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Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
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Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
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Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
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Joy Division
Book :
Peter Shapiro
Modulations
Allia
2004
CD :
Joy Division
Unknown Pleasures
Factory
FAC10
Design . Peter Saville
iMusic :
New Order
Temptation
Factory
FAC63
GMA FM ...
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
What is Neuromodulation Therapy? youtu.be/qTI6lwoDNl4 What is Neuromodulation Therapy? and how does it work ? Neuromodulation therapy is a type of technology that acts directly upon nerves. It is the direct modulation of nerve activity through electrical or pharmaceutical stimulation directly to a target area. Neuromodulation works by using electrical stimulation to improve control of an existing part of the nervous system. Examples include spinal cord stimulation systems used for chronic pain management that block pain signals to the brain and gastric stimulation systems, which are used to block the signals of hunger. There are three different types of neuromodulation therapy: • Deep brain stimulation (DBS) • Transcranial magnetic stimulation (TMS) • Vagal nerve stimulation Deep brain stimulation (DBS) This involves the placement of an electrode inside the brain with a wire running down the neck connected to a battery pack or pulse generator under the skin in the chest or abdomen. Currently used to treat Parkinson's disease, epilepsy, stroke and severe obsessive compulsive disorders. Research is underway into its use to treat obesity, Tourette's syndrome, anorexia, addictions. Transcranial Magnetic Stimulation When a strong, rapid current is passed through a stimulating coil (top), a rapidly changing magnetic field is produced, which induces current into the brain (bottom). Transcranial magnetic stimulation (TMS) This involves the application of a magnetic field to induce electrical currents into the brain. It is a non-invasive procedure. Currently used in several countries to treat depression, or to enhance cognitive functions such as attention, understanding, perception. Future applications may include treatment for severe migraines. There is significant interest in the development of TMS to enhance mood and cognitive skills such as problem-solving and memory. TCMS requires hospital visits 5 x 40 min visits each week for up to six weeks As a result of this ion flow, action potentials are triggered in neurons that are within the induced current field, along with a subsequent period of deactivation, presumably through prolonged IPSPs. Because normal ongoing brain activity is disrupted by this induced current, TMS provides a way for investigators to produce a transient and reversible period of brain disruption or “virtual lesion.” Thus, unlike other experimental techniques [e.g., functional magnetic resonance imaging (fMRI), electroencephalography (EEG)/event-related potentials (ERPs)], TMS can assess whether a given brain area is necessary for a given function rather than simply correlated with it. Vagus Nerve Stimulation Used to treat refractory epilepsy, produces a 40% reduction in fits in 40% of patients Vagus nerve is both motor and sensory Brain-machine interfaces (BMIs) devices that detect intent—typically intended movement—from brain activity, and translate it into an output action, such as control of a cursor on a screen or a robotic arm. 1) acquiring a neural signal that can be consciously controlled; 2) analyzing that signal to identify an intended motor output; and 3) executing the intended action NeuroPharmaceuticals is an emerging field of therapy, applied through the use of devices combined with pharmaceuticals, particularly for cognition and emotional treatments. Examples include pumps for baclofen to treat spasticity or morphine for chronic pain. Intrathecal pump delivers medication to spinal fluid. There is no feedback loop. www.neuromodulation.com/ en.wikipedia.org/wiki/Neuromodulation_(medicine) weillcornellpainmedicine.com/health-library/neuromodulation neuromodulation devices neuromodulation journal neuromodulation medtronic neuromodulation companies neuromodulation surgery neuromodulation technique neuromodulation medical devices neuromodulation implant neuromodulation therapy neuromodulation therapies
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
This shot used two remote controlled speed lights. One was tripod mounted to her left at about the 11 o'clock position and one set on the ground behind her. Unfortunately, almost right out of the gate, one of the lights started having issues which included a combination of over flashing and inability to respond to decreased power settings. I think the light may have lost modulation capability. So I had to abandon a lot of the planned pics for this set.
