View allAll Photos Tagged modulation,
+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
Purple LEDs! Yay!
But wait. There's no such thing as a purple LED! What gives?!
Eleanor and I discovered the answer when we shook our heads quickly while looking at the "purple" LEDs: they're not glowing steady purple at all! Each little 'bulb' has TWO LEDs inside it, a RED one which is on all the time, and a BLUE one which flashes on and off so fast you can hardly see it. The blue one is on about three-quarters of the time.
And when your eye sees blue+red blue+red red blue+red blue+red red blue+red blue+red red it really looks purple!
BUT you can take apart the purple into the red and blue, and you can see the superfast flashing on and off of the blue if you move your eyes -- or a camera(!) -- quickly past the bulbs.
Mystery solved!
A Voltage-Controlled Amplifier (VCA) made from three BC549 NPN transistors and three BC214 PNP transistors. It's a Gm Cell with variable current followed by a simple op-amp.
The input is rigged up to an HP 4204A Oscillator with a 3310A Function Generator supplying the modulation signal. Output goes to a Tek 5440 analog oscilloscope and an X-Mini capsule speaker.
This is a performance module designed to be used in a skiff. The module has four gate generators (The arcade buttons) which can be used to trigger oscillators and modulation. The gate generators can then be combined with the 6 attenuators or the 2 waveshapers for great performance controls.
For the latest info on Minimal System Instruments Eurorack Modular Synth Modules please visit our Facebook page and hit the 'Like' button.
+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
Autor - Continuidade de assertivas erradas sobre análises perfeitas. A obra prima é inscrita sobre transgressão e contencioso. A ciência computacional modifica completamente a possibilidade de pensar, todas as forças naturais e artificiais ensejam à criação estética artística a modulação Sinopse Virtual, na civilização da arte sobre a arte os grafismos invisíveis são constantes, variáveis, inevitáveis, ambientais, psicológicos sendo originários dos milênios espiritualistas e do acesso nanotecnológico com reconstituição de tecidos vivos no movimento que não pode abandonar a constituição filosófica artística realizada como não pode deixar de desempenhar a sua inversão virtual para não espantar e rejeitar a inteligência político cultural herdada. Poetas, filósofos, artistas, cientistas dos milênios anteriores reunidos na convenção posterior ao século vinte não aprovariam o dispensamento de suas elaborações subreptícias, cultura dos periféricos, ampliação idiomática de sema e metáfora, a convivência da consciência com o tempo na primeira identidade, o movimento arterial das obras globais. Ora, o artista atual confirma que o pensamento provém da ordem e do caos, entanto precisa trabalhar em universo complexo 3D extraído do objeto natural e artificial nos 10 dez mil anos culturais com a sua própia e irreversível conduta, performance, ejeção, constância, permanência, progressão, um pouco adiante da ficção um cérebro navega fora do homem corporal e é exatamente este o motivo e a performance de O poema da Cidade Virtual. Versos, poemas, pictorias, cinema universalizados até a pouco tempo inusitados. Go home. O terceiro milênio inaugura a civilização prática de ‘o ser virtual’.
Author - Continuity of assertiveness erroneous analysis about perfect. The masterpiece is inscribed on transgression and containment. The computational science modifies completely the possibility to think, all the natural forces and artificial provide to the aesthetic creation artistic modulation Synopsis Virtual, in the civilization of art on the art the graphisms are invisible constant variables, inevitable, environmental psychological be of preferential origin of the millenniums spiritualists and access nanotechnological with reconstitution of living tissues in movement which can not to abandon the constitution philosophical artistic performed as it can not ceases to perform your virtual inversion not to frighten and to reject the intelligence politic cultural inherited. Poets, philosophers, artists, scientists of the millennia earlier meeting at the convention posterior the twentieth century would not approve ignorance their elaborations surreptitious, culture of peripherals, expansion idiomatic of sema and the metaphor acquaintanceship of consciousness with the time in the first identity, the movement arterial the works global. However, the actual artist confirms the thinking that comes from the order and chaos, but needs work complex 3D object extracted from natural and artificial in the 10 ten thousand years cultural with your own and irreversible conduct, performance, ejection, constancy, permanence, progression, slightly ahead of fiction a brain navigates from without a man corporal and this is exactly the reason and the performance of The poem Virtual City. Verses, poems, pictorial, cinema universalized until recently unusual. Go home. The third millennium inaugurates to civilization practice 'the being virtual.'
Auteur - Continuité de assertif faux sur analyse parfaite. Le chef-d'œuvre est inscrit sur la transgression et le contention. La science computationnelle modifie complètement la possibilité de penser, toutes les forces naturelles et artificielles promouvoir à création l'esthétique artistique la modulation Synopsis Virtuel, la civilisation de l'art sur l'art les graphismes sont invisibles constant, variables, inévitable, environnementaux, psychologiques provenant spiritualistes millénaires et l'accès nanotechnologiques Reconstitution des tissus vivants en mouvement qui ne peut pas abandoner la constitution philosophique artistique réalisée car il ne peut pas laisser jouer son inversion virtuel pas d'étonner et de rejecter intelligence culture politique héritée. Poètes, philosophes, artistes, scientifiques millénaires plus tôt se sont réunis à la convention ultérieure du vingtième siècle n'approuverait pas l'abandon de ses elaborations subreptice, la culture du périphériques, l'expansion idiomatique de la sémiologie et de la métaphore, la vie conscience avec le temps la première identité, le mouvement artériel des œuvres globale. Prier, l'artiste actuelle confirme pensait que provient de l'ordre et le chaos, cependant besoin de travailler sur l'univers 3D complexe extrait l'objet naturel et artificiel le 10 dix mille années culturel avec son propriétaire et irréversible conduire performance, éjection, constance, permanence, progression, Un peu en avant de la fiction un cérébrale navigue sur dehors du corps humain et c'est exactement le motif et la performance d' Le poème Cité Virtuel. Verses, poèmes, picturale, cinema universalizes jusqu'à récemment, inhabituelle. Go home. Le troisième millénaire inaugure la civilisation pratique de ‘l'être virtuel’.
