View allAll Photos Tagged modulation,
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Tiziano Vecelli or Tiziano Vecellio,better known as Titian, was the leading painter of the 16th-century Venetian school of the Italian Renaissance. Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically[ but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Model for the origin of digits by temporal extension of distal Hoxd13 expression.Tree shows phylogenetic relationships of shark, paddlefish, zebrafish and mouse. Top row shows hypothetical timing for the transition of the apical ectodermal ridge (AER) to apical ectodermal fold (AEF); note that the mouse maintains an AER and does not form an AEF. Green shading represents proliferative period for endoskeletal progenitor cells. Middle rows show Hoxd13 expression domains (blue) at early and late stages of fin and limb bud outgrowth. AER and AEF are shaded orange. Bottom row shows pectoral appendicular skeleton for each taxon. Endoskeletal bones are shaded as follows: green, propterygium; red, mesopterygium, yellow, metapterygium. Dermal fin rays are shown as unshaded elements within fin blade. The model suggests that a second phase of distal Hoxd13 expression was present in the paired fins of the common ancestor of chondrichthyans and osteichthyans (at position 1), and that loss of the distal Hoxd13 domain in teleosts (position 2) and its spatial expansion in tetrapods (position 3) may have been associated with temporal modulation of endoskeletal progenitor cell proliferation. Early conversion of the AER to an AEF would be expected to truncate or eliminate phase II expression of Hoxd13 and reduce the fin endoskeleton, as seen in zebrafish, whereas prolonged signaling by the AER would be expected to extend Phase II and expand the Hoxd13 domain, giving rise to digits in the tetrapod lineage. Clock model after [25]; skeletal patterns after [15], [31], [40], [74].
GATECRASHER 9TH BIRTHDAY LIVE @ REPUBLIC 21-Sept-2003 , SHEFFIELD , ENGLAND , UK
Gatecrasher 9th B'day (2003-09-20) Play List PVD
01. Mark Norman - Overkill (Intro Mix)
02. Terry Bones & Fred Baker - Introspection (John Askew Remix) (Paul van Dyk Re-Edit)
03. Inzite - Spellbound
04. Agnelli & Nelson - Holding On To Nothing (Paul van Dyk Rework)
05. Modulation - Spirits (Cosmicman Remix)
06. R.B.A - Daywalker
07. Motorcycle - As The Rush Comes (Sweeping Strings Mix)
08. ID
09. 4 Strings - Revelation
10. Jaron Inc. - Overflow
11. Scott Bond Vs. Solar Stone - Naked Angel
12. James Holden & Thompson - Nothing (93 Returning Mix)
13. Donald & Giles - Weekend Wonder (Donald & Giles Remix)
14. Goldenscan - Sunrise (Pulser 6AM Vocal Mix)
15. Paul van Dyk feat. Second Sun - Crush (Album Mix)
16. Paul van Dyk Feat. Vega 4 - Time Of Our Lives (Paul van Dyk Club Mix)
17. David Forbes - Answers (Original Mix)
18. Masters & Nickson - 5th Dimension (Instrumental)
19. Lunatic Asylum - Cabal (Energy Flow) (Hiker & Dumondt's Gom Jabar Mix)
20. Nu-NRG - Connective
21. Three Drives - Carrera 2 (Nu-NRG Remix)
22. Modulation - Spirits (Slusnik Luna Remix)
23. ID
24. Extension 119 - The Zone (Original Mix)
25. Marcel Woods - Time's Running Out
26. ID
27. DJ Flex Pres. Digital Club - Dynamo [w/ DJ Tomcraft - Brainwashed (Club Mix Sampled]
28. Paul van Dyk vs Marco V - For A Revolt
29. Chris Liebing - Natural Selection
30. Tiesto - Traffic
31. Mat Silver Vs. Tony Burt - Ultimate Wave (Paul van Dyk Rework)
32. Project Magneta - Twisted Soul
33. Project Zero - Omega Six (Paul van Dyk Rework)
34. Nick Lunn & YOMC pres. Tecno Punx - Energize (Paul van Dyk Edit)
35. Paul van Dyk feat. Hemstock & Jennings - Nothing But You (Original Mix)
One of an uncountable, beautiful, wooden bridges with an unbeatable view along the bike path
Frame: Norco Monterey (originally a hybrid)
Stem: Threaded to threadless adaptor with Tehet 100mm Stem
Handlebar: Bontrager 44cm "anatomic"
Brifters: (Used) Shimano Ultegra (9x2 - yeap that's right...)
Brakes: Tektro inline lever on the front brake
Pedals: Schimano M-551 SPD
Rims: Alexrims DA22 (with fairly big gage stainless spokes)
Tyres: Continental Contact 700x28C
Hubs: Shimano 105
Seat and post: Ritchey seat post with a crap saddle (needs to be replaced)
Derailleur: rear - (used) Ultegra, front - original low grade shimano
Cassette: 8 speeds 13x29
Planet bike freddy fenders
Fun fact: I left for an 800km solo tour about a week after having built the bike as it is now with around (urban) 100km on the odo. That may have been madness, but the bike handled perfectly with not a single issue. I was very happy as this proved the reliability of my build :) (I was also very well prepared on the repair side)
Fun fact #2: The front shifter is a double and the bike sports a triple chainring. The derailleur is adjusted so it's low gear is the middle ring and to shift to the granny gear I go in big/big combo (yes that's bad, but I don't actually ride that) and then "kick" the chain to the granny by shifting down twice (the shifters have a low gear setting). It takes some practice, but it works nicely. It's also fun to see it throw off all the mechanics that work on my bike (when for some reason I don't do a repair myself).
Func fact #3: The brakes are "inverted", the right side brakes in the front. Allows me to hand signal with a hand on a front brake and gives me better modulation (I'm right handed)
Not so fun fact #1: I don't think the Ultegra RD is liking the 8 spd chain. When summer comes and I switch back to the road kit again, I may very well switch to a 9 spd cassette and chain.
Road config: when in roadie/commuter config, I switch the stem around for a lower profile and sport Continental Gatorskin's in 700x23C
Winter config: I put back the hybrid (stock) parts for winter riding. (Frame is Ai so it doesn't suffer much)
To be honest it's far from the best touring bike around, but it did a nice job to get me there. I also toured a 500km and a S240 in the hybrid config. I am, however, very inclined to get myself a LHT at some point. And learn to MiG weld. Boast it with heavy duty rims, Phil wood hubs, DT Swiss reinforced spokes, custom water reservoir. And steal front and rear racks. At some point I may also look into building a custom single 700c wheel "bob" for longer runs and possible errands to the hardware store.
This board was put together to make my bass guitar sound like an assortment of enormous, distorted analog synths.
TOP L-R: Amdek PCK-100 Percussion Synthesizer, Boss SL-20 Slicer, Line6 FM4 Filter Modeler, Line6 MM4 Modulation Modeler, Line6 DL4 Delay Modeler.
BOTTOM L-R: Boss PS-5 Super Shifter, Boss LS-2 Line Selector, Boss AW-3 Dynamic Wah, Boss PS-2 Pitch Shifter/Delay, Boss DSD-2 Digital Sampler/Delay, Boss ODB-3 Bass Overdrive, Boss OC-3 Super Octave, Boss SYB-3 Bass Synthesizer, Boss SYB-5 Bass Synthesizer, Boss CS-3 Compression Sustainer.
Homemade two-tier board.
Describes the specification of the modulation reactor, which is between the 11kV HT DC supply and the feed-points for the modulation transformer secondary and the final RF stage valves.
A centre-tap feeds the penultimate RF stage valves. Note the possessive apostrophe which the Marconi Company were using at the time!
PRICED FOR QUICK SALE!
