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Mott Haven, Bronx, New York City, New York, United States of America
Summary
Featuring robust brick facades and a high corner clock tower, the former Estey Piano Company Factory is a distinguished monument to an industry that was once one of the Bronx’s most important. Anchoring the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard since 1886, when its original portion was completed, the Estey building is the oldest-known former piano factory standing in the Bronx today. It is also one of the earliest large factories remaining in its Mott Haven neighborhood, dating from the period in which the area first experienced intensive industrial development. Today, as in decades past, the building’s signature clock tower and expansive facades—simply but elegantly detailed with terra cotta, patterned brick, and contrasting stone—are visible from the waterfront and nearby Harlem River bridges, making the Estey Factory a true neighborhood landmark.
Manufacturing blossomed in the Mott Haven section of the Bronx during the 1880s, when new factories started springing up in the area east of Third Avenue. Many of these produced pianos or their components, and by 1919, the Bronx had more than 60 such factories, making it one of America’s piano-manufacturing centers. One of the city’s first piano factories to be built in the Annexed District or North Side, as the western portions of the Bronx were known between 1874 and 1898, the Estey building was credited with providing “an unusual stimulus” for the movement of other piano makers there. Several of the manufacturers that followed Estey to the Annexed District, and later the Bronx, clustered within a few blocks of its factory, creating an important nucleus for the piano industry.
The Estey Piano Company was organized by Jacob Estey and John B. Simpson in 1885. Two decades before, Estey had established an organ works in Brattleboro, Vt. that had grown into one of the country’s largest producers of reed organs, thousands of which found their way into American parlors every year. Like other organ manufacturers in the late nineteenth century, Estey sought to diversify into the booming piano industry, and his partnership with Simpson—a pioneering North Side piano manufacturer—was a means to that end. When Estey Piano opened its factory, it manufactured upright and grand pianos that would become recognized for their “superior construction and workmanship.”
The original portion of the Estey Piano Factory was designed by the architectural firm of A.B. Ogden & Son. Many of this building’s features, including its L-shaped plan, flat roof, regular fenestration pattern and bay arrangement, and relatively narrow width to allow for daylight penetration, are characteristic of latenineteenth-century factory buildings. Its mixture of segmental- and round-headed window openings, and the Romanesque machicolations of its clock tower, place the Estey Factory within the tradition of the American round-arched style. Other features, including the factory’s distinctive, red-orange brick, dogtoothed and zigzagging patterned-brick stringcourses, recessed brick panels, terra cotta tiles featuring festoons, lions’ heads, and foliate motifs—and of course, its dramatic, projecting clock tower—speak of a building that sought to announce its presence on the urban landscape, projecting a strong public image for its owner. Indeed, the Estey Piano Company often included an illustration of this factory on its trade cards, which advertised the firm’s products.
The original building was extended to the east along Southern Boulevard in 1890, with a harmonious five-story addition designed by John B. Snook & Sons, and to the north, along Lincoln Avenue, with one-story additions in 1895. The Lincoln Avenue additions appear to have been combined and expanded, and then raised to three stories in 1909, and by an additional two stories in 1919; the 1919 addition near the southeast corner of Lincoln Avenue and 134th Street features broad expanses of industrial sash that were characteristic of the “daylight factories” of the early twentieth century. Known today as the Clock Tower Building, the old Estey Piano Company Factory currently houses artists and their studios. With its historic fabric almost completely intact, the building remains, in the words of the AIA Guide to New York City, “the grande dame of the piano trade: not virgin, but all-together and proud.”
The Industrial Development of Mott Haven
Well before the 1898 creation of the borough of the Bronx, industrial activity was occurring in the area that is now the Bronx’s southernmost portion. In 1828, Jordan L. Mott, the inventor of a coal-burning iron cooking stove, opened a “modest little factory” on property he had purchased on the Harlem River near the present Third Avenue, in what was then the township of Morrisania. Mott started calling the area Mott Haven and, in 1850, seeking to attract additional industry to the area, he laid out the Mott Haven Canal, an artificial inlet from the Harlem River that would ultimately extend to just south of 144th Street. The canal, however, was slow to attract industrial firms, and by 1879, only a handful of substantial ones existed nearby, including a brass and iron works, a machine shop, and a few lumber and coal yards, all of which were below 138th Street. These were joined by a marble yard, lumber yard, and hotel west of the canal, near the tracks built by the New York & Harlem Railroad to connect Manhattan with what is now the Bronx, in 1841. Despite the presence of the large Harlem River & Port Chester Railroad yard, which stretched from Lincoln Avenue to Brown Place south of 132nd Street, few factories appear to have existed east of Third Avenue at the end of the 1870s.
In 1874, the townships of Morrisania, West Farms, and Kingsbridge—the sections of the present Bronx borough located west of the Bronx River—became part of New York City. Officially called the 23rd and 24th Wards, they were generally referred to as the “Annexed District” or “North Side,” but they remained fairly isolated. At that time, few links existed between the southern portion of the District and Manhattan; among those that did was a cast-iron bridge at Third Avenue which, in 1860, had replaced an old wood dam-bridge built in the 1790s at that location.