Poem by José Paulo da Silva Ferreira
Radium 49 Key M-Audio polyphonic Keyboard.
Features
USB connection with power - power it off your laptop.
Pitch and Modulation wheels
999 programmable options
Multi-octave presets
8 little sliders and 8 little dials
plugs for sustain switch, midi out to keyboard and USB, runs off battery, usb or power adapter.
Works great with GarageBand.
2011, Jan. 14(Fri)
Nan-Hai Gallery
Entrance Time︱ 19:20 Starts Punctually At 19:30
Entrance Fee︱Free (Please arrive early as seating is limited)
Foretelling Revolutions
0xA(Chun Lee)
Chun Lee is a sound artist based in UK and Taiwan. With a background in classical music, he became increasingly drawn into contemporary music and electronic arts. This fascination with modern technologies brought him to study Sonic Arts at Middlesex University, where he gained his doctorate degree.
His current interests including developing sustainable pratices through free software, creating custommade electronic sound instruments and the studying of geometric patterns in various traditional cultures. He is also an active member of GOTO10 and Openlab, two international collectives devoted to free software and art.
Nirvāṇa（Chen Pei-Yuan）
Department of Communications Design, Shih Chien University. The winter trip to India in 2009, he visited the holy land and holy river in his mind. He was carried away by its philosophy, music, and art, so he has been studied Indian classical music and sitar. In these days, he also tried some electronic sound works to find a new body and appearance for ancient soul.
/ Performance Introduction
Nan-Hai . Appreciate sound
Both fascinated by traditional Indian culture, Pei and Chun started their art experimentations soon after they met in a circuit bending-workshop in 2010. The first of these results is a musical duet between them, mixing Indian Ragas and Pd Patches, sitar and noise circuits, sympathetic strings and pulse wave modulations.
LUPONEGRO YINGFAN PSALMANAZAR aka HUANG Dawang
Begins bedroom recordings since 1991, under influences of The Velvet Underground, Einstuerzende Neubauten, and Geinou-Yamashirogumi(i.e. OST"AKIRA"). Recordings broadcasted at Taipei's classic radio station in 1997. Live performance since 2002, he plays various instruments, electronics, laptop and junks in Taipei, Taichung and Kaoshiung.
During his abroad study years(2004~10), Yingfan get connected with Osaka's underground/noise scene, and performed with various artists and musicians in various fields. Yingfan's works appear on several compilations such as“LOBO 2”, “B!AS sound arts”, “C.U.E. COMPILATION 2”, “TAIWAN FREE SOUND”, etc.
/ Performance Introduction
LUPONEGRO YINGFAN PSALMANAZAR solo
When I was not on stage before, I had got so much wishful thinking, and there was no any result. Afterwards, I got on stage, and there was once my musical instruments were too many to be carried, so I thought of gathering topics and centralizing the table of organization. In the recent years, I don’t even think about presenting specific concept, instead, I think immediately how to continue after the first sound appears. Someone asked me if I am oppressive, I can only respond with a forced smile.
---------------------------------------------------------
Translate: Brenda Chan
Graphic Design:Nat, Niu
指導單位︱台北市文化局
主辦單位︱音瀑奧譜聲音藝術實驗室
協辦單位︱國立台北教育大學 南海藝廊
+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
On the anniversary of the death of Florence Nightingale this, although of course not here is a small tribute - uploaded for the Down Under Challenge Group - the lamp, the original image with thanks to..http://www.flickr.com/photos/zgrayman/4574566284/
Girl with Guitar from Mr.Vermeer.
The Guitar Player is one of the most beautiful examples of Vermeer's late style.The crispness of his image and the radiant colors give the painting a glowing quality. Vermeer, in his paintings of the 1670s, was no longer concerned with describing specific textures of materials. Brushstrokes became freer and more expressive than in his earlier works as he emphasized patterns of color rather than textures. Vermeer modeled the girl's dress and jacket, for example (right), with sharply defined planes of color, The subtle modulations in folds and contours that he formerly created by applying glazes over opaque paints are no longer evident.
The face also is treated differently. Its expression is outward and not self-contained. The nuances of shading that suggested qualities of character and personality have been replaced by distinctly separate areas of light, and shade. The interest in pattern is evident in the ringlets of hair silhouetted against the wall.
+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
Tektro R538 dual pivot calipers replace the 1980 Weinmann model 605. Even with the traditional cable routing these offer powerful braking with minimal hand effort and smooth & easy modulation.
DSC02157
An edible, but reportedly not very tasty jelly fungus. It is sometimes candied.
akas include yellow brain, golden jelly fungus, yellow trembler, and witches' butter, Tremelle jaune (French), Huang jin yin er (Chinese), Hida kikurage (Japanese), gullkrös (Swedish), Viltig judasoor (Dutch).
Jelly fungi apparently have medicinal properties, including immune modulation, anti-tumor, circulatory and respiratory benefits.
The scientific name of this mushroom translates into "trembling intestine." Since it is considered edible, I presume that this refers to the appearance of the mushroom, rather than a side-effect of eating it.
+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
SST12CP12 Combines High Linear Output Power With Low EVM in Small Package for Longer Range at Maximum Data Rate; Supports MCS8, HT40, Spectrum Mask and OFDM.