MITSUBISHI HDILA REAR PROJECTION TV 1080P
CLICK THIS LINK TO SEE ALL OUR INVENTORY www.flickr.com/photos/53089149@N02
YOU CAN USE THE SEARCH FILTER TO FIND WHAT YOUR LOOKING FOR EASILY BY ENTERING SIZE(50 inch), TYPE(plasma, dlp, lcd), OR ANY KEY WORD!
MODEL # WS-55511
FACTORY SPECS:
Key Features
Screen Size 55 inch
Aspect Ratio 16:9 • 4:3 Enhanced • 14:9
Weight 250 lb.
Remote Control
Remote Control Multibrand
Image Quality
Comb Filter 3DYC / 3D Digital
Velocity Scan Modulation With VSM
Adjustable Color Temp. With Adjustable Color Temperature
Audio Features
Audio Type Virtual Surround
Audio Output Fixed
Technical Features
Picture in Picture With PIP
Sleep Timer With Sleep Timer
Connectors
Headphone Jack Without Headphone Jack
Screen Text
Channel Labels With Channel Labels
Closed Caption on Mute With Closed Caption On Mute
Dimensions
Width 50.75 in.
Depth 28.13 in.
Height 50.38 in.
Weight 250 lb.
WORKS GREAT AND IS READY FOR YOUR LIVING ROOM OR HOME THEATER.
I AM LOCATED IN THE CENTER OF THE VALLEY IN MIDVALE, JUST 1 BLOCK FROM I-15. PLEASE CALL OR TEXT IF YOU WOULD LIKE TO SEE TV AT 801-706-2918
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Pastoral
Marble sculpture by Edmond Amateis
A girl stands looking down and holding in both hands a garland of flowers which falls at her back. Another smiling girl is seated behind her, over her form a drapery with a lightly incised floral pattern on the border. A rabbit at her feet lifts its head to complete the triangular outline. The interplay of flowing lines and the soft modulations of the forms are heightened by the rich passages of ornament. The group, originally called Mirafiore, was modeled at Rome during the summer of 1924.
Edmond Amateis
Born of American parents in Rome, Italy, on February 7th, 1897. His father, Louis Amateis, was a sculptor, architect, and teacher and came to the United States in 1883. He was the head of the department of fine arts at George Washington University, Washington, DC and founded the school of architecture there. The bronze doors for the west entrance to the Capitol are his work. Edmond received his early education in the public schools of Washington, DC. His studies at the Beaux-Arts Institute of Design, NY, begun in 1916 were broken by service in the 77th Field Artillery, 4th Division of the United States Army from April 1917 - August 1919. From among the wealth of sculptural styles which surrounded him, he was most drawn to the Italian Renaissance, leaving to his fellow the colder classic and severe archaic.
Madrid (Spain).
ENGLISH
DVB-S is the original Digital Video Broadcasting forward error coding and modulation standard for satellite television and dates from 1994, in its first release, while development lasted from 1993, to 1997. The first application was commercially available in France via Canal+, enabling digitally broadcast, satellite-delivered television to the public.
It is used via satellites serving every continent of the world. DVB-S is used in both MCPC and SCPC modes for broadcast network feeds, as well as for direct broadcast satellite services like Sky Digital (UK) via Astra in Europe, Dish Network and Globecast in the U.S. and Bell TV in Canada.
While the actual DVB-S standard only specifies physical link characteristics and framing, the overlaid transport stream delivered by DVB-S is mandated as MPEG-2, known as MPEG-TS.
This technology uses the 11/12 GHz Frequency band, qpsk modulation, error correcting codes, interleaving scramblers and reed-solomon coding to transmit the digital data from a gateway to a receiver.
More info: en.wikipedia.org/wiki/DVB-S
-----------------------
CASTELLANO
Digital Video Broadcasting by Satellite (DVB-S) es un sistema que permite incrementar la capacidad de transmisión de datos y televisión digital a través de un satélite UH11 usando el formato MPEG2. La estructura permite mezclar en una misma trama un gran número de servicios de video, audio y datos.
Más info: es.wikipedia.org/wiki/DVB-S
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
The sharp looking nib pictured is known as a "G pen". I don't know what the G stands for, but I'm guessing "graphic"? Anyone?
Anyway, so far I've drawn three sketches with the new pen, and this was the best of the lot, so I decided to take a picture to commemorate! I've wanted a pen like this for longer than I can remember, but it never occurred to me that eBay would be a good place to get one until a couple of weeks ago. *facepalm*
The G pen is a weird thing... it sort of handles like an ink brush, only with greater precision. It's a joy to draw with.
That said, it might take me a little while to get proficient with it, though. This is still a bit messy.
N.B. White ink ---> WORTH EVERY PENNY.
Untitled
2009
Mica acrylic
Rosana Castrillo Díaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo Díaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.
Ash had been shot by an overzealous Catwalker and was recovering, confined to a wheelchair. Who should come along but everyone's favorite Shadow!
Serp Iwashi's field of vision like a crimson tide fans out down the corridor leaving its lingering touch in a faint scarlet tinge creeping out around the bend. Making reconaissance and inspecting the cause of the scent taken through the current and the warm sensations growing upon his proximity to the flickering flames. The gaudy frame of mechanics treading carefully over the concrete with a purposeful measure of his caution and some attempted refusal of his clanky form. Abound with tiny mechinism now settled deep within his guise as to only remain waiting. The copiously driven swirl of the feline tail dangling along the backside the chair and the ears protruding from the fire slathering his crude smile upon his charred face.
Ashur Kentoku warms her hands, blinking glassily through her haze of medication....she considers callling Ember, tired of waiting for her and missing her, but sits, hypnotized by the flames instead, unaware of the danger behind her...
Ashur Kentoku sighs and rummages for her PDA...which pocket did she put it in again? A scent reaches her...somehow familiar and altogether unique, and it penetrates her addled mind....the hairs on the back of her neck rise and she feezes, ears trying to pick up sounds behind her...
Serp Iwashi a faint hissing parts ways through the revealed palm and chain now presented before the distant light. The hooked end would creep down slowly with the chimes ushering his true intentions forward. Regal like folds through that all too familiar ominous shroud fully set aside to show the gleaming expanse of thick slabs that made up the abdominal wall. They would nearly pearl into the inferno seemingly as the flames intensity would meet the glacial exterior with tiny beads of condensation already dripping down in single streams following the curvature of his well muscled form. There was no hiding now and a further plume of the noxious mist would try to stiffle the fire as he shaped the strands upon her head.
Ashur Kentoku takes a deep breath and turns her wheelchair around to face the dark figure....she narrows her eyes defiantly, even as her heart begins to pound within her chest. "What do you want, Serp?" she mews. "I'm not in the mood for playing with you today." She tries to keep her voice casual, but she's all too aware of her predicament now...she wonders how fast a wheelchair could be if the occupant was desperate enough....
Serp Iwashi had watched quietly as she turned with a dreadful second of waiting. A stillness and true silence that had come so sudden that was truely ordinary. Yet the titanic formation was anything but that as a cold stare fell over the feline. Smoke billowing through his guise and out into the perpetual night that was this cities plight. His frigid nature holding the woman to an unwavering judgement spoken through tainted ink. Finally a shudder of the murky flesh escaping well sculpted canines in the follow of his booming voice.. " You should know well I dont often play with my food..Though I will say I enjoy you're current form..half machine now are we..." A twitch of the cheek region just below that hypnotic gaze that ran red like a scarlet tear pushing aside his humanity and fully allowing him to take advantage of what was to come. The hooked end continously rocking back and forth as the momentum built so did the fiendish laughter now pouring through the alleyways.
Naomah Beaumont is happily nibbling V's collarbone one moment, and the next *that* laugh echoes through the maze of passages behind the den. Nio starts, looking around, but seeing only the usual, but the oily chill slides down her back in thick, dark droplets. She doesn't say anything at the moment, though.