Electronics are contained in box at back waist contains arduino uno, 2 nine volt batteries, and small amp. Speakers are in ends of tube around neck and mic is on an earpiece. Arduino board powers eye stalk and dome lights as well as handles dalek voice modulation. I found the arduino sketch (source and circuit diagrams) can be found here github.com/andygrove/arduino_dalek_ringmodulator kudos to Andy Grove for the sketch. Originally created for the Time Traveler's Ball held at the Redmoor in Cincinnati 11/17/12
Musée des Arts et Métiers. Paris. France
Used by:
itallstartswithasong.wordpress.com/2012/10/10/targeting-t...
russianwomenblog.hotrussianbrides.com/post/SBS-Ukrainian-...
www.storystudiochicago.com/2012/12/pbr-and-npr-merging-st...
nighttime photography is changing… sodium lights going away, and the led lighting on vehicles sure don't necessarily leave clean trails…
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
On Friday 2nd December 2016 I was down in London-town for the service to mark the memorial stone to Philip Larkin in Westminster Abbey's Poet's Corner. Quite a day out, revived lots of memories of my days in the Smoke.
DAYS
What are days for?
Days are where we live.
They come, they wake us
Time and time over.
They are to be happy in:
Where can we live but days?
Ah solving that question
Brings the priest and the doctor
In their long coats
Running over the fields.
A favourite Larkin poem and one of several read at the dedication service held in Poets Corner in the architectural and theistic splendour of Westminster Abbey. It was read quite superbly by Sir Tom Courtenay whose vocal modulations and control brings a deeper clearer meaning to everything he does.
The memorialising followed Evensong in the North Lantern of the Abbey. On the way-in I exchanged a few words with Alan Bennett, as he rested on a bench close to Abbey entrance, though as I was saying to Prince Philip only the other day I have an abiding aversion to name-droppers. Anyway,
I enquired of our greatest living diarist whether he was here for Mr. Larkin? No he replied, I'm just waiting, just waiting'. I passed on, a little surprised remembering that in the introduction to his most recently published bible-sized volume (Keeping On Keeping On) he recounts his fishing expedition through Larkins Whitson Weddings in search of a title for this latest iteration of his diaries. Larkin has failed the test it would seem. And in retrospect his remark seems strange as in due course he sat with Melvyn Bragg in one of the best seats in the house. Still it was good to see them turning out to add some northern heft to the proceedings, Baroness Bottomley was good value too, and I noticed Anthony Thwaite who read from Larkins great poem 'Church Going' (A serious house on serious earth it is) was accompanied by his lovely wife the biographer Anne. Anthony Thwaite is one of Larkin's literary executors, a duty shared with the best of our recent Poet Laureate's - Andrew Motion, who was as far as I could see not in attendance, nor was (with the same caveat), James Booth the most recent of Larkin's biographers.
Grayson Perry read from Letters to Monica and was much enjoyed, this being the first time I have seen him out of girly weeds while just opposite me sat Lord Saatchi, I must admit it took me a while to match his name and face and he had about him that slightly foxed expression suggesting he was grappling with a similar problem regarding me!
Other readers performed over Philip's stone as we all crowded around Chaucer's tomb and all the markers to the great poets of our ages: the recent seem to catch the eye most - Auden, D H Lawrence and Ted Hughes are prominent though its possible Larkin might not be overjoyed at being next to Ted 'the incredible hulk', he called him. Yet death equals us all out and has some claim to a democracy and I reckon Philip Larkin would be pleased to know he made it in the end, on this the 31st anniversary of his death. It took Shakespeare a lot longer than that.
Philip Larkin 1927 - 1985.
Cycles is a unique step sequencer for crafting complex and experimental percussion patterns on the iPad. This is a proof of concept in the early stages of development.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
The Postcard
A postcard published by F.W. Over of Streatham. On the back they have printed:
'To wish you the old Greeting -
A Merry Christmas and a
Happy New Year'.
The card was posted in Tooting, London S.W. on Friday the 22nd. December 1905 to:
Mrs. Winkworth,
55, Oliphant Street,
Queen's Park Estate,
Westbourne Park,
London.