Microchip today announced its latest 2.4 GHz RF high-power amplifier—the SST12CP12—which adds support for the 256-QAM ultra-high data rate modulation. With its high linear output power of up to 23 dBm at a dynamic EVM as low as 1.8% and MCS8 40 MHz bandwidth modulation, along with 25 dBm linear power at 3% EVM, this amplifier significantly extends the range of IEEE 802.11b/g/n WLAN systems while providing excellent power at the maximum 256-QAM data rate. It is also spectrum mask compliant up to 28.5 dBm for 802.11b/g communication, and utilizes Orthogonal Frequency-Division Multiplexing (OFDM) to correct severe channel conditions without the need for complex equalization filters. Additionally, the SST12CP12 reduces board space with its small 3x3x0.55 mm, 16-pin QFN package. For more info, visit: www.microchip.com/get/NCPD
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
+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 Wessex Hall is the most modern concert hall in Britain, offering 1,500 seats in air conditioned comfort. The specially constructed wall modulations were computer designed for the provision of ideal acoustics.
36x40 Acrylic
So many of my friends and I are going through a season of their lives (menopause and andropause). Redirection is what is happening, the adjustment is a bummer, but I know good things will come out this cycle.
Or is this about Corporate America. the little person working like a slave when corporate just gives you a little crumbs to live on. Everything is about the book and not human dignity and respect.
A Place to Bury Strangers graces us with their presence once again. I'm still surprised this avant garde experimental band comes to St. Louis. The crowd, though not large, understands and appreciates this unique band. You have to see them to understand their artistry and power.
The subtitle of this series is the "madness of photographing in stobe lights". I asked Oliver Ackermann before they played if they were going to have strobes likes the first time I saw them. I just wanted to be ready for them. He laughed and, "Maybe." Oh yes there were strobes and they were even more intense than last time. It was a smaller more independent venue this time and maybe that made it easier to put on the show they REALLY wanted to. Though 60% of my shots were black, I managed to get a few.
#amy buxton
#Fall
#St. Louis
#A Place to Bury Strangers
#band
#music
#noise manipulation
#Off Broadway
#wave modulation
#Death By Audio
#Dion Lunadon
#Oliver Ackermann
#experimental rock
#space rock
#strobe light
#strobe
#concert
modulations
a history of electronic music - throbbing words on sound
edited by peter shapiro
published by: caipirinha productions inc. (2000)
Book courtesy of: GMA
What an album cover. I've had two copies of this - an early one picked up in Glasgow that I stupidly traded, and then this copy that I picked up in Sheffield record store where it was hanging on the wall, much to the chagrin of my beat-diggin friend in the store with me, who had been after it for years.
Annette Peacock is an avant-garde jazz artist who experimented a lot with early synthesizers and vocal modulation in her work. She still gigs and records, and is vastly under-rated, maybe because her work is rarely as receptive to the mainstream as other slept-on female artists like Vashti Bunyan and Judie Sill.
I'm The One is a monster of an album, mixing free-jazz workouts with sleazy synth funk. 'Pony' is the stand out track, a filthy 6 minutes of sex-chat and moaning over a lazy, looping bass riff, skittering drums and sci-fi synths. Last.fm has an excerpt here:
www.last.fm/music/Annette+Peacock/_/Pony
gorgeous
Roberto Gutiérrez
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 ]
SST12CP12 Combines High Linear Output Power With Low EVM in Small Package for Longer Range at Maximum Data Rate; Supports MCS8, HT40, Spectrum Mask and OFDM.
Microchip today announced its latest 2.4 GHz RF high-power amplifier—the SST12CP12—which adds support for the 256-QAM ultra-high data rate modulation. With its high linear output power of up to 23 dBm at a dynamic EVM as low as 1.8% and MCS8 40 MHz bandwidth modulation, along with 25 dBm linear power at 3% EVM, this amplifier significantly extends the range of IEEE 802.11b/g/n WLAN systems while providing excellent power at the maximum 256-QAM data rate. It is also spectrum mask compliant up to 28.5 dBm for 802.11b/g communication, and utilizes Orthogonal Frequency-Division Multiplexing (OFDM) to correct severe channel conditions without the need for complex equalization filters. Additionally, the SST12CP12 reduces board space with its small 3x3x0.55 mm, 16-pin QFN package. For more info, visit: www.microchip.com/get/NCPD
FROM WIKIPEDIA:
The Palatine Chapel (Italian: Cappella Palatina[1]) is the royal chapel of the Norman kings of Sicily situated on the second floor at the center of the Palazzo Reale in Palermo, southern Italy.
The chapel was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build and many more to decorate with mosaics and fine art. 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, illustrate scenes from the Acts of the Apostles. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons.
The rest of the mosaics, dated to the 1160s or the 1170s, are 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. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and scripts 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.
Other remarkable features of the chapel include the
Carolingian throne, a low stage for royal receptions, and a balcony which allowed the king to view religious processions from above. In addition, the muqarnas ceiling is spectacular. 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.
Monitoring a distant Belgian TV carrier on channel E3, this burst was received on Saturday 5th May at the time shown. See notes for more information.
The burst lasted about a minute.
I bet there aren't too many of these on FlickR!
Not actually a photograph of course, in the conventional sense, anyway!
The vertical axis represents frequency, the range shown is approximately 100Hz.
The vertical events (splodges) are all caused by reflection of the signal by the trails of meteors. It is a "Doppler Shift" phenomenon. Very brief events (thin splodges) are known as "Pings", the wider ones are known as "Bursts". Don't ask me at what point a ping becomes a burst, because I don't know!
During the biggest burst shown, the modulation on the TV carrier was plainly audible, probably strong enough to resolve into a locked TV picture, had I had a receiver connected.
Since I uploaded the above screen grab the 2009 Perseids have happened and produced spectacular results on my receiving equipment. If you are interested, look up my web page at www.g4fui.net/perseids_2009.html for more information ...