Ashur Kentoku tenses and tries to rise from her chair but succeeds only in doubling into a half-crouch, balancing on one leg, one arm against the wall supporting her weight, the other gripping an armrest. Her face scrunches in pain as her insides feel like they're tearing open again at the sudden exertion...."Serp," she gasps. "I'm not prey...not like this..." Her eyes follow the hook with horrified fascination.
Naomah Beaumont wanders toward the med den, then turns back to listen to Kiri. She chuckles. "You never cease to surprise me, Kiri."
Serp Iwashi spoken tongue was more akin to some demonic entity from another realm then the more comforting notion that he was a mere machine..an earthly creation. " Oh but you are..but tell me how many lives are left so I know how many more times I can beat you within an inch of you're miserable life.." The nefarious lord nodding through his inquiries with a final exasperated sigh hissing through the tubular protrusions beneath jaws fit for some measure of barbarism. The slow gait remained just that as the hook swung back one final time awaiting the moment she would speak before flying outward with a hungered gleam of rotted flesh discarded to make way for the encasement of the rustic blade wanting to bite into those thighs.
Naomah Beaumont blinks. "No, I didn't know. You never did sit down and tell me your life's story. You keep threatening to, but so far, no soap." Nio scratches an ear, looking down at her former pledge mom, wondering how much else she doesn't know about the other cat.
Ashur Kentoku: "More than enough for the likes of you, coward!" she snarls defiantly, and then the hook sweeps down at her and she moves suddenly, twisting aside, a wonderful testament to her training and boosted feline reflexes, but its not enough...not this time...her stiff leg betrays her and the hook still slashes into her thigh, leaving a bloody furrow....she feels something break inside her and her vision dims for a moment as she collapses at Serp's feet, a yowl of pain and despair escaping her lips....
Naomah Beaumont stiffens. That's a yelp she knows entirely too well. "Ash... Shit. Amrys, get up here..." Nio runs toward the sound as best her own battered legs will carry her, stitches be damned.
Amrys (Ameretat Skytower) says 'What is it?'
Amrys (Ameretat Skytower) looks over the rooftops, then finally down. "oh my-- What..."
Serp Iwashi delivered a rather softer cackle that strayed from his otherwise overbearing mechanically induced tone. Lifting a shard like brow high above his right eye in response to her words..His laugh dieing alongside the last notion that there was anything amusing to be found in this .." Just an opportunist my dear..." The rich blood coaxed out from the fresh wound as the blade gnaws away at her thigh trying to sink into the meat with his palm giving a yank back to bring her with now dragging alongside the concrete.." Come we have much to discuss.." His icey fingertips rapping upon his own chain as he began to haul her out into the shadows.
Naomah Beaumont looks over the edge at the tableau unfolding below. "Fuck. SERP! GET AWAY FROM HER. HER CANDY ASS IS MINE!" Well... that's perhaps misrepresenting things a trifle, but at times, it's best to stick to the most primal motivations. Violence. Defence of prey. In a lower voice she says to Amrys. "In the lockers upstairs. Locker 30. Combo There's a rifle made of white plastic. Grab it and bright it to me. And make sure to grab one of the magazines for it at the bottom of the locker." As she says this, she draws the only weapons she has on her, a pair of 9mm automatics. She can hit from here. She's sure she can. But whether the rounds will do anything to the horror stalking the alley is entirely another question. "Hurry!" she enjoins the blue cat.
Amrys (Ameretat Skytower) backs away from the railing and runs to the med den
Ashur Kentoku screams like a kitten as she's dragged by the hook across the concrete, leaving a trail of blood.....she extends her claws, diamond-hard and sharp nanotech constructs, her only weapons now, and claws frantically at whatever part of Serp is in reach....if she could just delay him or hurt him enough to let her go, she might, just might be able to scuttle away under cover from the shots from above....
Emberen Twine arrives at the scene, her breath issuing halted and heaving. "Get off of her," she growls, her body temperature spiking instantly as she draws her axe.
Serp Iwashi Nothing human evident in those swirling pits now glancing upward to the jealous tirade spoken from high above. Grizzly formation of those fearsome rows beaming to the kitten walker or whatever manner of their pesiferous hiearchy..His tongue gracing his lower rows as his sonorous vocalization launches itself to the catwalks like its own chaotic agent. Only the chain remained about her thigh and the titanium could withstand the claws as he continued to back off around the shed..
"Silence wench..If you want her..come down.." A masterful puppet overlord pulling on the strings that was his chains nearly binding Ashur to his will.
Naomah Beaumont runs forward to compensate for the changing angle of the shot and draws a bead on Serp's head with the open sights of her pistols. She has to aim for the head, really. Any lower and she risks putting (more) bullets in Ash.
Akiel Martian reached his left hand for the hand of his blade, silent. Numbed eyes looking over to the darkened fellow, draped in black, original. The blade shifted from his left as he tossed it into the air, snatching at it with his right, "..I'm in the mood to beat someone senseless..", he said low, rumbling in his throat. Growling only slightly as he held the blade lazily over his shouler in his bloodied right hand.
Amrys (Ameretat Skytower) rushes out of the med den with the gun Niobe had requested. She held it out as soon as she saw Niobe. "Here," she said, obviously a little strained from trying (and failing) to run down teh stairs with it.
Emberen Twine glances to Syle, her body shaking with that uncontrolled energy. She turns back just in time to see Ashur's body dragged around the corner, her eyes widening before narrowing darkly under heavily furrowed brow. A sweat breaks onto her flesh as the acid burn of rage burns within her and she approaches the shadowed figure, her eyes sparking before seeming to ignite in a swirl of liquid fire. She falls silent as she approaches her target, focus falling tunneled upon approach.
Ashur Kentoku casts a desperate lok back at Ember as she's draged around the corner..."NO!" she screams..."Stay away! I can handle....this..." The blood seeping from her mouth, an indication of her internal injuries having opened some, and the hook through her thigh seems to make the proposition somewhat unfeasible, but she didnt want Ember hurt...if it was her last act, she wanted her safe....
Ashur Kentoku: ...and tries to pull herself closer to Serp, using the chain embedded in her thigh, to sink her claws into his body and rip and tear at the armour and cybernetics that composed his form....
Serp Iwashi had caught only a glimpse of the bushido wannabe and axe wielding kitten upon his departure from the birthed flames of the pit to now retreat back into the alley with his prey. Casting a parting glance above long enough to hawk out a large chemical splatter over the concrete. Perhaps not terribly in good shape for the sheer corpulence of his overbearing mechanical form but steady nevertheless as those nails screech alongside the carapace only forming distinct lines of silver etchings peeling away the caliginous nature of those crude slabs of armor. His laugh starting up again as his teeth flashed sharply through the changing mood of the scene..The ragged ends of his cloak would be just against the railing now as he would readily embrace the fleeting marks of a wild cat in desperation..His palm risen in that immense fist taking the chain with to try and keep her off balance through another volatile tug that could likely take her into the railing or over.
Ashur Kentoku snarls, even as her vision dims momentarily, and tries to inflict some kind of damage that would cause him to leak whatever substance passes for circulatory fluid, hoping it would make tracking him easier...she'd done it before, in her fights with him in the past, but this was different, and she was badly hurt...she yowled as she was jerked up to the railing and clung stubbornly with one free hand, not willing to go into the darkness that awaited her....her face turns and she locks her eyes on Em's....
Naomah Beaumont drops her pistols on the catwalk and takes the M41 from Amrys as she hands it to her, stuffs the mag in and racks the action of the much heavier assault rifle, preparing to rain 10mm slugs on Serp's head and upper torso like a hailstorm from hell. As she draws the bead on him she yells, "UNHOOK THE CHAIN, ASH!" Whether all this is in time to save Ash from being chucked into the canal is subject to the actions of a lot of others. Particularly Serp's.