The message on the divided back of the card was as follows:
"From Aunt Annie".
Tommy Flowers
So what else happened on the day that Aunt Annie posted the card?
Well, the 22nd. December 1905 marked the birth of Thomas Harold Flowers, BSc, DSc, MBE. Tommy was an engineer with the General Post Office.
During World War II, he designed and built Colossus, the world's first programmable electronic computer, to help solve encrypted German messages.
The Early Life of Tommy Flowers
Flowers was born at 160 Abbott Road, Poplar in London's East End, the son of a bricklayer. Whilst undertaking an apprenticeship in mechanical engineering at the Royal Arsenal, Woolwich, he took evening classes at the University of London to earn a degree in electrical engineering.
In 1926, Tommy joined the telecommunications branch of the General Post Office (GPO), moving to work at the research station at Dollis Hill in north-west London in 1930.
In 1935, he married Eileen Margaret Green, and the couple later had two boys, John and Kenneth.
From 1935 onward, he explored the use of electronics for telephone exchanges, and by 1939, he was convinced that an all-electronic system was possible.
Tommy Flowers in World War II
Flowers' first contact with wartime code-breaking came in February 1941 when his director, W. Gordon Radley was asked for help by Alan Turing. Alan was working at Bletchley Park, the government code-breaking establishment, 50 mi (80 km) north-west of London.
Turing wanted Flowers to build a decoder for the relay-based Bombe machine, which Turing had developed to help decrypt German Enigma codes. The decoder project was abandoned, but Turing was impressed with Flowers' work, and in February 1943 introduced him to Max Newman who was leading the effort to automate part of the cryptanalysis of the Lorenz cipher.
The Lorenz cipher was a high-level German code generated by a teletypewriter in-line cipher machine, the Lorenz SZ40, called 'Tunny' (tuna fish) by the British. It was a much more complex system than Enigma; the decoding procedure involved trying so many possibilities that it was impractical to do by hand.
Flowers and Frank Morrell (also at Dollis Hill) designed the 'Heath Robinson', in an attempt to automate the process.
Flowers then proposed a more sophisticated alternative, using an electronic system, which because of its huge size his staff called Colossus, using 1,800 thermionic valves instead of 150, and having only one paper tape instead of two (which required synchronisation) by generating wheel patterns electronically.
Because of the large number of valves, some people felt that the system would be unreliable. Flowers countered that the British telephone system used thousands of valves, and was reliable because the electronics were operated in a stable environment with the circuitry on all the time.
The Bletchley Park management were not convinced, and merely encouraged Flowers to proceed on his own. He did so at the Post Office Research Labs, using some of his own money to build it. Flowers got on with Turing, but was treated with disdain by Gordon Welchman, because of his advocacy of valves rather than relays.
Welchman was one of the four 'Wicked Uncles', along with Alan Turing, Hugh Alexander, and Stuart Milner-Barry. The
Wicked Uncles were the four signatories to a letter sent to Winston Churchill in October 1941, asking for more resources for the code-breaking work at Bletchley Park. Churchill responded with one of his 'Action This Day' written comments.
Welchman preferred the views of Wynn-Williams and Keene of the British Tabulating Machine Company (BTM) who had designed and constructed the Bombe. He wanted Flowers removed from work on Colossus for 'squandering good valves'.
The Heath Robinson approach was still valuable for solving certain problems. The final development of the concept was a machine called 'Super Robinson' that was designed by Tommy Flowers. The machine's importance was officially recognised, and on the 2nd. June 1943, Flowers was given an OBE.
Flowers gained full backing for the Colossus project from the director of the Post Office Research Station at Dollis Hill, W. G. Radley. With the highest priority for acquisition of parts, Flowers' team at Dollis Hill built the first machine in eleven months.
The Mark 1 Colossus operated five times faster, and was more flexible than the Heath Robinson system which used electro-mechanical switches. The first Mark 1, with 1500 valves, ran at Dollis Hill in November 1943; it was delivered to Bletchley Park in January 1944 where it was assembled and began operation in early February.