Soon after annexation, however, local residents, property owners, business owners, and booster groups like the North Side Association began agitating for improved infrastructure, including better connections with Manhattan. In the 1880s, new public works started to be built; among them was the Madison Avenue Bridge, completed in 1884, which spanned the Harlem River at 138th Street, about five blocks north of the Mott Iron Works complex. By 1885, additional industrial concerns—including a planing mill, cabinet maker, and nickel works, and factories making carpets and surgical instruments—had sprung up in Mott Haven, near and below 138th Street, and close to Third Avenue. The expanded rail yard below 132nd Street, at that point operated by the New York, New Haven & Hartford Railroad, connected directly to new docks at the foot of Willis Avenue. A few factories had sprouted up in the area east of Lincoln Avenue, as the Estey Piano Company Factory, then under construction at the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard, shared a block with the expansive works of the New York Lumber and Woodworking Company.
The 1886 opening of the Second Avenue Bridge just a few blocks from the Estey Factory provided a Harlem River crossing for the trains of the new Suburban Rapid Transit Company. The Suburban’s line, which would come to be known in the Bronx as the Third Avenue El, was the first to bring rapid transit service to the Annexed District. With its southern terminus on the Manhattan side of the Harlem, where it met Manhattan’s east-side elevated lines, the Suburban stopped at Southern Boulevard, before continuing northward; service on the line was expanded and improved between 1887 and 1902. While the Suburban was under construction, Real Estate Record & Builders’ Guide predicted that it would have an enormous impact on the North Side, calling it, in 1885, “a great thing for the [Annexed District], as well as for New York City. It will furnish cheap homes for a poorer population, as well as choice rural habitations for the well-to-do. We may expect many light manufacturing industries to become naturalized on the other side of the Harlem.” And the line did come to play a crucial role in Mott Haven’s late-nineteenth-century development, spurring rowhouse construction in the late 1880s and 1890s. As new housing sprouted up, so too did industry; an 1894 drawing of the Harlem River east of Third Avenue shows a busy waterfront with docks and factories on both sides of the river, including the Estey Factory, with its distinctive clock tower clearly visible. In 1895, the New York Times noted that “that part of the 23rd Ward along the Harlem River”—that is, the southernmost portion of the Annexed District, including Mott Haven—was “a very busy manufacturing place.”
Improved rapid transit connections with Manhattan aided Mott Haven’s residential growth, but the area’s industrial development was spurred by its Harlem River location and the expansion of its freight-rail infrastructure. By the beginning of the twentieth century, the New York, New Haven & Hartford—with a freight depot located one block south of the Estey Factory, at Lincoln Avenue and 132nd Street—connected with dozens of railroads providing service throughout the eastern and midwestern United States, and into Canada. The New York Central system, with extensive yards close by in Melrose, was just as far-reaching. And the southern Bronx retained these transportation advantages into the twentieth century. Writing in 1908 about the proliferation of piano factories, many of which were in the southern Bronx, lifelong piano man William
P.H. Bacon pointed to the borough’s “superior transportation and shipping facilities, both by water and land,” as well as “the opportunity of getting land for the erection of commodious factories at reasonable figures.” In experiencing strong manufacturing growth in the nineteenth and early twentieth centuries, Mott Haven was a microcosm of the Bronx and the city as a whole: by 1920, New York City had 12% of the country’s factory workers, and by 1927, the Bronx had 2,700 plants with more than 100,000 employees.
Industrial growth had been rapid in the southern Bronx; Bacon wrote, in 1908, of “the busy hum of commerce where but a few years ago, the lowing of cattle and other sylvan sounds were the only noises heard.” The end of World War II marked the apex of manufacturing in New York, as in 1947, more manufacturing jobs existed in the city than in Boston, Detroit, Los Angeles, and Philadelphia combined. But industrial activity in the Bronx would soon begin to decline, reflecting city-wide trends. By the 1950s, New York City was rapidly losing industrial jobs, with manufacturers leaving in droves for the suburbs, or departing the region entirely. Between 1969 and 1999, the number of manufacturing jobs in the city fell by twothirds. Contributing to the decline of industry in the southern Bronx was the destruction of manufacturing space with the construction of broad new highways; the building of the earliest portions of the Major Deegan Expressway through Mott Haven between 1935 and 1939, for example, wiped out several industrial buildings on the block immediately to the north of the Estey Factory, including the former factory of the Brambach Piano Company. In 1997, the New York City Department of City Planning, citing an underutilization of industrial space in Mott Haven, rezoned a portion of Bruckner Boulevard including the block containing the former Estey Factory, to allow for residential uses and community facilities. This special mixed-use zoning was expanded to blocks to the east, west, and south in 2005.
As Mott Haven becomes increasingly residential, the former Estey Factory is a reminder of the neighborhood’s early years of intensive industrial growth. Today, the Estey building is one of the oldest large factories standing in Mott Haven, and in the entire area of the southern Bronx below 149th Street.
The Estey Piano Company and Its Factory
The Estey Piano Company had its roots in the firm of Manner & Company, which manufactured pianos on the Bowery between 1866 and 1869. Manner called his piano the “Arion,” and in 1870, his firm’s name changed to the Arion Piano-Forte Company. In 1872, the company’s factory moved to 149th Street, in what is now the Bronx. John Boulton Simpson, who had been Arion’s secretary since 1871, took control of the company in 1875; in that year, the company apparently moved to a new factory on St. Ann’s Avenue and boasted that “Six years ago, there were none of our pianos in existence; to-day, there are over 7,500 in use.” In the following year, the firm’s name changed to Simpson & Company, although it also continued to be known by the Arion name. By the end of the 1870s, Simpson’s factory—stretching from Brook to St. Ann’s Avenues on the north side of 149th Street—was probably the largest piano factory in the Annexed District, but in 1880, it was sold to another piano maker, the William E. Wheelock Company.
