes of new material, including an extended ending that answered a lot of questions, even if it did add an element to the story that feels heavy handed. His new version was received very positively and showed that going back and meddling with a film could result in a better product, and it's definitely a film worth rewatching. Join us — Pete Wright and Andy Nelson — as we continue our Original SciFi series with "The Abyss." We talk about what works for us and what doesn't in this film, and how much that really matters in the end. We talk about the amazing cast that really sell the story — even the cheesy lines and heavy-handed plot elements — and why some of them refuse to talk about production of this film to this day. We chat about the effects and where this film fits in the context of the history of special effects development. We discuss Cameron and his ability to make films as well as his passion for technologies and undersea exploration, and how those two passions came together perfectly here. And we discuss the nature of film worlds versus the real world, and how accurate a film needs to be when depicting real things. It's a great film with some problematic elements that we're perfectly willing to overlook, and we have a great time talking about it. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)