The algorithms used by Colossus were developed by W. T. Tutte and his team of mathematicians. Colossus proved to be efficient and quick against the twelve-rotor Lorenz cipher SZ42 machine.
In anticipation of a need for additional computers, Flowers was already working on Colossus Mark 2 which would employ 2,400 valves. The first Mark 2 went into service at Bletchley Park on the 1st. June 1944, and immediately produced vital information for the imminent D-Day landings.
Flowers later described a crucial meeting between Dwight D. Eisenhower and his staff on the 5th. June, during which a courier entered and handed Eisenhower a note summarising a Colossus decrypt.
This confirmed that Adolf Hitler wanted no additional troops moved to Normandy, as he was still convinced that the preparations for the Normandy landings were a feint. Handing back the decrypt, Eisenhower announced to his staff: "We go tomorrow".
Earlier, a report from Field Marshal Erwin Rommel on the western defences was decoded by Colossus. This revealed that one of the sites chosen as the drop site for a US parachute division was the base for a German tank division, and the site was changed.
Ten Colossi were completed and used during WWII in British decoding efforts. All but two were dismantled at the end of the war. The remaining two were moved to a British Intelligence department, GCHQ in Cheltenham, Gloucestershire, where they played a significant part in the code-breaking operations of the Cold War. They were finally decommissioned in 1959 and 1960.
A functioning Colossus Mark II was rebuilt by a team of volunteers led by Tony Sale between 1993 and 2008. It is on display at The National Museum of Computing at Bletchley Park.
Post-War Work and Retirement of Tommy Flowers
After the war, Flowers received little recognition for his contribution to cryptanalysis. The government granted him £1,000 payment which did not even cover Flowers' personal investment in the equipment; he shared much of the money amongst the staff who had helped him build and test Colossus.
Flowers applied for a loan from the Bank of England to build another machine like Colossus, but was denied the loan because the bank did not believe that such a machine could work. He could not argue that he had already designed and built many of these machines because his work on Colossus was covered by the Official Secrets Act.
It was not until the 1970's that Flowers' work in computing was fully acknowledged. His family had known only that he had done some 'secret and important' work.
Tommy remained at the Post Office Research Station where he was head of the Switching Division. He and his group pioneered work on all-electronic telephone exchanges, completing a basic design by about 1950. He was also involved in the development of ERNIE.
In 1964, he became head of advanced development at Standard Telephones and Cables Ltd., where he continued to develop electronic telephone switching including a pulse amplitude modulation exchange, retiring in 1969.
In 1976, he published 'Introduction to Exchange Systems', a book on the engineering principles of telephone exchanges.
In 1977 Flowers was made an honorary Doctor of Science by Newcastle University.
In 1980 he was the first winner of the Martlesham Medal in recognition of his achievements in computing.
In 1993, he received a certificate from Hendon College, having completed a basic course in information processing on a personal computer.
Death and Legacy of Tommy Flowers
Flowers died in 1998 aged 92, leaving a wife and two sons. He is commemorated at the Post Office Research Station site, which became a housing development, with an access road called Flowers Close.
He was honoured by the London Borough of Tower Hamlets, where he was born. An Information and Communications Technology (ICT) centre for young people, the Tommy Flowers Centre, opened there in November 2010.
In September 2012, his wartime diary was put on display at Bletchley Park. A road in Kesgrave, near the current BT Research Laboratories, is named Tommy Flowers Drive.
On the 12th. December 2013, 70 years after he created Colossus, his legacy was honoured with a memorial commissioned by BT, successor to Post Office Telephones. The life-size bronze bust, designed by James Butler, was unveiled at Adastral Park, BT's research and development centre in Martlesham Heath, near Ipswich. BT also began a computer science scholarship and award in his name.
I suppose I could have saved this for October, but as it presented itself today, I figured I'd get to it now.