Emberen Twine stalks closer to her target, breath huffing heavily through flared nostrils, focus tunneling further as she lowers to a crouch before springing forth, flipping the axe as she flies at the shadowed figure, the spike aiming for his throat.
Serp Iwashi A bulwark of thick metallic slabs rising and falling making a mockery of the fleshlings now attempting to thrust the axe into where the jugular would normally lay. Perhaps it was the brash manner of assault or the predicament of the situation but an orotrund cackle soon broke away from the clatter of obsidians fangs with his mechanical defiance making its presense known through the heavy reverberation pinging against the sheathed aluminum that made up the shed beside him. The chain was still strung upward as if he were going to lynch ashur as he stepped aside letting the chains loop around and in the same movement guiding such to let the axe hit the chains forcing a violent rattle trying to swing the momentum of the axe wielder away from him.Sparks likely following the opposition of metal over metal with a pompous air discharged through baited breath of noxous fumes like a malginant cloud trying to creep into their lungs.. His head was still somewhat in view but the rest of his imposing form had..
Serp Iwashi two felines before him essentially blocking most of his mass..though his cranium was gauging through a lingering eye to the weaponary above..how good was that aim indeed..
Ashur Kentoku squalled in pain and anger, her actions weakening as her injuries began to get the better of her...she tried again to break circulatory tubes she knew lurked between the armor plates, still maintaining her death grip on the railing...
Naomah Beaumont seems to have a moment before Emby gets to Serp, and she cuts loose with the M41, its suppressed chugging sound belying the high powered slugs she's sending Serp's way. She's aiming for his chest, while she has the moment. Chest and head, as the pulse rifle climbs.
Emberen Twine screeches as the axe is deflected by the chains, white knuckles clinging tightly to their charge, before the momentum of his swing casts her off like a rag doll. Claws extend on her free hand, aiming with a powerful swipe before she is thrust head first into the brick wall, her body sliding to the ground with a thud, blood streaming from her skull.
Serp Iwashi constructs illuminated as soon as the gun fire roared through pelting his chest region with two of the slugs and the others streaking up accross his carapace towards the should region and upward with distant splashes of the final rounds hitting the slime below. Black tar oozing out as his gait seemed to loose control with a choked burst of a howl that only further sends more of his blood oozing out the pectoral region..His grip would not falter though even as legs seemed to want to give way to the throbbing pain stemming from the core of his chest. His free hand grasping the back of the rail as his tongue swiped away the murky blood dripping down his fangs..His eyes dimming as he lets himself fall backward into the sewage with the chain running through fast and soon taking Ashur over and into the sludge should she be unable to get out of the tangled mess of rustic links.
Ashur Kentoku gives a final squall as her grip is broken by the immense weight of the falling Shadow and she's dragged into the murky depths along with him, leaving nothing but her blood pooled on the concrete next to the railing to show she was ever there....
Naomah Beaumont lets stitches be damned and makes a high performance leap from the catwalk to the ground running to the edge of the canal. The stitches in one leg tear, leaving a bloody streak down her thigh as she peers over the railing trying to find something, anything to shoot at. And then there are bubbles. She fires on them with little hope, knowing that... hoping that... Ashur is holding her breath and the bubbles come from Serp.
Serp Iwashi’s tar seemed to break out among the stagnant pools in blotches accross the surface of the sludge like some oil spill of sorts. A few pieces of black cloth even floating atop but no bubbles that could be made out amid the thick consistancy of the sewage. The sounds of chains rattling not breaking the surface as he crawls along the bottom with those reflective lenses peering through the murky depths.Feeling along the bottom as he dragged ashur with him down the canal. She would likely float but where he was exactly was hard to determine besides the general direction of ripples eminating outward with stray shots licking away close to him perhaps but unknown which would hit its mark.
Amrys (Ameretat Skytower) leaps onto the nearest roof and, once she regains her balance, aims with the knife, then realizes she can't see the attacker. "Damn," she mutters, she was tired of people getting hurt because of her incompetence.
Ashur Kentoku holds her breath as well as she can, but her struggles are weak now as bloodloss, pain, shock and lack of oxygen take their toll...her mind clouds and dims and she thinks....'Hey, this is peaceful...I think I might just go to sleep...' "
Naomah Beaumont stares down into the water. "Look!" she shouts to Amrys. "The ripples!" She yells up. "Call for backup!" And with that she goes vertical, pulling more stitches out, moving over the building between her and Ash and Serp's path.
Amrys (Ameretat Skytower) pulls out her phone and texts madly, knife still in hand. Tricky, but it can be done.
Serp Iwashi was indeed quite at home without a need to breath in the typical sense he easily remained submerged. His steely fingertips clawing away at the grime encrusted stone with his cloak spreading outward from him akin to some dark manta flattening him as best he could. Little interest was held to wether the feline could breath or not but surely he thought her tougher then a mere victim of drowning.
Amrys (Ameretat Skytower) puts the phone away and resumes looking to the sewage. "I don't know her well, I don't actually know. Nio said call for backup, so I did." Her tone is angry, but she's glaring down at the sludge below--unclear where the anger is directed.
Ashur Kentoku lapses into a state of semi-consciousness...she hasn't automatically inhaled any water yet, but if she's kep under for too much longer she will...
Naomah Beaumont: "It's Ash." Nio yells. "he's down in the canal with her." The guilt in Nio's voice comes out almost like a sob. "He's headed south"
Naomah Beaumont adds. "Follow them! He has to surface if he wants her alive!"
Serp Iwashi bubbling formation rises out through what could be some manner of speech spoken beneath the surface of the muck running down the canal. The resounding vocalization forming more ripples dancing above until calming the waves..A few moments longer he could attempt to keep his captive alive but for now content on the same route without pause to allow her breath.
Amrys (Ameretat Skytower) nods and runs over to where Niobe is, assuming she can see them ((Amrys lost them)). Then she begins to follow their movements.
Amrys (Ameretat Skytower) quietly says to Nio "If she's there, he should be in front of her, right?"
Naomah Beaumont: Probably, I don't know.... Yeah, she's not swimming...
Brandon Dragonfly slowly stammered down the steps, each little piece of concrete trembling beneath the weighted boots; he'd seem heavily armored. Pounds upon pounds of casted metal stretch about the human fleshy form beneath, a harbinger mask of sorts was worn. The harbinger of chaos scanned a quick gaze over the surrounding area, glancing for any signs of distress he'd have heard deep within the lobs of his ear.
Serp Iwashi had made it just under the bridge with a turn of his body like some leviathan rising up out of the sewage now dripping down the length of the folds that made up his cloak. Soaked and matted alongside his thighs and the musculature of his form he would tug upwards and reach out gripping the chain and trying to consume the neck to bring her out like a wet rat opposing to her feline genetics. Wanting to ring her out as he allowed but a single gasp before he would lower himself back down and her with.
Niemack Saarinen glances around following the harbinger...hand on the grip of his kalashnakov....scanning....he'd hear some metal distress but..couldnt point out where it was comming from quite yet....he muttered quietly in german under his facemask...the sound distroyed and unrecognizable outside....just muffles.
Naomah Beaumont looks over her shoulder at the other two people who've moved onto the sidewalk. She eyes them, and makes her way back across the street.
Serp Iwashi cloak soon slipped over the side of the concrete with raining droplets beading down along the surface as he arose from the waste. His cumbersome form soon landing down with a heavy thud while the chain is slowly taken back into his grip to hoist ashur up and out of the sludge. The liquid was inside his shell now with a expelled cough wreaking havoc on the modulation of his voice before spewing out some of his own blood and the swallowed green slime off to the side. A growl in aggravation with his free hand letting his thumb probe over the fresh peneration of lead that had warped his exterior.