While Simpson apparently continued to make “high grade pianos” following the Wheelock sale, the location of his factory in the early 1880s is unclear. Between 1881 and 1885, Simpson & Company continued to maintain a space, likely a showroom, at 5 East 14th Street—where it had been since 1876—but the company was also listed at 127 East 129th and 232 East 40th Streets, neither of which appears to have been the location of a substantial factory. These addresses do, however, link Simpson in the early 1880s with the respected tuner Stephen Brambach, who would play a crucial role in developing Estey’s first pianos; Brambach was located next door to Simpson between 1881 and 1883, and in the same building in 1884.
In 1885, the Estey Organ Company of Brattleboro, Vt. was hitting its peak. By the end of the 1880s, the firm, which had been founded in 1866 by Jacob Estey, would be the world’s largest producer of reed organs. Thousands of these instruments found their way into American parlors every year; they were also being distributed, by 1890, to Africa, Asia, Australia, and South America, and to major European cities. Despite the company’s success—it was described, in 1886, as doing “an immense business, amounting to over one million dollars annually”—and its rapid growth—production rose by a factor of seven between 1865 and 1886—the organ business was in decline. The piano business, however, was booming; and, likely noticing the 1882 entry of the renowned organ maker Mason & Hamlin into piano manufacturing, Estey and the company’s other principals, including Levi K. Fuller and Jacob’s son Julius, decided to take the same path.
Estey became a piano manufacturer by forming a partnership with Simpson, who was named president of the new Estey Piano Company; the Simpson piano was essentially re-branded as the new Estey model. Simpson, of course, had been a pioneer in Bronx piano manufacturing, and this may have played a role in Estey’s decision to build its plant on the North Side. A.B. Ogden & Son was hired to design the factory, but Simpson may have had some influence over its appearance and form, as he had dabbled in architecture, altering his home on West 129th Street in 1882 to give it a “picturesque exoticism.” Work began on the “large factory with modern appliances,” as it would later be described, in August of 1885; it was completed, at a cost of approximately $40,000, in February of 1886. While the factory was under construction, Estey Piano decided to construct three more buildings that would extend its complex by an additional 80 feet along Southern Boulevard. These brick structures, designed by Ogden’s firm and completed at the same time as the main factory, were a one-story extension, a one-story shed, and a two-story stable.
Estey Piano prospered in its early years, as “Estey grand and upright pianos soon became a dominant factor in the piano trade,” according to Alfred Dolge, who added that they often “carried off highest awards for superior construction and workmanship.” In 1887, the trade publication Musical Courier wrote that the Estey Piano Factory was “one of the most complete in the country”; two years later, it called the firm’s upright “a most beautiful specimen of piano manufacturing,” of which Estey would “find no difficulty in disposing … in the best musical circles in the land.” While trade journals’ opinions should be considered with caution, those of the respected piano tuner and regulator Daniel Spillane may be more reliable. Five years after the Estey Factory opened, Spillane called its piano “a very excellent instrument,” adding that “much of the technical and musical merit of these pianos is due to the competency and skill of [Stephen] Brambach, who is a gentleman of fine musical and mechanical sensibilities [and] … one of the best tuners in New York.” Although Brambach had apparently started his own piano company in 1885, he remained involved with Estey in 1890, originating “all new ideas in the mechanics and acoustics of the Estey piano.” Brambach’s brother Carl, “one of the most expert and artistic tuners and toners in the country,” was also employed by Estey Piano, according to Spillane.
Business was good, and only four years after the Estey Piano Factory opened, it underwent a huge expansion. In May of 1890, work began on a 100-foot-long east addition that would result in the demolition of the extension, shed, and stable on Southern Boulevard, and create the unified five-story, 200-foot-long Bruckner Boulevard façade that remains essentially unchanged today. The architect of this addition, which was completed in October of 1890 at a cost of about $23,000, was John B. Snook & Sons. This firm, then one of New York’s most prolific, traced its origins to the arrival of John B. Snook (1815-1901) in the United States, from England, in 1835. By 1842, Snook was working with Joseph Trench, and the two helped introduce the Anglo-Italianate style to New York with buildings such as the A.T. Stewart Store at 280 Broadway (1845-46, a Designated New York City Landmark). One of Snook’s best-known works was the first Grand Central Terminal (1869-71, demolished); in 1887, he took his three sons, James Henry (1847-1917), Samuel Booth (18571915), and Thomas Edward, and a son-in-law, John W. Boyleston, into his office, and changed his firm’s name to John B. Snook & Sons. Although Snook had designed a diverse array of buildings—including residential and commercial structures for some of New York’s most prominent families—his firm designed several manufacturing lofts in the 1880s and 1890s that would have made it an appropriate choice for the Estey addition. These industrial buildings, now located in the SoHo-Cast Iron Historic District—including 8 Greene Street (1883-84), 12 Wooster Street (1883-84), 127 Spring Street/87-89 Greene Street (1886-87), 391-393 West Broadway/77-81 Wooster Street (1889), 151 Spring Street (1889-90) and 361 Canal Street (1891-92)—were utilitarian brick buildings; but like the Estey Factory, they were also designed with an eye toward detail, featuring patterned and textured brickwork, and contrasting stone trim that enliven their facades.