My son and I were watching Don't Look Back today, when I decided to go through my collection of cassette recordings of Bob Dylan I amassed many years ago. This one is an audience tape from the very first Dylan show I attended. Upon seeing the ticket, I couldn't believe that even as long ago as 1978, a Dylan ticket went for only $10.00.
I was in school at Bowling Green State University at the time, and a bunch of us made the thirty-mile drive to Toledo to see the show. I smuggled my tape recorder in beneath my coat and we snuggled in to our Centennial Hall (which is called something else now, I believe) seats, almost even with Dylan's stage position, in the mezzanine section to stage left.
I had recorded concerts before but I was very much looking forward to this one as I was a pretty serious player in the Dylan "underground" tape scene at the time. The tour was in promotion of his Street Legal LP, but much of the media reports had been focused on Dylan's "Vegas" presentation. He dressed in a white, spangly jumpsuit (à la Elvis) and was rather caked in eye makeup. I don't recall if he wore his leather jacket for the shows I saw (I saw him the next night in Dayton as well), but he is wearing it in many of the photos I've seen from the tour over the years. Another of the knocks that the media was laying on Dylan at the time regarded his (sometimes major) overhauling of the arrangements of many of his better-known songs.
My tape recorder wasn't the best, nor was the microphone I had with me, and as I didn't think to bring a flashlight to look at my recorder's VU meter (I guess it wasn't that bad of a recorder if it had one of those, huh?), I had to record the show on Auto-Level, which tended to not be able to make quick recoveries when the music made transitions from loud to quiet and vice versa. Still, I would find when I listened to the show upon getting home that my recording wasn't horrible.
Also upon returning home, however, I discovered that my tape of the first half of the show was missing. I about had a heart attack. I had taken two 90-minute tapes with me with the plan of flipping the first one over at about the 40-minute mark, hoping to avoid running out of tape mid-song. I also brought a second set of batteries with me to avoid running out of juice mid-show. The only thing I apparently hadn't planned on was tucking the first tape safely away so that it wouldn't get dropped and lost, which is what seems to have happened.
That week, I placed a classified ad in the University of Toledo student paper looking for the lost cassette, and lo and behold, I got a call from someone who had only the first half of the show. I was suspicious at first that he had found my tape, but when I met him to get the recording, he showed me his recorder and told me how he'd run out of battery power. As I recall, the brand of tape was of a lower grade than I'd used, so it was just dumb luck that we each had each other's missing halves. In return for his half of the show, I gave him a copy of my tape so that he would also have a full show.
A couple of days later, I got another call from someone else who had recorded the show – in stereo – from the arena's floor with what was probably the top-of-the-line Nakamichi tape deck, with what seems to have been high-quality microphones. (A trader friend of mine in Nürnberg still tells me that this is one of his favourite recordings from that tour.) I went to his house and he dubbed a copy of the show for me and I was ecstatic, particularly because his audio levels were perfectly set, which meant that his recording of "Tangled Up In Blue" was flawless.
"Tangled Up In Blue" was one of the songs which Dylan reworked in a major way. It sounded nothing like the original Blood On The Tracks version and for my money, the new arrangement was better. It featured Dylan on electric guitar, Steve Douglas on Saxophone and Alan Pasqua on the swirling, swelling Hammond B3 organ. It was genius. I loved it!
Several times a week, I would receive recordings from other concerts from the tour and the first thing I did was to fast forward to "Tangled Up In Blue" to see how it compared with the Toledo offering. The rendition from the concert the night before in Cleveland was respectable, but Toledo was better. Dayton (a show I also attended and recorded) was pretty good, but didn't quite meet the Toledo standard. (Actually, nothing before Cleveland even came close.) A week later, a friend recorded the show in Carbondale, Illinois, however, that – despite one moment of over-modulation in the recording – remains my favourite performance of the song from the tour.