Ashur Kentoku splutters and gasps as she's hauled free of the foul water, and then coughs weakly, still only semi-aware of her surroundings...she knew she was in trouble but lucid thought escaped her for the moment as she recovered from her underwater voyage.
Serp Iwashi once luminous orbs covered in a toxic sheath seeming to drown a little during her gasped fit. He lets the chain fall almost immediatelt with his talosn swooping in to try and grab those wrists to hold her up above and leave her face mere inches from his own..
Ashur Kentoku dangles limply, head down, wet hair matting her face....she coughs again, then brings her head up slowly to meet the skull-like face, blinking owlishly. Her ears fold back and she hisses weakly, instinctively....
Serp Iwashi Decayed manacles of those icy grips claiming the pulse running through those wrists as the sopping wet cat continues to drip over the grime. Long chains that had weighed her down now dangling as well with the hook still sunken deep not wanting to release the connection through such tantalizing prospects in some fusion of metal and beast. An animal was all she was to him as those cold orbs continue to belittle her and make judgement. The scarlet sheathing peeling back several times with the spinning motion evident. Clangerous bite of his jaws promising to taste her flesh as his plates groaned in some complaint..There was still some of his own blood running down his chest in droplets splashing to the cement. Each one forcing a twitch under the inky skin as his grip tightening.." Wake up kitten.." His voice breaks free of the visage and washes over the paled skin.
Ashur Kentoku hisses again, ears still folded back, her pale eyes suddenly shining with defiance and a mixture of anger and fear...she struggles weakly to break free of the tightening grip on her wrists as she hangs above the filthy sewage water and tries to raise her weary legs in an attempt at kicking against the dark figure's vast, armored chest, but she's too hurt inside and her muscles simply won't obey her...she settles for wriggling a few moments instead before subsiding, panting. She coughs convulsively, and blood fills her mouth, some of it leaking down her chin...
Serp Iwashi Those dreadful crimson beams continue to whirl in a circular fashion as the clanking of multiple pieces release themselves in shuttering expells. Cluttering steel vibrating outward as his features begin to protrude out of the mask. His tongue lashing out swiping away the blood dripping down her chin..A faint breath bated as his mechanical hiss sheered rough the confines of the tunnels. Savoring the taste with a satisfied rumble churned through his gullet before moving his head into Ashur's .Letting the horrid black steely brows roll about her face in almost a loving embrace as the coldness of his clammy flesh would grace her own. " Im going to enjoy this..." Words nearly whispered at but a wisp of smoke lingering around the ebon spindles of those long locks and tugging on the feline ears..But a moment to pass befoe his face changed with the sharp shards narrowing inward giving the crimson a slant that streaked accross directly about her sight like a visor.." Are you ready kitten.."His head suddenly rearing back and trying to slam it directly into her own before releasing her to face the brunt of the blow should he suceed meshing titanium and her own chin and or forehead depending on how she would move. A sickening crack would likely be heard through and the newly laced blood promising to paint his own charred face should it follow through.
Ashur Kentoku recoils as the tongue flicks out to lap at the blood leaking down her chin, turning her face aside and grimacing at the touch. She glares into the crimson orbs and growls, ever-defiant in spite of her fear and pain. She was a warrior, used to be, and still had the heart of one and snarls, bloody fangs bared when the skull face presses itself against hers, frustrated at her body's betrayal and her inability to fight back...she opens her mouth to say something when the horror before her speaks, but never gets the chance as the head slams into her forehead with a crack that echoes off the sewer walls...for a few moments she sees and feels and hears nothing, then it comes back in a rush of new pain, and she mews slowly, desperately trying to focus, blinking through the blood running down her face and stinging her eyes...
Serp Iwashi Vigorious movements of steely talons undulating in the damp air that encompassed them. Nocturnal wings flailing aside as if suddenly driven by unseen forces letting the ripples of stygian cloth unfurl. Grotesque shards shifting back as his own head begins to shift side to side making sure to carefully roll it atop that thick set of darkened tissues that was his neck." This will be just a faint memory..a blurr in you're miserable life.. " Her dazed state easily allow him time to approach as his thumb flicked her own blood off his face and to the wall. The tremor of his step closing in towards her as he loomed atop with an audible chime of his thick mechanical digits crossing over one another and flexing. Even the tone of his voice would seem like an assault ringing through those ears. Hellish grin of metal peaking out of his dark visage as he hovered there a few seconds longer..Suddenly his right palm forming a back hand and rearing back with a resounding slap booming through the tunnels should it connect accross her cheek bone..The same hand would swing backward but this time swooping in low to sink those claws in about the abdomen to try and get ahold of her better. The thumb and index finger pincering through the lowest rib of an anatomy he knew all so very well.
Ashur Kentoku yelps as her face is struck, her cheekbone breaking and flesh splitting, sending a spray of blood across the sewer wall, then gasps as the clawed hand sinks into her abdomen and slices through a rib....she doubles over and holds onto the figure's arm, another hand against his chest in a curiously intimate-seeming gesture....She blinked at the blood obscuring her vision and started shivering involuntarily, her skin clammy and cold from shock..."You know....nothing...of my life," she whispers....
Serp Iwashi Rich organs that were cradled within but a breath away from being split open but that was too easy an option. The vice like grip crushing the bone and rending flesh that his hand was now apart of her body with the raw mechanical nature pumping his toxicity into her. Brittle peelings of his own hand making the skin rise under her stomach region before peaking out and soon tiny beads of crimson pouring through each and every hole..Her touch meant nothing to him as he had felt nearly nothing but the thrill seeping through his mind. An echoic roar of laughter before squelching such and letting his other hand reach behind his cloak.." I dont care to know fleshling..you are all the same..bone..tissue..organs..blood....- meat-.." Ominous overtones spoken with a true passion as he grunts taking her with directly to the wall to try and pin her up..The concrete absorbed the blow and her backside scraping along all the way up..her clothing..her skin catching on the cement slabs as he continued to toy with the ribs..another inch..reaching for the second just beneath the skin as a dagger suddenly comes to the dismal light now held in his left hand..A tool as every much a part of him as his own claws..He brings it down screeching against the brick making it dull with each blow and a horrid peeling sending the dull ache of the sound flooding the tunnels.
Ashur Kentoku screams as she's rent asunder, digging her claws into his arm, her other clawed hand scrabbling at his chest for support, something to cling to, to try quell the pain...she had none but her torturer for that and so she clung to him, a hideous embrace. She yelps again, a short, cut-off sound as she's slammed against the wall and pinned there, her skin tearing and her ribs cracking further under the force....She's so overcome with pain and shock she barely notices the knife, simply hanging there, panting and shivering, ears pinned back....
Serp Iwashi elongated tips slide over the handle more firmly as that horrific sculpt of his own blade gealms under the incandescent glow of his own sight. A snarl let forther to become a mask of hunger in a boisterous display of mechanical harmonics trying to seep through to ones very bones..Muscled layers giving way to the cruel nature of his talons squirming inside like starved maggots eating her alive. Thet mystifying gaze glaring into her as his breath like the decay of a thousand corpses seeps out and clings to her flesh. The jagged edge stroking alongside her cheek as she shivered more under the cool dampness of the tunnel and his very own presense only making manners worse as her blood continued to drizzle down along his plates..Her meager attempts at clawing across his chest a mere tickle while he toyed just a moment longer.." Shhh..So attractive you are..though I had heard beauty is only skin deep..perhaps.." A cloud of his cancerous breath pluming out.." We should find out.." With that his jaws clench and the blade departs from her face now thrusting it downward along her bicep trying to peel under and separate skin from muscle tissues as if he was some butcher preparing the meal to come..He would likely stop mid palm with a swipe of blood splattered accross his own garb..The motion entertained again as he continued with another following the same as he attempts to repeat the motion with resistant overpowered by his mechanical might..A demented gleam of his fangs just under those swirling pits of hatred with blackened nostrisl flaring..breathing more heavily and his tongue squirming through pushing foam like chemical concotion out between the cracks of his jaws as he worked pushing harder and harder on the ribs trying to compress the abdomen as he did so.