19th September 2013 at the 100 Club, London W1 (Jimmy LaFave gig).
Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.
The photo includes (left to right) Ekko 616 Analogue Delay (Malekko), SL Drive (Xotic USA), EP Booster (Xotic USA), SP Compressor (Xotic USA), and Poly tune (TC electronic).
Sketchnote of a talk given by Dr. Markus Bleuel on obtaining dynamics information from neutron scattering experiments when the intensity is modulated.
Disclaimer: Occasional errors in the content of these notes are mine and may be due to an error I made when writing something down. Such errors do not reflect the intent of the speaker.
Virtually pristine condition. This is my second 405 line set. It's a 1956 model.
It was bought in an antique shop in Windsor, London and sent to Australia in a tea chest.
Tuner is 13 channel and superhet receiver is used. Line oscillator has AFC. AGC is mean level from sync separator grid. It's a very 'text book' circuit for a 405 line set.
Normal 300mA heater 7 and 9 pin Philips/Mullard valves are used.
2 Highly Accurate VU Power Indicators
The highly accurate VU meters allow you to visually detect the audible signal for each channel. Also contains a built-in over-modulation indicator for each channel, this prevents unwanted distortion during recording
+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
{[es]
FECHA DE CONCURSO: 2005 {br}
FECHA DE PROYECTO: 2006 {br}
FECHA DE OBRA: 2007/2009 {br}
PROMOTOR: AYUNTAMIENTO DE BILBAO {br}
SUP. CONSTRUIDA: 1.669 m² {br}
PRESUPUESTO DE LIQUIDACIÓN MATERIAL: 2.906.206 €{br}
{El edificio objeto de remodelación, que fue un antiguo lavadero público y que ha sido, hasta tiempos recientes, un Mercado de Abastos, requiere una nueva adaptación de uso, compatible con el valor patrimonial de la construcción en su estado actual. El valor histórico del edificio reside casi exclusivamente en sus fachadas modernistas ya que los usos anteriores han modificado la estructura física, espacial y funcional interna.
{br} La perspectiva urbana, visualizada desde el entorno urbano próximo (la Plaza del Funicular), y dirigida hacia el antiguo mercado, permite apreciar la diferencia de alturas entre las cornisas del edificio de Ricardo Bastida y de los edificios de viviendas colindantes. La evidencia se hace manifiesta por la presencia dos grandes medianeras ciegas que envuelven el edificio del mercado y dibujan el perfil edificatorio de la edificación más reciente, conformando un gran vacío urbano, a partir de la segunda planta, de escaso interés.{br}La remodelación contempla una ampliación en altura, condicionada por la premisa de respetar la imagen, la cornisa y el volumen del edificio existente. Se preserva de esta forma la memoria histórica del antiguo lavadero, cuyas fachadas han sido objeto de una restauración científica. El volumen añadido, retranqueado en sus dos fachadas, se basa en la idea de la ligereza y la neutralidad, tanto en la composición de los huecos de fachada, como en la textura de los materiales, en el orden constructivo e, incluso, en sutiles referencias hacia el edificio actual.{br}El orden constructivo se basa en una composición horizontal, a base de elementos lineales, que aligera la percepción en altura y conforma una difusa trama que enmascara la interpretación del volumen en relación con el de número de plantas. La pequeña escala o modulación de los elementos horizontales permite eludir cualquier competencia con lo existente.{br} La textura de los materiales, (celosía horizontal de elementos cerámicos sobre fachada de vidrio con ventanas de celosía de lamas horizontales practicables), establece una sutil referencia material y compositiva en relación a las franjas horizontales de ladrillo de la planta primera del edificio actual.{br} La traza de las fachadas, retranqueadas respecto a las alineaciones actuales, dibuja una envolvente poligonal quebrada, sin referencias de paralelismo respecto a las envolventes actuales, de modo que se preserva la identidad de las dos construcciones.{br} El espacio interior se reforma integralmente en todas las plantas, incluida la cimentación y la estructura de pilares, vigas y forjados.{br} El esquema de planta libre permite compartimentar el espacio disponible con total libertad.} {br}
{FOTOS: Nº1,Nº2,Nº3,Nº4,Nº5,Nº6{br}
IMB ARQUITECTOS}{br}
}
{[en]
COMPETITION DATE: 2005 {br}
PROJECT DATE:2006{br}
WOKS DATE: 2007/2009 {br}
CLIENT: BILBAO CITY COUNCIL{br}
SURFACE 1.669 m² {br}
MATERIAL BUDGET SETTLEMENT: 2.906.206 €{br}
{The building under renovation, which was a former public laundry which has been, until recently, a food market, requires a new adaptation of use, compatible with the heritage value of the building in its current state. The building's historic value lies almost exclusively in modernist facades as previous uses have changed the physical structure and internal functional space.{br}The urban perspective, viewed from the nearby urban environment (Cable Car Square), and directed towards the old market, to appreciate the difference in height between the eaves of the building of Ricardo Bastida and adjacent residential buildings. The evidence is made manifest by the presence of two blind medians surrounding the building market and draw the profile of the building edificatorio latest vacuum forming a large city, from the second floor, of little interest.{br} The refurbishment includes an extension in height, conditioned by the premise of respecting the image, the cornice and the volume of the existing building. Thus preserving the historical memory of the old laundry room, whose walls have been the subject of scientific restoration. The added volume, recessed in its two facades, based on the idea of lightness and neutrality, both in the composition of the voids of the facade, as in the texture of the materials in the order constructive and even in subtle references to the current building.{br} The constructive order is based on a horizontal composition, based on linear elements, which relieves the perception in height and forms a diffuse pattern which masks the interpretation of volume relative to the number of plants. The small scale or modulation of the horizontal members can avoid any competition with the existing.{br} The texture of materials (lattice horizontal façade elements on ceramic glass lattice windows horizontal slats practicable) provides a subtle reference material and composition in relation to the horizontal bands of brick on the first floor of the existing building.{br} The design of the facades, back in relation to the current alignment, draw a polygon envelope creek without parallel references regarding current envelopes, so preserving the identity of the two buildings.{br} The interior space is reformed comprehensively to all floors, including the foundations and structure of columns, beams and slabs.The open plan scheme allows partitioning the space freely.} {br}
