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Straighwire Symphony II, DIY interconnect semi-balance cable assembly.
2 inner wires (red+white) connected to center pin of RCA, other 2 inner wires (black+grey) connected to the outer shell of the RCA, and mass braid only connected to the outer shell of the RCA at the source end.
Capacitance of 0.5 mts coaxial interconnect cable
Interconnecting Room
Guest Room
The Westin Hyderabad Mindspace
Mindspace IT Park, Madhapur
Hyderabad, Andhra Pradesh
India
www.starwoodhotels.com/westin/property/overview/index.htm...
40-6767-67-67
Straighwire Symphony II, DIY interconnect unbalance cable assembly.
Capacitance of 0.5 mts coaxial interconnect cable
My 20-year old interconnect cable. The best sounding cable i have tried.
In Monster Cable RCA Plugs. Silver soldered.
2008 - The Action Field Kodra exhibition (Thessaloniki, Greece / 2008 - "Restaging the Past", National Museum Szczecin, Poland / 2006 - “Discrete Elements” Chelsea Art Museum, Home of the Miotte Foundation, New York / 2005 “Discrete Elements” Chiesa di San Paolo Modena, Italy, (Catalogue) / 2005 “Discrete Elements” National Gallery Tirana, Albania.
DE is not meant to be labeled as a documentary sort of project. It does not intend to take a critical approach on its urban milieu.DE is simply a materialization of all feelings impregnated by a series of doubts and disputes inherent of the surrounding reality. The bud of contemplation, within genesis of these compositions, derives from a thorough examination of impact caused by an isolated image which in itself is a conversion serving as a symbolic reference to its original source of life. Video-frames, vibrant components of chronography, are chosen as the best route plunging into exploration of nature and logic implemented in any transition cycle. I am conscious of video-frames’ exalting character that thrives in all complex assemblages of interpretations trying to explain even the vaguest and most obscure questions. Chronography, as a whole, is a technique that resembles a pleasurable struggle aiming to present tribal images belonging to the same sequence with synonymous time frames and areas of manifestation. Such technique, representing symptomatic images within their own life span, is a mixture of painting and a fabricating, impersonal and neutral adeptness created by silkscreen. It is this technique that generates the notion of a system, of a principle, of a method and that of a prefabricated structure. The structure itself represents the timeframe in which we live. Here, in this structure, I see my own city and grasp the configuration of a social order. Ultimately, simplicity, captivated in a rendezvous of images, flows from an attempt to rehabilitate a coupling of art with reality. Also, it is this kind of simplicity that serves as the interconnecting point where artistic ambition probably coincides with the daily flavor.And, if we were to consider these images with the perspective of an aesthetic invention, we would conceive the impression of an iconography for the ordinary life. Nevertheless, Discrete Elements does not reflect upon and does not correspond solely to the essence of a confined season.Instead, Discrete Elements is a compilation expressing the phenomenon of an epoch that surpasses its preset borders. Similar to the epoch itself, DE is being transformed into a model of absolute for the modes in which one lives and thinks. Discrete Elements endeavor agonizing its viewers about our general outlook we tend to create as a response to these actualities. Discrete Elements is practice of painting with the intention of denouncing, with the ultimate goal of destroying, the vulgar aspect of an almost photographic reality. The content of their truthfulness does not playact an intensely honest transcript of feelings. After all, does a work of art - pretentious of depicting solely sincere emotions – succeed in coming through as candid or does it bear the aftertaste of a hidden pursuit under its dubious veil?
This is a closer view of the left edge of the board. I moved some pads to fit the power and ground rail pad interconnects in the top and bottom left corners. I'm not sure if I'll carry the trace changes this required to the other 5 sections, as they're more elegant the original way.
Neil Forrest uses various systems of interconnecting nodes that spread in a matrix. These are generated as dimensional field ornament that corresponds to the distinctive curved space produced by arabesque and muqarna of Islam. Forrest’s work presents a detached ceramic ornament in response to the changing typographies within contemporary architecture - expanding systems intended to modify the psyche of space that is distinguished by lightness and openness. Forrest’s architectural ceramics are porcelain scaffolds, resembling coral environments and truss-like vertebrae.
Working from Gottfried Semper’s analysis that the dressing or decorative surface perform the spatial essence of the wall, and emphasizing the architectural significance of the ‘joint’, Forrest presents a tectonic and nomadic ceramic ornament. The project of ‘colonizing architecture’ is a theory of connectedness enabling close independence, which embraces the principle of non-hierarchical pattern behaviors that largely underpin the decorative arts.
Here ornament is understood as the libido for contemporary architecture, and can be tasked as having increasing utility to the organism of architecture, ready to engage an elegantly engineered world.
Neil Forrest has exhibited and lectured in North America, UK, Europe and Asia, and is currently Professor of Ceramics at NSCAD University. His most recent exhibitions were Wurzelwerk, Scaffs and Thicket. His ceramics have been published in books, craft magazines and architectural journals. Forrest studied at Cranbrook Academy of Art, Alfred University and Sheridan College of Crafts and is involved in several research collaborations that examine ceramics for architecture.