Ashur Kentoku's internal nanites swarm and struggle to control her blood-loss and system shock, trying to keep her alive...She couldn't scream anymore, couldnt find the breath to, so she just mews quietly, almost casually, as if to herself, as her ribs collapse. She lays her head against the armoured chest and closes her eyes, even moving her head a little to get comfortable, still clinging to the arm that's killing her, and sighs.
Serp Iwashi finally pulled the blade aside to let the droplets fly outward.Her arms likely looked mangled now and her ribs upon her left hand side were nearly protruding out in a compount fracture as he pulled half the the bone with. Crushing it in his hand almost into a powdery film now sprinkled atop her..His foot kicking her back to the wall and soon striking the armored shin across her body several times to batter her. He would slowly move back to gauge the damage as his licked the blade a moment in thought. he could nearly whistle at this point to judge his quick work as if to see if he had gotten any better through the countless bodies that have come to past.
Ashur Kentoku crumples to the sewer floor and twitches as she's battered, but it's perhaps a blessing she's unconscious now....she lies there and sets about the business of dying as the horror before her contemplates his handiwork, her blood mingling with the waters and flowing away from her...
Serp Iwashi soon slipped the blade along his backside once more. The white film tainted in red continously rubbed through his inner palm as he would lean down only once letting his figners graze atop her feline ear..Stroking the tip a moment with a soft laugh that nearly betrayed the size and mass of his mechanical form. " Enjoy you're recovery.." Soon walking off back into the shadows of the tunnel as if nothing had happened.
Exploring micro-controllers with the Arduino NG development system. Seen here running in standalone mode with a 9v battery. Arduino makes embedded programming fun and easy by bringing together a clean and simple hardware and software development environment.
Here, I'm messing with reading analog input from a 10k potentiometer and PWM (pulse width modulation) of leds to produce variable brightness.
Link to my RFID tagged blog entries, with video of the setup above in action: stevenandsarah.com/category/rfid/
www.arduino.cc/ - "Arduino is an open-source physical computing platform based on a simple i/o board, and a development environment for writing Arduino software. The Arduino programming language is an implementation of Wiring, itself built on Processing."
Garland Fielder 'Untitled' (white contortion 02), 2007, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Three heliographs apparent, and a possible 4th at centre rear. Also, square shutters on tripods - the signal manual mentioned these as an alternative modulation means for the heliographs. Begbie "BB" lamps, other signal lamps, signal flags and telescopes visible. Given the locale and the double straps on the case under one heliograph, I suspect some of these heliographs were patterns other than the English Mance pattern, such as the Indian Army pattern.
I personally scanned this image from my personal copy of the original, which appeared in "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581, with this text above:
" From far-off Sialkot, in the Punjab, comes word of the success of Tommy Atkins at work, for the 2nd Battalion Royal Scots Fusiliers were first in signalling in India last year, with the phenomenal score of 491•46, thus beating the second regiment on the list by nearly seven points in the figure of merit."
A lower resolution may be found online at [1]
Another signalling distinction for the Royal Scots Fusiliers signallers - a few years later one was mentioned
in dispatches: The Relief of Chakdara 2nd August, 1897, From the Despatch of Major-General Sir Bindon Blood, K.C.B."... and E. Christian, Royal Scots Fusiliers, Signalling Officer, carried out their duties most satisfactorily. "
( The above is quoted from[2])
Sialkot is now in Pakistan, GPS coordinates roughly 32.49, 74.53: see:
For more about the Royal Scots Fusiliers, see: en.wikipedia.org/wiki/Royal_Scots_Fusiliers
This is a high resolution scan ( 4,474 × 2,666 pixels) - if you want to look at details, you can view the full-resolution scan (and many other sizes) here:
www.flickr.com/photos/signalmirror/52632242189/sizes/l/
I believe this photograph is in the public domain in the United States (and most other places) as a photograph published before 1928. Any rights I may have inadvertently acquired by scanning it, I donate to the public domain under a CC0 license.
However, copyright and other intellectual property rights are copyright and vary worldwide and with time - rights determination is your responsibility.
[1] "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581
books.google.com/books?id=lnw4AQAAMAAJ&pg=PA581&d...
[2] THE STORY OF THE MALAKAND FIELD FORCE, AN EPISODE OF FRONTIER WAR, pp. 367-368
(preface dated Cavalry Barracks, Bangalore, 30th December, 1897)
archive.org/details/storyofmalakandf00chur/page/368/mode/...
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
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.
These modifications of this Gristleism are identical to the modifications made by A.S.M.O. and used by all four members of Throbbing Gristle at their last gig on 23rd October 2010 at Village Underground, Hackney, London, UK. The Gristleism has an added LFO circuit which modulates the pitch and rhythmically triggers the loops. The LFO has 5 controls" speed, depth, wave shape and two momentary switches to engage the modulation and loop trigger. There is also an added switched jack output to connect to larger amplification.
The Blip Festival takes places once a year. It's where musicians get together and play their music inspired by 8 Bit gaming: think old school Super Mario and the rest.
Failotron possible got the greatest applause for his use of psychedelic music, trance, guitar work, etc.
If you'd like to use this photo, please link back to this exact webpage.
Seen here:
www.2d-x.com/blip-festival-2009-music-and-gaming-combine-...
www.photographybay.com/2009/12/22/7-tips-for-shooting-in-...
thephoblographer.wordpress.com/2009/12/28/hey-there-im-ch...
www.2d-x.com/pulsewave-modulation-brings-fresh-chiptunes-...
At KTRU the transmitter was located across campus from the studio. So that the DJ could take the legally required transmitter meter readings every hour, the plate voltage and current of the final amplifying tube were telemetered to this panel in the studio. This was done the cheapest way possible, of course. The Analog System Specifying Hourly Operating Log Entries, or ASSHOLE, was kept in adequate calibration thanks to regular adjustments by the Chief Engineer.
Below, the legally required modulation monitor, which listens to the over-the-air signal and measures the audio level, for compliance with the rules about how often it can exceed the nominal maximum, and by how much. This was probably the single most expensive piece of equipment in the studio, and fortunately one of the few items to survive the great flood, being mounted at eye level.
Above, the Emergency Broadcast System receiver, which monitors a designated commercial AM radio station for the activation tone and automatically unmutes the audio. This allows the DJ to listen to the EBS announcement from that station. If it was just a test, the event was logged. If it was an actual EBS activation, the DJ was supposed to transmit our own EBS activation tone and then repeat the information for our listeners. Inside the fancy rack-mount case was the guts of a cheap transistor radio and a little garage-made circuit board with the tone decoder. That company is still making broadcast gear today.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Paeonia (peony or paeony) is a genus of flowering plants, the only genus in the family Paeoniaceae. They are native to Asia, Southern Europe and Western North America. Boundaries between species are not clear and estimates of the number of species range from 25 to 40.
Most are herbaceous perennial plants 0.5–1.5 metres (1.6–4.9 ft) tall, but some resemble trees 1.5–3 metres (4.9–9.8 ft) tall. They have compound, deeply lobed leaves and large, often fragrant, flowers, ranging from red to white or yellow, in late spring and early summer.