As Dylan got deeper into the tour (Toledo was 26th of 65 cities/dates) , the shows became more automatic and less "different," except that Dylan began talking a bit more between songs, and began making frequent changes to lines in "Tangled Up In Blue," substituting "Then she opened up a book of poems / And handed it to me / Written by an Italian poet / From the thirteenth century..." to (variations of) "Then she opened up the Bible / And she started quoting it to me / Jeremiah, Chapter 13 / Verses 21 and 33..." (This, of course, was just prior to his infamous conversion to Christianity.)
Thanks to YouTube, there is a recording online of "Tangled Up In Blue" from later in the tour, in Charlotte, North Carolina. Dylan's voice was raspier and less singer-ly than his Toledo appearance, but the arrangement is the same. [Update: recording removed]
Oil on canvas; 144.5 x 204.8 cm.
Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.
Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.
The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.
See the most recent month of data at
www.flickr.com/photos/eastpole/6312718230/in/photostream
Grey bar represents the theoretical maximum capacity at the time.
2008 saw the total wind power generation capacity in Ontario double (again -- it also doubled in 2007.) On the best day, we can now exceed 800 MW. On the worst day, the entire province's wind turbines put out, basically, 0 MW.
Can the rest of the system adapt to this variability?
So far, of course it can. Note that the power generators already need to deal with demand variability that can go from 13 GW to 25 GW daily. You can see some of this output modulation occurring at a coal plant:
www.flickr.com/photos/eastpole/3064004004/
And it turns out natural gas power plants can and do modulate up and down much faster than coal plants, so the replacement of coal with natural gas means more stability for the grid, as well as cleaner emissions and somewhat less CO2 per kilowatt*hour. In Ontario, this replacement is almost complete.
Note that Ontario gained additional ability to handle load and wind variability on 11 Sep 2013 when OPA introduced curtailment, a policy that lets the system operator turn off production at wind farms when demand is low and total production is higher than needed.
www.energy.gov.on.ca/index.cfm?fuseaction=english.news&am...
Scripty goodness, based on data from:
www.theimo.com/imoweb/pubs/marketreports/download/HourlyW...
#!/bin/sh
# Datasource:
# www.theimo.com/imoweb/pubs/marketreports/download/HourlyW...
logfile="/home/tai/bin/HourlyWindGen_20090106.csv"
lineswanted=`cat $logfile | wc -l | tr -d " "`
output="/home/tai/bin/ontario-wind.png"
spline="1E-21"
/usr/bin/gnuplot << EOF
# A Gnuplot script, ontario-wind.plt
set terminal png giant size 1024,768 nocrop
# set terminal dumb
set output "$output"
# set output
set title "IESO data from all Ontario wind farms \n generated by $0 at `date +"%F %T"` \n from $lineswanted lines of $logfile"
set xdata time
# set timefmt is for INPUT
# 1205349849
# set timefmt "%s"
# 2008-03-12 15:06:56
# set timefmt "%Y-%m-%d %H:%M:%S"
# 2008-03-12
# set timefmt "%Y-%m-%d"
set timefmt "%d-%b-%y,%H"
# 16/12/08 24 222 # is that right!??
# 31-Dec-08,24,78 # that looks more like it.
#
# set format x is for OUTPUT
set format x "%b%y"
set datafile separator ","
set ylabel "Megawatts"
# set yrange [15:70]
# set xrange ["15/02/06":"15/01/09"]
set xlabel "Date"
# Linestyle!
set style line 1 lt 2 lw 4 lc rgb "#1111FF"
# Why is it 1:3? Note space within date. $2 is the time column
# \ because we must escape the shell var name. Wheee!
plot "$logfile" using 1:(\$3) \
with points \
pointsize 0.3 \
title "Total wind farm output", \
"" using 1:3:($spline) \
smooth acspline \
with line ls 1 \
title "spline fit"
EOF
One half of the final modulator stage of a Marconi BD272 HF transmitter. Two BY1144L triodes operating in class 'B' deliver up to 125kW to the modulation transformer and hence the modulated RF amplifier. Final valves are driven by four 3Z222EW cathode-followers (seen RHS of pic).