The Estey Factory continued to grow in the 1890s. In 1895, the company extended the building 50 feet along Lincoln Avenue with a one-story, 69-foot-deep brick addition that apparently provided a fireproof home for its woodworking department; at the same time, Estey constructed a new, one-story brick lumber room running for an additional 38 feet along Lincoln, where it met a small, one-story brick building then existing at the southeast corner of Lincoln Avenue and 134th Street. Both the extension and the new building—which appear to remain today as the base of the five-story portion of the factory north of the original building—were designed by Hewlett S. Baker of 492 East 138th Street. Little is known about Baker; he was described as “a property owner in the South Bronx” in a 1910 New York Times article, and as “a contractor and builder in the Bronx” in a 1912 article about his death. By 1900, the one-story buildings near the corner of Lincoln and 134th appear to have been extended to the east.
The portion of the factory north of the original building remained at one story until 1909, when Simpson and architect S. Gifford Slocum raised it to three stories. Slocum, an architect of some note, is remembered primarily for his large residences for wealthy clients, including several fine Queen Anne-style residences built in the Saratoga Springs area in the 1880s. Born in Jefferson County, N.Y., Slocum studied architecture at Cornell University from 1873 to 1875, and by 1885, he had offices in Saratoga and Glens Falls, N.Y. In 1888, Slocum moved to Philadelphia while retaining his Saratoga office; between 1890 and 1909, he practiced architecture in New York City. Simpson hired Slocum to design an alteration to his residence at 117 East 83rd Street, in 1900. Slocum’s two-story addition to the Estey Piano Factory was described as being of “similar construction to the present building” in its Buildings Department application, and it demonstrates continuity with the floor below and with the original building in its segmental-arch-headed window openings, and in its similar decorative details, including pilasters, stone sills supported by corbelled brick courses, and patterned-brick stringcourses. A drawing of the factory following the completion of Slocum’s addition appeared in a 1917 Estey Piano Company advertisement.
Over the previous years, the Estey Piano Company had undergone several changes, weathering the deaths—in 1890, 1896, and 1902, respectively—of Jacob Estey, Levi K. Fuller, and Julius Estey. The firm’s “warerooms” or showrooms, which had been at 5 East 14th Street since the time of the company’s founding, were at 97 Fifth Avenue by 1900 and 7 West 29th Street by 1909. They would move again—in 1912 to the since-demolished “Estey Building” at 23 West 42nd Street—and by 1916 to 12 West 45th Street. By 1912, Estey pianos were being sold at Loeser’s department store in Brooklyn; in its advertising, the company took advantage of its historical association with the Estey Organ Company, stating that “the world-renowned Estey Pianos … are just as reliable as the Estey Organs made famous by the same firm in the days of our parents.” On at least one occasion, the Estey Piano Factory witnessed strife between its employees and management, as in 1912, workers struck Estey and other Bronx piano manufacturers that would not recognize the piano makers’ union and refused to close their shop floors to non-union employees.
In 1917, John B. Simpson’s leadership of the Estey Piano Company came to an end, when George B. Gittins, the former president of piano manufacturer Kohler & Campbell, purchased a controlling interest in the firm. Gittins, an industry prodigy who was only 37 at the time he took Estey Piano’s helm, appears to have begun revamping the company’s product line almost immediately; an “at-the-factory” clearance sale held in November of 1917 was prompted by the company’s intention “to concentrate on the large-scale production of a few standard models.” Two years later, Gittins purchased M. Welte & Sons, Inc., which was originally the American arm of a German company that had invented the reproducing piano, a technologically advanced kind of player piano using special rolls that were able to express, to some extent, the subtleties of the renowned pianists who had “recorded” them. Following the 1907 introduction of Welte’s “Mignon” reproducing piano in the United States, dozens of the world’s most famous pianists made recordings for Welte, allowing Americans to experience, for the first time, something close to having Paderewski, Saint-Saens, and other virtuosi play for them in their homes.
Soon after acquiring Welte, Gittins started shutting down the firm’s Poughkeepsie, N.Y. plant—which had produced rolls, reproducing pianos with and without keyboards, Welte “Philharmonic” reproducing organs, orchestrions, and other products—and expanding the Estey Factory building and its complex. In 1919, architect George F. Hogue of 41 Union Square in Manhattan was hired to add two stories to the northern, three-story portion of the factory, and to add an elevator shaft. This alteration, which cost about $25,000, featured broad expanses of industrial sash typical of the “daylight” factories that were then being constructed around the country. By 1921, Gittins had also constructed a two-story building (not part of this Designation) facing Southern Boulevard and adjoining Snook’s 1890 addition, as well as a four-story factory for Welte (not part of this Designation) that remains today at 27 Bruckner Boulevard. In 1922, the Estey-Welte Corporation was created, which served as an umbrella organization for several Gittins holdings, including the Estey Piano Company and the Welte-Mignon Corporation. Estey, at that time, was manufacturing a variety of pianos, including an 88-note player piano, and manual and reproducing uprights and grands; the new four-story factory on Southern Boulevard made Welte-Mignon pianos and grands, actions for reproducing instruments, and Welte Philharmonic organs.