The peony is named after Paeon (also spelled Paean), a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower.[3]
The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year. The family had been given other names a few years earlier. The composition of the family has varied, but it has always consisted of Paeonia and one or more genera that are now placed in Ranunculales. It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works. Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in Ranunculaceae, but that Paeonia belongs in the unrelated order Saxifragale
Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids and steroids, paeonols, and phenols.
Biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.
The herb known as Paeonia, in particular the root of P. lactiflora (Bai Shao, Radix Paeoniae Lactiflorae), has been used frequently in traditional medicines of Korea, China and Japan. Research suggests that constituents in P. lactiflora – paeoniflorin and paeonol – can modulate IgE-induced scratching behaviors and mast cell degranulation.
The peony is among the longest-used flowers in Eastern culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where the Paeonia suffruticosa is called 牡丹 (mǔdān). It is also known as 富贵花 (fùguìhuā) "flower of riches and honour" or 花王 (huawang) "king of the flowers", and is used symbolically in Chinese art.[13] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang have been said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). Pronunciation of 牡丹 (peony) in Japan is "botan." In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "King of Flowers" and Paeonia lactiflora is called the "Prime Minister of Flowers."
In the Middle Ages peonies were often painted with their ripe seed-capsules, since it was the seeds, not the flowers, which were medically significant. Collectors in the Middle Ages had to take great care not to seen by a woodpecker while digging for peony roots, or the bird might peck out their eyes.
Information from Wikipedia Free Encyclopedia,
Tiziano Vecelli or Tiziano Vecellio (c. 1473/1490 – 27 August 1576 better known as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called da Cadore, taken from the place of his birth.
Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent to 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.
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
PI: Sanjiva Lele, Stanford University
Studying the intense noise emissions associated with OAM using physics-based simulations will be important for improved wind turbine design, implementation, and clean energy. The comprehensive LES database involving the novel large-span calculation—which unequivocally showed the presence of large-scale three-dimensionality—is being used to quantify epistemic uncertainties in Reynolds Averaged Navier Stokes (RANS) models and could spark renewed interest in fundamental research on “stall cells” under carefully controlled conditions. The database should also help improve semi-empirical tools for predicting airfoil self-noise.
This image depicts visual evidence for “stall cells” from the large-span calculation of flow past a NACA64-618 airfoil (Reynolds number based on chord = 1,900,000, angle of attack = 12.2 degrees). Instantaneous snapshot of streamwise velocity on the airfoil surface is shown here (note that in wall-modeled large eddy simulations, the tangential components of velocity are allowed to slip at the wall).
Image credit: Joseph G. Kocheemoolayil and Sanjiva K. Lele, Stanford University
Scientific discipline: Engineering
This research used resources of the Argonne Leadership Computing Facility at Argonne National Laboratory
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).
Tiziano Vecelli or Tiziano Vecellio,better known as Titian, was the leading painter of the 16th-century Venetian school of the Italian Renaissance. Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically[ but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.
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
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
Georges de La Tour
French, 1593-1652
Oil on canvas
J. Paul Getty Museum
My first thought; is this a Dutch or Flemish painting? No it's French and I always think of de La Tour, using candle light to express mood in his paintings.
Here a brawling musician lifts his arm, squeezing lemon juice into the eyes of his supposedly blind opponent. The impostor's guide gasps with dismay while the two spectators at right knowingly laugh at the spectacle of deception revealed. An early work by La Tour, this painting exhibits sharp diagonal rhythms, rapid calligraphic brushwork, and swift modulations in coloring that resonate with the violence of the subject.
This is it. One of the absolute greatest effects pedals ever engineered. It has EVERYTHING encorperated in it: flanging, delay, vibrato, tremulant, filter, modulation. This is BY FAR the most advanced effects pedal ever designed.
Most of the junk in this picture makes up a synchronous buck / class D amplifier. The amplifier supplies power to the tesla coil bridge. Yes, i can do all sorts of modulation this way, including play music.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View from the pool/lounge area of the hotel that leads to the beach.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Water
Masonry
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0236 Concha.JPG
Record ID: WB2010-0236
Sub collection: resorts
waterfront
Copyright holder: Copyright Henry Pisciotta
The Palatine Chapel, is the royal chapel of the Norman kings of Sicily situated on the first floor at the center of the Palazzo Reale in Palermo, southern Italy.
Commissioned by Roger II of Sicily in 1132 and built upon an older chapel (now the crypt) constructed around 1080.
The mosaics being only partially finished by 1143.
The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei.
Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas.
The three central figures, St. Gregory, St. Basil, St. John Chrysostom, allude to the Orthodox cult known as the Three Hierarchs, which originated fifty years earlier.
Roger II of Sicily depicted on the muqarnas ceiling in an Arabic style.
The rest of the mosaics, dated to the 1160s or the 1170s, is executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
Muqarnas ceiling
The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.
The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave.
The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.
Nave
The nave, constructed under Roger II, did not contain any Christian images.
These were added later by Roger II's successors, William I and William II.