The valves are 'vapour-phase' cooled, with de-ionised water being delivered to the valve boiler via a PTFE pipe underneath, and discharged as steam and water through a Dow-Corning 'Pyrex' tube to be condensed and re-used. Air is blown from above onto the seals.
The 11kV anode supply can be seen at the LHS of the pic, and grid-bias comes from a 1kV potentiometer-tapped supply.
Filaments are double-centre-point connected and fed 90 degrees out of phase to each other (from 'Scott' transformers). The piece of 'string', in case you're wondering, is attached to the valve via a 'heat-fuse', a fusible soldered link that will break if the valve overheats. When it does so, the arm at the other end is pulled, under spring-tension, onto a micro-switch that breaks the HT circuit.
This is the motor and control circuit for my setup.
The main function here is to provide super-slow motion to the dolly. This is achieved with both a gear box and a pulse width modulation (PWM) circuit.
I used a Tamiya gearbox for my gearing ($15). My particular gearbox allows for 6 different speeds by swapping out gears. In practice however, the speed is more or less fixed as it means taking apart the whole thing to change out the gears. I have mine set on the lowest speed (using all six gears that came with the kit). This gave me the slowest output, and great torque. Further speed control was achieved through the PWM circuit.
The PWM circuit helps reduce the motor speed even more and provides speed control through the knob on the left. The circuit slows down the motor by breaking up the voltage into short pulses. By changing the width (or duration) of those pulses, you can change the average voltage to the motor, thus changing the speed. All the PWM parts were picked up from Radio Shack for about $20. Eventually this should all probably be soldered down, but for now it still on the breadboard.
I learned about PWM circuits from the following video (nerd-alert warning): www.youtube.com/watch?v=YmPziPfaByw
The pen on the right is used to wind up my string. It is not very high tech, but it was free and has served me very well thus far.
You can also see the aluminum guides I have mounted on track edges to keep my dolly inline. These were home depot items and cost me about $10. Most of the wood here is scrap, but I did spend around $12 for a 6' length of 1x8 for the track itself.
Basic weathering on. It's quite heavy like the
paint modulation as it'll be covered up by
a winter white wash finish.
The markings aren't accurate, just scraps from the
spares box but they'll mostly be covered up and just
leave a hint of something under the white wash.
GP500.Org Part # 21601 Yamaha motorcycle windshields
GP500 motorcycle windshields
The history of Yamaha Motorcycles
"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.
"If you're going to do something, be the best."
Genichi Kawakami
Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.
He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.
In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.
When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."
The first Yamaha motorcycle... the YA-1.
"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.
Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.
That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.
By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.
The first Yamaha to compete in America (1957).
Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.
Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.
With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.
In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.
Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.
Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.
By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."
He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."
A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced
"Make every challenge an opportunity."
Genichi Kawakami
the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.
In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.
Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.
Yamaha Motor Corporation, USA Cypress, California
Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.
History Timeline of Yamaha (USA)
Year Yamaha Motor Origin
1955
The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.
Year USA History
1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).
1960 Yamaha International Corporation began selling motorcycles in the USA.
1968
The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.
Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.
1970
Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.
1971
The SR433 high performance Snowmobile was introduced.
1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).
1975
Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.
1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.
1977
Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.
1978
The XS1100 motorcycle (four cylinder, shaft drive) was introduced.
XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.
Golf Cars were introduced in the USA with the G1 gas model.
1979
YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.
1980
The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.
The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).
The G1-E electric powered Golf Car model was introduced.
1981
The first air-cooled, V-twin cruiser, the Virago 750, was introduced.
1984
The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.
Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.
The Phazer snowmobile was introduced. Known for its light weight and agile handling.
Yamaha begins marketing Outboard Motors in the USA.
1985
The V-Max 1200 musclebike hits the streets.
1986
Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.
1987
A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.
Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.
Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.
1992
The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.
1994
Yamaha expands its product offerings by acquiring the Cobia boat company.
1995
The Century and Skeeter boat companies are acquired by Yamaha.
1996
Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.
Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.
1997
Yamaha acquires the G3 boat company.
At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.
Yamaha opens southeastern offices in Kennesaw, Georgia.