{PHOTOS: Nº1,Nº2,Nº3,Nº4,Nº5,Nº6{br}
IMB ARQUITECTOS}{br}
}
{[eus]
LEHIAKETA DATA: 2005-ean {br}
PROIEKTU DATA: 2006-an {br}
LANAREN DATA: 2007/2009 {br}
SUSTATZAILEA: BILBOKO UDALA{br}
AZALERA: 1.669m² {br}
LIKIDAZIO MATERIALAREN AURREKONTUA: 2.906.206 €{br}
{ Bilboko garbitegi publiko eta azkenalidan horidura azoka bezala erabili den eraikuntzaren eraberritzea da proiektuaren xedea. Eraikinaren balio handiena fatxada modernistan datza, zeren eta erabilera desberdinen ondorioz barneko konfigurazio espacial eta funtzionala anitz aldatu da. Funiko plaza ikuspuntu hartuta eta azokarantz begirada botaz gero, Ondoko etxebizitzen tarte hormak nabarmentzen dira, eta hauek indar handia dute hiriko perfilean, hutztura urbano bat eragiten.{br} Altura aldaketa eraikinean, teilatu-erlaitz, bolumen eta irudian baldintzatuta daude. Aintiznako garbitokiko aurreko fatxada mantendu eta lan arduratsu baten vides eraberritu da. Gehitutako bolumena, fatxadarekiko atzerantz egiten du, ahal den eta neutro eta arinena izanik.{br} Eraikitze porzesua kompozisio horizontalean oinarritzen da, elementu linealen bidez. Honek, alturaren hautematea arintzen du, trama lausoa sortuz, eta ondorioza eraikinaren bolumena ezkutatuz, eskalan egoteko. Horrela ez da eztabaidan sartzen dagoenarekin.{br} Materialen textrua ( zeramikako zur sare horizontala, beirazko fatxadaren aurretik) antzinako adreiluzko fatxadarekin harreman estuan jartzen da lehen solairurarte.{br} Gaur egungo fatxaden trazak aintzinekiko atzeraturik aurkitzen dira, gainera ez dute erreferentzi paralelo de formalik, horrela bi eraikine nortasuna are gehiago nabarmentzen da.{br} Barneko espazioa, guztiz erreformatzen da solairu guztietan, bai oinarri eta estruktura ere.{br} Solairu librearen egiturak askatasun guztia ematen du espazioen konfigurazioan eta banatzean.} {br}
{ARGAZKIAK: 1.zkia, 2. zkia, 3. zkia, 4. zkia, 5. zkia , 6. zkia {br}
IMB ARQUITECTOS}{br}
}
Yoko Ono interview - full transcript
Yoko Ono interviewed by Simon Harper for http://www.clashmusic.com
Artist, singer, wife, mother, loved, loathed, legend, survivor - Yoko Ono is many things to many people, but the little person behind the big name is buried beneath a mountain of myths and misunderstandings. Clash flew to New York to meet the real Yoko Ono.
For obvious reasons, it’s quite disconcerting walking into the Dakota building. The imposing nineteenth century apartment block, which overlooks Central Park, was home to John Lennon and Yoko Ono throughout the Seventies, and, as you pass through the gates of the main entrance, you realise you’re walking in the last footsteps Lennon ever took. That Yoko still lives here, still passes the place where her husband was murdered twenty-nine years ago, demonstrates the strong-will, bravery and resilience of a woman that has endured years of antipathy purely for marrying the man she loved.
These thoughts are hurtling through my head, overwhelming the nerves that were earlier festering in there and stretching down to the pit of my stomach, as I crossed the cobbled entry and into the lobby. I’m here to talk about Yoko’s new album, ‘Between The Sky And My Head’, and to focus on the pioneering spirit of the vivacious seventy-six-year-old, but the inescapable weight of her past looms large, and dominates my mind as I’m led through the winding corridors and, eventually, into her apartment - the former home of John Lennon.
Yoko Ono does not appear from a ball of flames, nor a puff of smoke. Instead, she humbly emerges from a doorway, dressed casually in a black tracksuit (and of course her ever-present shades), and walks meekly up to shake my hand. She commands your attention with only her presence.
‘Between The Sky And My Head’ is the first Yoko Ono album to be co-produced with her son, Sean (and the first release on his own Chimera Music label). It betrays her age by embracing the modern strains of garage rock, electro, dance and ambient classical, and, ironically, will be released in the wake of The Beatles’ latest explosion.
Sitting down at her kitchen table, I sneak a look around the room we are in - walls are decorated with Japanese prints, photos of John and Yoko, and a Lennon calendar; he still permeates her life, clearly. She asks for the air conditioning to be turned off - meanwhile I’m suffering, still recovering from the forty degree heat outside - and then the conversation begins to flow. With every answer comes a shy chuckle, she peers over her glasses and stares straight into my eyes. With just a look, I know if my line of questioning has strayed too far, and I change tack. We start, naturally, at the beginning...
You apparently became heavily involved with art and music while at college...
No, no, not really... Did I tell you this or did you read somewhere that...
I read that you’d...
About the fact that I went to school, pre-school; you don’t call it nursery, it’s called Jiyugakuen. Jiyugakuen is like a freedom garden - when you translate it it’s garden of freedom - it was a school in Japan. I’d say it was maybe still there. In the 1930s my mother put me in there. It’s a school where you get very early music education: perfect pitch, harmony, everything.