In 1925, perhaps sensing the end of the glory days for the piano and player piano, Gittins decided to diversify into the manufacture of pipe organs for churches, concert halls, theaters, and large residences. In the following year, Estey-Welte appeared to be perfectly healthy, but by January of 1927, a crash in its stock price brought the over-extended company to its knees. Estey-Welte was in serious trouble, and by summer of that year, it was reorganized as the Welte Company. Gittins was soon gone; by 1928 his old firm was reorganized again, as the Welte-Mignon Corp. This latest incarnation of the firm fell into receivership in 1929, when its chief assets were split up and its factory emptied; one investor, Donald F. Tripp, bought some of the organ business, and the Estey Piano Company was sold to the Settergren Piano Company of Bluffton, Ind. Tripp’s firm was bankrupt within two years; in 1935, Settergren was renamed the Estey Piano Company.
The Estey Piano name continued on for decades. Estey spinets were being advertised in Chicago in 1948, and the firm’s pianos appeared in Macy’s advertisements in the early-to-mid 1960s. The Estey Piano Company was still operating in 1972, when it received a loan from the Commerce Department to assist it in starting production of a plastic piano. At that time, Estey was described as having “an office in Union, N.J., and an old plant in Bluffton, Ind.”
After the old Estey Piano Company Factory was vacated in 1929, it passed through the hands of a number of different owners, and was occupied by many different industrial tenants. A sheet-metal works leased space there in 1932, and its occupants in 1937 included the Whitman Supply Company and Unique Balance Company. By 1939, the factory had been acquired by the Emigrant Industrial Savings Bank. In February of 1940, Emigrant sold the five-story Estey Factory building and the adjacent two-story building constructed by Gittins to the S.H. Pomeroy Company, a manufacturer of window sashes that had been located on the same block as Estey Piano since 1923 or before. One month later, however, the owner of the building was the 120 Lincoln Avenue Realty Corporation, which was leasing space to Alta Furniture Factories. Until at least 1945, 120 Lincoln Avenue Realty remained the owner of the building; in 1969, it was occupied by the Ranger Plastics Corporation, and in 1973, it was home to a draperies manufacturer. At the end of the 1970s, the old Estey Piano Company Factory housed a maker of textile products and its outlet store, along with manufacturers of wire and “novelty” products. In 1995, when the building was mostly vacant, it was purchased by Truro College, which planned to convert it into student dormitories or a home for a liberal arts and sciences program. Those plans fell through, however, and the college sold the former Estey Factory, now known as the Clock Tower Building, to Carnegie Management, which remodeled its interior to accommodate live-in artists’ studios. It retains this use today.
Description
The Estey Piano Company Factory is an L-shaped, five-story building with a projecting clock tower at its southwest corner. Spanning the east side of Lincoln Avenue between Bruckner Boulevard and East 134th Street, the building has three primary street facades, all of which feature face brick laid in common bond: a 200-foot-long Bruckner Boulevard façade, a 200-foot-long Lincoln Avenue façade, and a façade on 134th Street that is approximately 69 feet in length and attached to an elevator shaft.
The original factory building, which was constructed in 1885-86, extended for 100 feet along Lincoln Avenue and for 100 feet along Southern (now Bruckner) Boulevard. Comprising the westernmost 15 upper-story bays on the south façade and the southernmost 15 upper-story bays on the west façade of the existing building, including the clock tower, this original portion of the Estey Piano Factory was extended by 100 feet to the east along Bruckner Boulevard with the construction of a five-story addition in 1890. (The construction of the 1890 addition resulted in the demolition of three buildings of one and two stories that were completed at the same time as the original factory, and which had a combined street frontage of 80 feet.) Before the construction of the 1890 addition, the five-story portion of the south façade terminated, at its east, with a two-bay projection featuring round-headed windows, all set within a corbelled recess, at the first through fifth floors. This projection—which was identical to the two-bay projection that originally terminated the Lincoln Avenue façade, and remains virtually unchanged today—extended above the adjacent portion of the façade, and, like the clock tower, outward from the façade plane. With the completion of John B. Snook & Sons’ 1890 addition, the two-bay projection on the south façade was doubled in width—the two new bays matching the original two—and its parapet was raised to match, in height, the parapet above the then-new, three-bay projection at the eastern end of the extended façade. Both the raised and new parapets featured, just below their pressed-metal cornices, recessed square panels arranged in a row. Also at that time, the four-bay projection became the central feature of a broad, essentially symmetrical Southern Boulevard façade, with the new three-bay projection at the eastern end of the façade balancing the three-bay, projecting clock tower at the building’s corner.
- From the 2006 NYCLPC Landmark Designation Report
1914 postcard view of Shiffler's grocery and ice cream Parlor at Lake George, Indiana. Lake George is in Steuben County, on the Indiana-Michigan state line northwest of Fremont. The people posing in this photograph weren’t identified, but may have included the Shiffler family. Others were probably visitors to Lake George. Two of the automobiles had 1914 Indiana license plates, but the center auto had an out-of-state plate. The auto at the right edge of this scene was a CASE. An online history of the J. I. Case Threshing Machine Co. says the company bought the Pierce Motor Co. in 1910 and produced the Case automobile into the 1920s. Both companies were located in Racine, Wisconsin.
Among the signs in the store window was one for _______ ZIG ZAG. A sign advertising ICE CREAM was partially visible behind the woman posing in front of the store.
This postcard has the John Inbody copyright notice, but is of lower quality than his other work. Inbody died in June of 1915. Afterward, his assistant, Leon Burrell, purchased the studio and continued to produce postcards from Inbody photographs. This may be one of those later Burrell postcards.
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/8554868166/in...