The nave's ceiling consists of Greek, Latin and inscriptions.
The frame for the royal throne sets against the west wall of the nave.
There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gabel.
Sanctuary
As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary.
Mosaics are of Byzantine culture in their composition and subjects.
The apex of the dome consists of the Pantokrator, with rows of angels, prophets, evangelists and saints.
The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints
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VISITING MANY A DEPARTMENTS HE NEVER VISITED ERLIER WITH A VIEW TO GATHER THE DATAS.
THE HIS TWO BROTHERS TRIED TO STOP HE AS A A.S. BRAR BY GUIDED.THEY FELT HE WERE USING HIS FATHER AS A INFLUENCES TO GET TO THE TOP WHICH ALL HAVE A RIGHT TO CLIMB AS IF IT WERE A HIMALAYA AS A CLIMB THAT HE WE SAW AS A PERSON WERE HONOURED BY THE UNITED NATIONS AND ALL NATIONS OF THE EARTH.HERE WE SAW A WAVE WERE BY THE BOGUS AS A A.S. AS.OUT TO MALIGN HE OVER IN THE LIFE HIS ACCOMPLISHED AS AWEAS ASPIRTUAL GIANT AS A DESCRIBE IN GIVEN AWARDS AS A VERY MANY AS A MAN WHO TOO CLIMBED THE EVEREST AS A EDMUND HILARY AND TENZING NORGAY SAID AS A TWENTY SIX TIMES AS A WINNERS NOT AS A LOOSERS AS AND THE U.N. BY ASKED TO SEEN HIS GUIDANCES AS A WERE IN THE FIELDS AS A ALL IN THE DECISION THREE OF THE U.N. AUTHOR HE WE AS A SELECTED BY WE THE GOD OF ALL SUPREME FORCE UNIVERSE AS A STURDIEST MIND..OF THE HIGHEST AS A STORM INVISIBLE AS A VERY VERY POLITE AND DOVE AS A RELIANT ON ALL ASSES TILL TILLORED ALL IN THE THEY TILL FINDING WHO IS WHAT FROM THE VOICE MODULATIONS AS A FIRST EXPERIMENTS THEN THE FACE AS A RECOGNITION AS A TWO LINES HE STARTED ON THE EARTH AS A MATTER ADOPTED BY ALL OF THE PLANET BASED ON HIS LINES AS A GUIDE.A PICTURE TOO WERE BASED ON HE AS A NAME AS A GUIDE AS A MAN OF HIS TEMPER ALWAYS THINKING OF THE WELFARE OF THE OTHER FIRST AS A TRAININGS AS.TENZING SAY DID THEY WOULD NOT HAVE CROSSED EIGHT THOUSAND FEET AS WERE ERLIER UNLESS THE GUIDANCE DAILY OF THE HE WERE THERE FOR THE THEY AS A TEAM.A TEAM AS A OF THE EIGHT AS A SENT BY HE WE SAW AS A WASTE AS A SIGNS AS A WE AS A NOT BUT THE VERY POLITICIANS THAT SENT HE THE THEY TO TEST HE AS A GUIDE AS A WE AS A NONE WE TO SAY AS A MOCKER OF THE RACE AS WELL THE CULTURES ALL AS A VERY POOR PEOPLE OF LOW STATE OF MIND.OFTEN THEY ALL WERE THAT TOO IN THE ARRANGE OF THE MATTER WE AS A RAISED IN ORDER TO SORE WE AS A GODS AS A ONES WE BY NOT FAVOURED OR GIVEN A GAIN .ALL THE GAINS WERE DUE TO THE MESSENGER OF THE GOD AS A SAY IN THE MAN WE MEAN AS A WE AS A SAY IN THE THEY BY SAID IS.TILL DATE.WE COMPARE DETAILS AS A WE AS A SANESTS AS A SAINT AS A SINLESS AS A LIFE.HE WE SAW WE AS A IS AS A SIN TO ATTACH IN THE IT NOT BE IN ANY CASE .WE SAW IT.AS A CASE AS A WE AS A DICTUMS AS A LEARNING OF THE AGES AS A NIL COMING TO HE IN THE LINES THIRTEEN THOUSANDS.AS A GUIDES AS A SINLESS AS A RESEARCHERS AS A FAMINE AS A WE AS A SOUGHT NOT HE TOO NOT BUT HE WENT ABOUT SHOUTING TOO NOT BUT TO NEHRU ASKING HE ISSUE A STATEMENT SAYING WE ARE TOGETHER SO SHALL SEE IT TOGETHER.LET US LEAVE THE WASTE AS A HABIT AMONGST THE RICHER SECTIONS OF THE SOCIETY AND PASS ON SOME TOO TO THE OTHER.HE WE SAW AS A FOLLOWER AS A FOLLOWED BUT WERE NOT ENTERED IN THE REGISTER EITHER AS A SUGGESTOR OR A SUGGESTION HIS AS IT IS AS A WE AS A RECORDS AS A VERY LOW TYPE OF MEN..NOT IN SEEING THEY THEMSELVES OR THE CALIBRE OF THEIR OWN .WASTE OURS AS A WE AS A IS THERE BEFORE US.AS A WE ASSES AS A WE ARE LOADED.SENSELESSESTS AS A MEN WOMEN AS A SUSHMAS AS A LOVEBIRD AS A ROMANCES BEFORE THE OTHER TO TEACH A WHOLE COUNTRY OF DACOIT TO DO DACOITY ON ALL WOMEN TELLING THEY SHE WERE FORCED TO LOVE EACH AND EVERY PERSON EVER OR BE DHOWED AS A MAN HERS AS A GENUINE NICE AS A OUTSIDERS TO BE SO SHE CAN DO ALL TO SEE HIS ACQUIRED OURS AS A ASSAM FORCIBLY GIVEN AS A CHEAT ON WE THE WE BY A SISTERS AS WE ASKING WHAT IS IT AND WHY EQUATE LOVE WITH THE OTHER THING THAT YOU CAN NOT EQUATE--------HAVE YOU STUDIED THE VALUES AS A ASSAM AS TO BE GIVING AWAY OUR ASSAM TO A PERSON YOU KNOW BUT I AS A PERSON NEVER WERE INTRODUCED AS A HUSBAND WIFE TOO NOT BUT A FRIEND AS A WHAT I GIVE IT BE TOLD TO ME BE BY YOU MEMBERS OF MY FAMILY EVEN BEFORE I CONSIDER IT WORTHY TO BE CALLING SELF A SOLE LANDOWNER INDIA THOUGH I HAD DEVELOPED PEOPLE MORE THAN YOUR FATHER BUT IT WERE NEVER THAT I OPENED MY MOUTH AS A MAN OF SENSE BUT NONSENSE AS A HE TOO YOU TOO IS A A ME TO A CYANIDE AND MY THINGS TO BE ALLOCATED TO OTHERS AS A RUBBER AS A OUR DEVELOPED WE WHAT FOR WILL GIVE THEY OR A DARSHI OR A CHARANJIT BECAUSE YOU FEEL SEX FOR THEY AT THIS SWARAJ SAID TAKE IT BACK.......MALAWIN TOOK IT BACK BUT KANCHANA POURED FOUR MORE DROPS OF CYANIDE AT THE SAY OF THE SUSHMA HOW WILL WE SPEND OUR LIFE THERE SIR TO DOCTOR SS KOHLI SAYING YOU GO WE WILL SEE HE..I TAKE IT TO COURT OF JUSTICE AS A WE TO A CHARGE BE OF THE ASS AS A BJP.OR I CHARGE IT AS A WE ME AS A SADR AS A SARDARS AS A WE AS A IS ASS AS ANGRY AT ME LOOSING ALL HIS AS A WE AS A SERIES AS A WORKS AS A DICTUMS AS A SILLY ASSES AS A ASSED AS. WE BOTH WE.SO I DECIDE.I DID START TODAY TO HARASS ALL THEY THE WE TO SILLYS AS A LESSONS THEY TOO IN THE WORLD WE AS.THEY SOLD THE PURCHEE AS A A.S. SAYS BUT WE SEE IT WITH THE A.S. AS A WE AS A STRIVE AS A TO HE SO GIVEN AND HE TO CHARGE WE FOR OTHER STRIVES IS............AS A SERIOUSMOST ALLEGE AS A WE AS A DEALINGS AS A WE TOO TO WE WITH THE ASS WE'S WIFE TO SEVENTY SEXUAL INTERCOURSES AS A SSKOHLI AS A ORDER IN TAKEN WERE IS SAID AS A DARSHAN INDER SINGH A LOOSE MADE CATCH THEIR CAUGHT ENDLESSLY AS A ONE YEAR NOT ERLIER AS A CHILD IN THE MOTHER TO GIVEN BY THEY IN THE RAPES ON HER IN THE THEIR MADE SPECIALLY FOR WE THE T.B. HOSPITAL NEAR OUR RESIDENCE TO START THE EXPERIMENT OF INFECTING A PATIENT WITH T.B. AS A SPUTUM AFTER KILLING AND BEFORE KILLING WITH RADIUM INSERT IN THE LUNG TO KILL TISSUE IN IT AS WAS AS A WE AS A DOCTORS AS A NOT BUT TOO TO FORCE WE INTO A GORGE AS A WE AS A GOD TO BE TO TEST FOR SURE GOD SAVES THE GOD'SFAMILY AND SEE IF WE CAN KILL IT WE TAKE ALL THEIRS AS DID.NORMALLY THE JUSTICE WE FEEL IN SUCH A CASES AS A BRITAIN AS A CALL AS A WE AS A CANCELLED WERE STILL THEY INTRODUCED WE AS A IT SO WE CANCEL THEIR LICENSE TO LIVE AS A FAMILIES THREE AS A NOT BUT ALL.ALL OTHERS TOO BE.
WE AS A ORDER WE AS A WE AS A WE AS ARE WE AS A NOT BE EVER BE FOR THEY THE THIS GROUP'S ASS AS A SADR EVER TO BE IN ANY FIELD OR POLICE OVER.
KULBHUSHAN KHARBANDA DECOMES AS A WERE AS A WE.........IS WRITTEN AS A FALSESTS AS A MATTERS AS A WE AS A STRIVES AS A A.S. BRAR GANGSTERS DEALING IN GIRL UDHEL.AS SEEN BY WE SINCE NINETEEN TWENTY-----GIRL UDHEL IS THE CATCHING OF GIRLS FOR THE PURPOSES AS A GIRL CAN BE IN ANY BROTHEL.