1998
The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.
The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.
The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.
The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.
2000
The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.
2002
The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.
The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.
2003
The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.
2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
The Yamaha THR10C is the vintage/boutique amp voiced variant of the THR guitar amp series. Along with amp simulations and several modulation and time-based effects, it also has a built-in tuner which doubles as a Tap Tempo for the delay and echo. It won't replace a tube amp in terms of tone and feel but this is a wonderfully voiced and dynamic little amp. It really responds well the the nuances of the player just like how a tube amp responds and the portability makes it a winner. So happy I was able to get a fairly priced 2nd hand unit in great condition.
François-Auguste-René Rodin (1840 – 1917) To my mind this, the artists first full scale work, is his masterwork. Inspired my Michelangelo's bound slaves the naturalism of the figure is startling and inspiring. The perfect balance of form and subtle modeling without equal. This cast has an attractive patina that emphasizes the discrete modulations of the surface.
Acrylic on wood; 50 panels, each 16 x 16 in.
Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.
In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.
The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.
Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).
There was nothing wrong with the Shimano BL-R600 levers I was first using (well, nothing apart from the huge SHIMANO script on the lever blades). I have had this new set of these levers just sitting in their box unused for several years.*
For me, there was one great (unintended) feature of these levers: the TEKTRO lettering painted on the blades instantly wiped away with a few drops of acetone, still leaving the protective anodized finish over the polished levers uncompromised.
The body of these levers is wide and made of some type of rigid plastic resin [please don't utter the word Delrin - that bane of Simplex derailleurs]. These give a comfortable feel similar to Campagnolo Ergo integrated levers. These also have a push button cable release feature which may be very useful for opening the cantilevers on this bike to remove a punctured tire. The lever blades are asymmetrical and are Right / Left specific. And, they have a couple finger tip "wave" indentations formed along the outer edges. Those edges also curve around to further increase finger comfort. The R-100 differs from the virtually identical R-200 in the "size". The R-100 is intended for smaller hands or shorter fingers unable to comfortably reach the blades of longer reach levers from inside the drops. The body is said to be slightly smaller, too... but, being accustomed to much older and truly thin levers I can't really appreciate this minor difference unless I grab an example of each for an immediate comparison. I wear a size 8 glove (fairly small for a man's hand) and these have by far the shortest lever reach I have ever used. Even with a gloved hand I can easily wrap the lever with my finger on the lowest indentation. And due to both the cantilevers and the mechanical advantage of these levers, only a light touch of the lever and a short pull is needed. So, good modulation of braking is still easily achieved despite the short pull. Vintage Mafac and Universal levers must have been made for giants with exceptionally long fingers... or maybe for E.T.
The (yes, dirty) white FIZIK handlebar wrap was re-used. I can clean away the grime left by my filthy hands and gloves with isopropyl alcohol dripped onto a clean cloth... otherwise, I would never use any white bar tape.
* Note:
Around 2011, the Tektro R100/R200 models were discontinued. The R200 was replaced with the RL340 and the R100 with the RL341. Both have a different shape for the lever blade and the newer body style is even wider at the front edge and longer overall. Cane Creek's SCR-5 lever is essentially the same as the Tektro R200 shape..
Oil on canvas; 50.5 x 75 cm.
Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.
Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.
The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.
“Claremont Road” has five Arduino UNO microcontrollers which control train movements, along with PWM (servo adapted) points/turnouts, and signals according to pre-written programs or “sketches”. This is a completely different concept from DCC.
The master co-ordinating UNO gets feedback from the track through 14 enbedded infra-red proximity detectors,
Slaves 1-3 are UNO “train drivers”,
Slave 4 handles the display and lights. The orange display shows the current mode and commands being passed between the UNOs via a short-wire protocol known as I2C.
'Modifiers', 'Frequency cutoff, 'emphasis' 'envelope', - a whole new vocabulary for musicians in 1970.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent of analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Acrylic on canvas; 152.7 x 203.5 cm.
Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.
In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.
The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.
Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).