Copyright 2008-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
Visit of the Frecce Tricolori Squadron at NATO E-3A Component Geilenkirchen/Germany, ETNG -----------------------------------------------
The Frecce Tricolori (Italian pronunciation: [ˈfrettʃe trikoˈloːri]; literally "Tricolour Arrows"), officially known as the 313° Gruppo Addestramento Acrobatico, Pattuglia Acrobatica Nazionale (PAN) Frecce Tricolori ("313th Acrobatic Training Group, National Aerobatic Team (PAN) Frecce Tricolori"), is the aerobatic demonstration team of the Italian Air Force. Based at Rivolto Air Base, province of Udine, it was created on 1 March 1961 as a permanent group for the training of Air Force pilots in air acrobatics.[1]
The Tricolour Arrows replaced unofficial teams that had been sponsored by various commands starting in the early 1930s.[2] The team flies the Aermacchi MB-339-A/PAN, a two-seat fighter-trainer craft capable of 898 km/h at sea level.[2][3] With ten aircraft, nine in close formation and a soloist, they are the world's largest acrobatics patrol, and their flight schedule, comprising about twenty acrobatics and about half an hour, made them the most famous in the world.[4] It is one of national symbols of Italy.
Formation
During the performances the formation of the acrobatic patrol is usually composed of 9 aircraft, called "Pony", each labeled with a number ranging from 1 to 10.[18][19] The name "Pony" was coined by the then Captain Zeno Tascio to remember the horse of Francesco Baracca[20] which is the sign of the 4th Wing, at the time 4th Airbase who was already preparing to take over the task PAN for the 1961. Depending on the needs of the Department, aircraft can also be 11 in total, thus including the figure of the acrobatic training manager:
Pony 0 - Commander
Pony 1 - Head of Formation
Pony 2 - 1° Left Domestique
Pony 3 - 1° Right Domestique
Pony 4 - 2° Left Domestique
Pony 5 - 2° Right Domestique
Pony 6 - 1° Tail light
Pony 7 - 3° Left Domestique
Pony 8 - 3° Right Domestique
Pony 9 - 2° Tail light
Pony 10 - Soloist
Pony 11 - Acrobatic Training Supervisor
Pony 12 - Pilot in Training
Pony 13 - Pilot in Training
Pony 14 - Pilot in Training
Pony 15 - Pilot in Training
Pony 16 - Pilot in Training
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Frecce Tricolori (italienisch für Dreifarbige Pfeile) sind eine Kunstflugstaffel der italienischen Luftwaffe, die 1961 als 313º Gruppo Addestramento Acrobatico aufgestellt wurde. Die Staffel ist auf dem Militärflugplatz Rivolto bei Udine stationiert und erhielt am 1. Juli 1961 den heutigen Namen: 313º Gruppo Addestramento Acrobatico - Pattuglia Acrobatica Nazionale (PAN) “Frecce Tricolori”.
Der Ursprung des Kunstflugteams reicht bis in die 1920er Jahre zurück. Bei einem Besuch in Großbritannien hatten einige hohe Fliegeroffiziere die Anfänge des Formationskunstflugs kennengelernt. Der Befehl zur Gründung einer Kunstflugstaffel ging an Oberst Rino Corso Fougier in Udine. Er gilt als Vater des italienischen Formationskunstflugs und prägte maßgeblich den Ausbildungsstandard der Militärpiloten.
Die erste Fünfer-Kunstflugstaffel seines 1. Geschwaders (1º Stormo) war in Campoformido stationiert. Die erste Staffel erschien am 8. Juni 1930 bei der 1ª Giornata Aerea dell’Ala in Rom als offizieller Repräsentant der italienischen Luftwaffe.[1] In dieser Geburtsstunde zeigten sie mit sieben Jagddoppeldeckern vom Typ Fiat CR.20 ihr erstes Programm. Die 2ª Giornata Aerea dell’Ala 1932 zeigte mit Doppeldeckern vom Typ Breda Ba.19 ihr Programm. 1936 erhielten die „Frecce“ die Fiat CR.32.
Nach der Unterbrechung durch den Zweiten Weltkrieg begannen sie erneut mit Düsenflugzeugen das Formationskunstflugtraining. Die Teams Cavallino Rampante („Aufbäumendes Pferdchen“), Getti Tonanti („Donnernde Jets“), Tigri Bianche („Weiße Tiger“), Lancieri Neri („Schwarze Lanzenreiter“) und die Diavoli Rossi („Rote Teufel“) wurden bekannt.
Die erste wirkliche italienische Kunstflugstaffel wurde vom 4º Stormo aufgestellt. Als erste Einheit mit den Doppelrumpfjägern de Havilland D.H.100F.B.52 bildeten die Piloten des Geschwaders 1954 das erste italienische Kunstflug-Jet-Team mit dem Namen „Cavallino Rampante“. Mit der Republic F-84G starteten die „Getti Tonanti“ als Nachfolger der Staffel „Cavallino Rampante“. Der Fliegerfilm I quattro del getto tonante („Die vier donnernden Jets“) wurde mit dem Team gedreht. Die 51ª Aerobrigata übernahm 1955 mit dem Team „Tigri Bianche“ die Funktion der offiziellen Kunstflugstaffel der italienischen Luftwaffe, geflogen mit F84G Thunderjets. 1956 flog wieder das 4° Stormo mit neuen Canadair F-86 Sabre Mk4[2]. Das 6° Stormo flog als „rote Teufel“ („Diavoli Rossi“) die Republic F84F Thunderstreaks erstmals am 19. Mai 1957 auf dem Flughafen Turin-Caselle. 1958 wurde die 2ª Aerobrigata mit dem Namen „Lancieri Neri“ aufgestellt. Die sechs Piloten flogen eine F-86 Sabre.