They start you young.
Yeah. It was very interesting thing that happened then - I didn’t think it was anything at the time, but one of the homeworks was to listen to all the sounds and the noise of the day and transcribe it into music notes. Isn’t that amazing?
It’s very kind of New Age now, isn’t it?
New Age, yes. And in music you start to sort of develop a kind of ear that’s very different. For instance, they would just ask you to listen to the sound of the clock going ‘ding, ding, ding, ding’, and they’d say, ‘Well, how many times did it ring?’ And you have it in your head, so you have to repeat in your head, that sort of thing. It was a very, very interesting education I got.
You wrote a piece for Clash a couple of years ago - we asked you to do a New Year’s message, and you wrote about growing up in Japan after the bomb. We just marked the anniversary for Hiroshima bombing...
Oh, I remember it; I remember very clearly. It’s a very interesting thing: my father travelled a lot and he came to New York, and we came to New York and we lived in Scarsdale or somewhere like that, briefly, and then just before the war started there was incredible tension between the United States and Japan, and we were all warned that we should go back to Japan. So, we all went back to Japan, and then sure enough there was a war; it started. It was a very, very difficult time really.
Do you think that your generation that remember the bomb grew up with a different perspective on life?
Yes, and I’m very lucky that I had that experience because otherwise I would have been one of those kids, those prep school kids that are like, ‘Ha ha everything’s okay’, but no, it wasn’t okay at all. We were evacuated to some farm land, and the farmers were not very nice to us; they felt like, ‘This is our time, you city people’. So, we didn’t get very much food, for instance. I mean, that was a surprise; I’d never had an experience like that - of course, very few people have that kind of experience.
How do you mark the anniversary now? I know you Twittered a message on Hiroshima day. Do you think about it when the day comes round, or is it a day you try not to think about it?
Well, each time there was a message where they wanted to play my music or something, whatever it was... You can’t ignore it, but also I think it’s very good to bring it out and ask people to remember it, because it might just sort of discourage some people to again create a war like that. I don’t know, it seems like we’re just screaming in the wind or something.
Did the musical training of your youth teach you to write more instinctive, or is it more intellectualized?
Instinctively. I think that I’m trying to stick to spontaneity of my inspiration, and it’s an emotional accumulation or outburst; I think that’s more real. I was just saying in another interview, with this record especially, I felt there’s a hodge-podge element that I love. The thing is, when you put a classical music record out, in your head, just like when I was four-years-old, there’s so many different noises going in and out - you’re experiencing what is in the street or what is inside the house, and then at one point maybe you have jingles coming out - but you ignore that, you sanitise it, and you make sure that there’s just classical music only on the CD. Even just that is so boring for me, so with this, you notice with this record that I made, there’s so many different styles just jumping out; the first is the screamer, and then right after that there’s the dance stuff, and then you think it’s gonna be dance music but then there’s pop music or something. In other words, I was not scared to not streamline it, in terms of the forms of music.
As testament to your diversity, back in the ’60s you played with the jazz legend Ornette Coleman - and you just did the Meltdown Festival in London with him.
I was so amazed; it was exciting, because both of us survived in a way (laughs). There’s so many people that we knew that are not here anymore; it was interesting.
Is he a good friend to work with?
He was always a very gentle person, I think that’s how he survived maybe. I’m sure there’s some anger in him, of course - the racism and all that and how they were treated. And also jazz is not a very popular field, compared to rock and pop and all that, so he must have gone through all that and some pain as well, but instead of that, he’s always sort of gentle; it’s amazing.
Your reputation and acceptance from the general public and Beatles fans has become gradually more prevalent over the years. You’re finally being embraced...
Yes, I’m much more accepted now, thank God I’m sure, but when you go on the Internet, some people are still extremely upset with me! (Laughs)
How do you cope with that level of cruelty?
Isn’t it amazing? It’s a bit scary, so that’s why I’m always very careful; in that sense I’m not displaying my courage. (Laughs)
Having to continue your career after John’s death was a very brave move in the first place, and the fact that you’re still here with a new album is very admirable.
I was so surprised and interested in that film called The Pianist, where the pianist is that Jewish guy who’s always being banged around, but he’s always [mimes playing the piano] - in his head he’s always playing the piano. That’s how I survived. Many composers, like my first husband [composer Toshi Ichiyanagi]; we would be in a restaurant and he would be sitting there like, ‘da da dun da’ [mimes playing piano on table], and I’d be doing that too. We are not communicating, we are living in our heads; that was the reason I survived, I think - it was the music that made me survive.
Your previous album, ‘Yes I’m A Witch’, endeared you greatly with the indie scene - you gave your songs to some excellent artists to remix: Cat Power, Antony Hegarty...
Aren’t they incredible?
And it was a great album. Was it a good album to make? Did you have fun hearing what they did to your music?
I really respect Antony. Antony is an incredible artist, the way he sings and everything is fantastic!
It’s out of this world isn’t it?
You see, I think about sounds as an independent art from composition. In the ‘Yoko Ono/Plastic Ono Band’ [1970 album] , when we did [opening track] ‘Why’, I was interested in breaking the sound barrier with it. Breaking the sound barrier for the music world, like ‘Boom!’ And we did it.
Making an impact!
We did it! But of course instead of what we thought we did, I had a huge, huge trash can, saying ‘Yoko Ono’s record’, and everybody’s standing like this (throwing the record in), in Japan. John was like, ‘In Japan? It’s your own country!”
Were you aware of the artists who worked on ‘Yes I’m A Witch’ before you made the record? Did you trust them with your songs?
Well, it all just happened, like, ‘Well, what do you think about this one?’ I was not aware of them, but I immediately became aware of him [Antony] especially.
So, this album is co-produced with Sean.
Yeah, isn’t that great?
What’s your working relationship like?
I was very nervous - well, at first I was not nervous... When Sean said, ‘We should do an album - your album...’ Now I say, ‘Don’t say “your album”: it’s a Chimera [Sean’s label] album, okay? Don’t say “your album” like it’s something you want to push outside.” And he said, ‘Okay, let’s do it.’ So I said, [sheepishly] ‘Okay...’ I had no concern about it. I thought it was great; we’d have the chance to be together. I don’t know how you feel about your parents - there’s a point where you just want to ignore your parents, and just call when you need money! (Laughs) ‘Hello, do you have any cash?’ The thing is, I thought, it’s not just that I’m gonna get a call - I’m gonna be with him. That was my concern; that was the reason why I wanted to do it initially. And then a few people said, ‘Are you sure you want to do this? Because mother and son can be very difficult.’ Maybe, but I didn’t really think that. There was something instinctive about it; I didn’t think it was gonna be bad, and it wasn’t bad - in fact, we sort of like discovered each other - well, maybe Sean would say that he didn’t discover me... (Laughs) I discovered the fact that he knew so much of my music; that was a real surprise. And so, as a music director, first of all he got the best studio for me, that was the best thing - it’s not known to be the best maybe, but he said, ‘It’s good and it has this funky sound; this will be the best.’ It just makes you comfortable being in there, too. It’s not a state-of-art kind of place. And then he collected all those musicians.
He chose a combination of Japanese and American musicians...
Well, the Japanese ones, it’s a very strange thing. Sean wanted me to come to Tokyo to join him in this concert he was doing. He said, ‘Why don’t you come to this concert? I’d like you to be a part of it.’ And I said, ‘You mean I’m gonna go all the way to Japan just for this one concert? That sounds crazy!’ But then I thought, ‘Okay, it’s my son, it’s my son.’ So, I went there. I started to sing, and there was a point that - this was a song that was like a constructed song and they probably knew it - but in the end I was just going for the spontaneity kind of thing, spontaneously going to vocal modulation - I’m not using the word ‘scream’ because you’re going to use that anyway! And it just went up and up, and I thought, ‘They can’t follow this - they won’t know when I stop it.’ And I just went, [raises hand] ‘Uh’, and they just stopped. I thought, ‘Oh my God, who are these people?’ I just looked back and it was the Japanese trio [Yuka Honda and members of Cornelius’ band], and I thought, ‘Hmmm, okay!’ So, when Sean said we should make a record, I said, ‘Okay, well get those two or three.’ So that was the main character, the main sort of people.
Did he tend to boss you around in the studio?
No, he didn’t. Well, alright, so he tried probably! (Laughs)
Your stature and your fame means that you could probably work with anybody, so why did you choose these Japanese and Americans, and what did you hope they would do together?
I’m probably arrogant to the point of unbearable! (Laughs) The idea of Plastic Ono Band was that anybody can be the band. Before I met John - the name Plastic Ono Band was named by him, so we didn’t have the name at the time - I was asked to go to a university or something in the United States, pre-John Lennon, so I go, and they of course want me to perform as well. So I just said, ‘You, you and you, why don’t you just come and play?’ In other words, I didn’t check their credentials, because I thought I can just do it and it will be beautiful. And so, with this group too - the three Japanese musicians were very good - then Sean invited all these other people; they were all very good. I think in terms of the spirit of things, not credentials.
The art is in the spontaneity.
Yeah.
You were, and still are, a great symbol and crusader of women’s rights.
Yes!
Now that you’re in your seventies, do you think you’re leading the way to defy the expectations of septuagenarians?
(Laughs) Well, I’m not that conscious of it. If I am conscious of it, whether I’m conscious or not, if I can’t make it I can’t make it. But it happens to be, you know, I’m not feeling old; I’m feeling very excited about life every day.
That’s good, and it’s reflected in the vitality of the music.
Well, after I finished that one, it was like, ‘We have to do a second one, Sean!’ And he was saying, ‘Yeah, yeah, we have to’, because I got some ideas, of course; when you’re making music you get more inspired.
Talking of improvisation, I read that most of the lyrics on the album are improvised. Do you think that it makes them less ripe for studying, or that since they came from your subconscious, they are much more of a window into your true thoughts?
Oh, definitely. For instance, some critics have criticised John for his lyrics being too personal, that his songs are personal. So? That’s why it’s good! (Laughs)
What else are you gonna write about?
You know what I mean? It’s crazy to think that if we create a fictional situation it is more legitimate. We don’t think that; I don’t think that. I’m giving my guts; I’m giving myself.
Are you aware of the lyrics when you’re making them, or afterwards, when you listen to what you sang, do you go, ‘Wow, where did that come from?’ Do you know where the lyrics are coming from when you sing them?
I don’t know, and even when I listen to it after I don’t know. I don’t think about it that way. It’s very interesting, one of the CDs - we call it CD now, but LP - somebody in this building, actually, said, ‘You know, on your album, your voice sounds very much like the Spanish when they dance...’
Flamenco?
Yeah. I said, ‘Oh, really?’ And, you see, I never connect those things, but then I thought maybe I was a Spaniard one day a long time ago, who knows?
There are a number of references to water throughout the album - is that of any significance to you?
Water’s very important. I created a song called ‘We Are All Water’, remember, a long, long time ago, and the reason is because we are 90% water.
We’re tidal.