Das Generalstab der italienischen Luftwaffe entschloss sich Ende 1960, ein eigenes Kunstflugteam aufzubauen, das nur noch in der Nebenrolle als leichte Jagdbomberstaffel zur Verfügung stehen sollte. Mit dieser Aufgabe wurde die 313º Gruppo betraut.
More info and other languages available at:
Strobist Info: One (old school) white lightning 5000 at 1/3 power, triggered by a RadioPoppers JrX Studio, high right through a strobist DIY macro studio
If you can't dispose of your old kettle by taking the whole thing to a waste center, you can probably recycle much of it yourself. Carefully dismantle it and put the pieces with plastic recycling symbols in your recycling collection box. Save and reuse any useful bits like screws and springs. You'll find you throw relatively little in the trash - and you'll learn a lot about how things work.
This photo is from our article about electric kettles.
Our images are published under a Creative Commons Licence (see opposite) and are free for noncommercial use. We also license our images for commercial use. Please contact us directly via our website for more details.
una vista general del racó, amb tot el que hi tinc
llegeix el post a: serkeros.wordpress.com/2011/11/06/el-talleret/
Exercise Cobra Warrior After my afternoon visit on Tuesday 14th March, where I just missed photographing the visiting fighters arriving back at base, I made up for it on the following Friday 17th - managing to record the departure home of all six of the Belgian Air Component F-16s, four of the Finnish Air Force F-18s and a pair of the 'exotic' Indian Air Force Mirage 2000s 😎 :)
In this view we see the third of four Belgian Air Component F-16s that departed Waddington around 09.30 - taxiing to the holding position with the fourth aircraft FA-102 behind. FA-136 carries an eye-catching "The X Tiger" display livery :)
Exercise Cobra Warrior is a biannual exercise run by the Royal Air Force and is designed to exercise participants in high intensity large force tactical training. This year's exercise is taking place from the 6th to the 24th of March, controlled by directing staff at RAF Waddington. More info on Exercise Cobra Warrior here: www.raf.mod.uk/news/articles/international-participants-f...
Cobra Warrior Participants
Based at Waddington
🇧🇪Belgian Air Force (Force Aérienne Belge)🇧🇪
General Dynamics F-16AM Fighting Falcon (Viper) x6
FA-77
FA-102
FA-116 (349 sqd special tail)
FA-127
FA-134
FA-136 (display special)
🇫🇮 Finnish Air Force (Ilmavoimat) 🇫🇮
McDonnell Douglas F-18C Hornet x6
HN-406
HN-411 (small bull on nose)
HN-422
HN-424 (black lynx on nose)
HN-438
HN-448
🇮🇳 Indian Air Force 🇮🇳
Dassault Mirage 2000 x5
KF112 - 2000I
KF118 - 2000I
KT208 - 2000TI
KT211 - 2000TI
KT213 - 2000TI
Based at Coningsby
🈂 Royal Saudi Air Force 🈂
EF2000 Eurofighter Typhoon x6
1020 - T3
316 - FGR4
8019 - FGR4
1019 - FGR4
1022 - FGR4 (Green Canard)
8018 - FGR4
More info here: www.fightercontrol.co.uk/forum/viewtopic.php?f=455&t=...
Low-res shot taken with an iPhone 6s iPhone photography - apologies for the poor quality of some of these phone photos - sometimes they're nice and sharp - sometimes they're all pixelated and not up to my usual standard. The videos are better :)
You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/
axtschmiede.com/extremely-self-aware/
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ESO has utilised the innovative technology of 3D printing to manufacture moulds for the casting of two new components required for the MUSE instrument on ESO's Very Large Telescope (VLT) in Chile. This technique offers great promise in the manufacture of complex custom items, which are often needed in astronomical instrumentation, delivering the components more quickly and cheaply and with greater flexibility. The component, the structural body of a new sensor arm, appears in the centre of the picture and is the mounting point for three mirrors.
More information: www.eso.org/public/images/ann14011a/
Credit:
ESO
Small box for PCB (Printed Circuit Board) with electronic components, very high water protection degree, without epoxy resin.
No tooling costs, with reduced labour cost and without potting resins.
This box is a simple and inexpensive solution to coat small electronic circuits with high quality materials (polyurethane).
Cables or connectors can be according to customer's design; metallic sheaths or special cables are available, the item can also be supplied fitted with connectors according to customer's request: such as Tyco, FCI, Deutsch, Molex, Amphenol, etc.
Advantages:
- Overmoulded with PUR (polyurethane)
- Protection degree: IP67
- Simple and low-cost
- Small dimensions
- Very light weight
- Electrical cable exit: single or multiple.
- Cable type according to customer’s needs.
- Possibility to have protection conduit of galvanized steel or stainless steel, for applications where the most reliability and mechanical strength are requested
These are parts of the switch control system for the little hump yard in Springfield yard. I assume they're relays for all of the switches than can be thrown by the operator in the hump tower.
Ingredient for a simple target board: Perfboard, socket, 6-pin DIP header, optional battery box.
Photo taken to accompany short article on working with AVR microcontrollers, and making minimalist target boards for programming them.
100% crop
Lockheed C-130-H (CH-11)
382-4482
Apr 1973
15e Wing de transport aérien
20th Squadron
Painting : invasion strips with 20th Squadron
Special Operations Regiment
lescahiersdelasemaine.be/lepopee-du-15-wing-air-transport
La Fiere, 9 june 2019 ; 1 200 paratroopers from USA, UK, France, Germans, Dutchs, Belgium and Romania.
"Eco Smart provides Solar Panels of world class premium brands up to 25 years of manufacturer warranty at wholesale prices. We provide many benefits over our Solar Panels and Components which will foremost bring you a long lasting value of our recommended components.For more information visit www.ecosmart-solar.com
1st Floor, Al Riqqa Building,
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This is a detail from a piece that I did for the Green Day traveling art show. This piece is 30 X 30 Inches. It is a 6 color stencil with a laser etched background. The background is etched approximately 1/8 inch with icons that were inspired by various songs from the album.
For the show, I picked 18 artists and gave them lyrics to a song from the 21st Century Breakdown album. Each artist was instructed to use the lyrics as a jumping off point for their piece. The list of artists are:
Adam 5100(San Francisco)
Broken Crow (Minneapolis)
C215 (Paris)
Chris Stain (New York)
Component (Auckland)
Dabs / Myla (Melbourne)
Eelus (London)
Logan Hicks (New York)
Lucamaleonte (Rome)
M-City (Poland)
Meggs (Melbourne)
Jeremiah Garcia (Los Angeles)
Peat Wollaeger (St Louis)
Pisa 73 (Berlin)
Ron English (New York)
Sadhu (Paris)
Sixten (Sweden, Toronto)
The London Police (Amsterdam)
Will Barras (London)
In addition, I did portraits of the band members of Green Day. These portraits, along with the artwork from the other 18 artists, will travel with Green Day as they play venues on their current tour.
A catalogue will also be printed that features the lyrics, artwork, and bios of each artist.
I will be posting images of the other artwork in the next few days
A vintage bicycle component used to keep the brake cable tidy. Can only be used on a stem with an expander bolt head outside the stem like the GB Hiduminium ones.
CBP components, Office of Field Operations, Office of Border Patrol and Office of Air and Marine compete in an Honor Guard Competition during the annual commemoration of Police Week in Washington D.C. Photos by James Tourtellotte.
Campinas/SP
Symmetrical Components refers the structure of this transmission line, but is also a method in Electrical Engineering used in Power Systems Analysis. The name of this photo is an "internal joke" for Electrical Engineers like me.
--
"Scores of times each day, with the merest flick of a finger, each one of us taps into vast sources of energy—deep veins of coal and great reservoirs of oil, sweeping winds and rushing waters, the hidden power of the atom and the radiance of the Sun itself—all transformed into electricity, the workhorse of the modern world."
Electronics Hobby
Building a new components-cabinet.
Hacker (hobbyist)
In home computing, a hacker is someone who modifies software or hardware of their own private computer system. It includes building, rebuilding, modifying, and creating software (software cracking, demoscene), electronic hardware (hardware hacking, overclocking, modding), either to make it better, faster, to give it added features or to make it do something it was not originally intended to do. Hacking in this sense originated around hobbyist circles discussing the MITS Altair at the homebrew computer club.
Hacker artists[edit]
See also: Fractal art, algorithmic art and interactive art
Hacker artists create art by hacking on technology as an artistic medium. This has extended the definition of the term and what it means to be a hacker. Such artists may work with graphics, computer hardware, sculpture, music and other audio, animation, video, software, simulations, mathematics, reactive sensory systems, text, poetry, literature, or any combination thereof.
Dartmouth College musician Larry Polansky states: "Technology and art are inextricably related. Many musicians, video artists, graphic artists, and even poets who work with technology—whether designing it or using it—consider themselves to be part of the 'hacker community.' Computer artists, like non-art hackers, often find themselves on society’s fringes, developing strange, innovative uses of existing technology. There is an empathetic relationship between those, for example, who design experimental music software and hackers who write communications freeware." [3]
Another description is offered by Jenny Marketou: "Hacker artists operate as culture hackers who manipulate existing techno-semiotic structures towards a different end, to get inside cultural systems on the net and make them do things they were never intended to do." [4]
A successful software and hardware hacker artist is Mark Lottor (mkl), who has created the 3-D light art projects entitled the Cubatron, and the Big Round Cubatron. This art is made using custom computer technology, with specially designed circuit boards and programming for microprocessor chips to manipulate the LED lights.
Don Hopkins is a software hacker artist well known for his artistic cellular automata. This art, created by a cellular automata computer program, generates objects which randomly bump into each other and in turn create more objects and designs, similar to a lava lamp, except that the parts change color and form through interaction. Says Hopkins, "Cellular automata are simple rules that are applied to a grid of cells, or the pixel values of an image. The same rule is applied to every cell, to determine its next state, based on the previous state of that cell and its neighboring cells. There are many interesting cellular automata rules, and they all look very different, with amazing animated dynamic effects. 'Life' is a widely known cellular automata rule, but many other lesser known rules are much more interesting."
Some hacker artists create art by writing computer code, and others, by developing hardware. Some create with existing software tools such as Adobe Photoshop or GIMP.
The creative process of hacker artists can be more abstract than artists using non-technological media. For example, mathematicians have produced visually stunning graphic presentations of fractals, which hackers have further enhanced, often producing detailed and intricate graphics and animations from simple mathematical formulas.
en.wikipedia.org/wiki/Hacker_(hobbyist)