We are water - we better be very careful. Oh, this is another thing that I just learned - it’s a new thing I learnt, and I really think it would be good if you can just put it in... You know, we know, and we keep saying as hippies or yuppies or zippies (laughs), that what we do or what we think affects the whole world - you, me, anybody. So then now, two scientists discovered that - they were checking how the waves are made in the ocean - just anything that gets into the water, whether it’s a tiny acorn or a little boy splashing, affects the whole ocean. Isn’t that amazing? But you know what that means? It’s not just on land, but it’s in the ocean - both ways we’re all together; we’re just one.
It’s the same on land as well.
Yeah, of course. The land one, we always said whatever we think or whatever we say affects everybody.
My favourite songs of the album are perhaps the most poignant ones, ‘Memory Of Footsteps’ and ‘I’m Going Away Smiling’.
Oh, really? Oh, that’s so sweet of you.
What do those ones mean to you? Are they poignant to you as well?
Yeah. ‘I’m Going Away Smiling’ made me cry, of course.
It made me cry as well!
(Laughs) At Meltdown I just couldn’t sing it. I just thought, ‘Okay, I better sing it with the lyrics in front’. It was a disaster in that sense - it wasn’t a disaster, but it’s just very difficult. Like, ‘Walking On Thin Ice’ is a very difficult song for me to sing because there are so many memories. It’s that kind of thing. That’s one that’s very difficult for me to sing. The other one, ‘Memory oO Footsteps’, yeah, that one too, but not as much as ‘I’m Going Away Smiling’. After I wrote ‘I’m Going Away Smiling’ and recorded it, I thought I better put the end bit in, you know, [the final line] “I’m alive!”
Yeah, it’s a defiant spirit right at the end. I didn’t know whether it was a happy statement or that you were surprised to be alive.
It was not a surprise. There’s a certain anger in that: ‘You think I’m dead, right? I’m alive!’ The reason is because we’re at the time when... it’s a very difficult time - all of us are scared shitless in a way - and of course the economic shock and some people thinking there’s a Doomsday coming or something, so it’s really good to sort of hammer things and say, ‘I’m alive!’ (Laughs)
People must presume that a lot of your songs about John. Is he still your main inspiration behind your music?
I never thought about that one.
I saw the Lennon exhibition at the Rock & Roll Hall Of Fame Annex in New York... I’m so glad. It was the last time I was in New York. I was here for a day, and I thought, ‘What do I want to do? I’m here for a day what should I go and do?’
I’m so glad. Isn’t it great?
Yeah, it was fantastic! What were your plans for that exhibition? It takes you on a journey doesn’t it?
Well, it’s the New York City (years), and to focus on that period, which was a very important period: he was in love in New York City, and that’s where he was killed. So it’s a very, very important point in his life, I thought.
I found it very moving. It’s only a small space, but when you start you see the performances and the lyrics, and John is alive and well, and then it comes to the end, and it’s almost like in the space of this room you’ve been on that journey. You got criticism for including John’s bloody glasses and the clothes he was killed in.
I know. I thought I would get criticism. The point is, you can’t help it; if you want to do something good creatively, there’s always gonna be somebody saying there’s something wrong. That was a creative effort. I mean, the point is to put that in there. I knew that some people would be very upset, but I thought it was very important to do that, and you were sharing my extreme, extreme sadness that I felt at the time.
How much of your time is dealt with business affairs of The Beatles and does that detract from your own creativity or your own art?
I don’t know. It seems like a suitcase that you can fill more than you think, you know? (Laughs) It’s that kind of thing.
When you make decisions on John’s behalf, for what John would do, are those made personally by you or do you have people to give you advice?
Depends. Most of the time I get like twenty requests a week and then I have to sort it out; ‘This is a good one.’
Just to touch briefly on the new Beatles things that are coming out, the re-masters and the Rock Band, in terms of the Rock Band, what did you think when you were approached by that, did it excite you?
Yeah, it did excite me. John was like that and I am like that too, but we always just jump on a new media, and this is great. I even went to Boston when they were making it: fifty people, all young generation computer experts - they have to be young to understand it! (Laughs) They’re all there making the images, you know? It was very exciting.
It looks fantastic. It looks like it’s all gonna kick off in September
Isn’t that great?
It’s a good date, because John was a fan of the number nine.
Yeah, it’s great. I love it.
It’s 09/09/09.
Well, it’s a very strong thing, 090909, yeah.
And in terms of the re-masters, have you heard the new music, the re-mastered albums? They sound fantastic.
Which one?
They’ve re-mastered all the albums.
Isn’t that great?
I got to hear them in Abbey Road, and it was incredible.
You went to Abbey Road?
Yeah. You’re an active Twitter user, what do you make of the new kind of social network thing?
Listen, I’m into everything, right? (Laughs) It’s really great. I don’t answer [messages from] everybody, but some people are very into that step into future. For me it’s a very good education.
You’re very dedicated to humanitarian causes - what role do you think Twitter and getting your message out there can play?
Well, I’m glad that I can get new messages out there, because if I wrote a book or something nobody’s going to read it! (Laughs) What I mean is it’s always good to go with the new media, where they’re all there, so you can really talk to them. I think Twitter’s very good. How did Twitter become Twitter?
As in the name? I don’t know...
It’s a nice name, Twitter. (Laughs)
It’s almost as flippant as the act of Twittering itself. So, you’ve been advocating for peace for most of your life - do you think the world has become more aware of the plight?
Yes, yes, yes! When John and I were doing it, it was sort of like Salvation Army kind of people standing on street corners, handing out pamphlets or something, and nobody wanted to know. We did the Bed-In [in Amsterdam and Montreal] - we thought it was pretty good, but at the time they didn’t think it was pretty good! (Laughs) But I think the humour of it, I thought surely they get the humour of it? We’re in bed! (Laughs)
Yeah, ‘Come on, keep up!’
Yeah, but they didn’t; so funny.
With everyone that reads your Twitter updates or any message you put out, if you could inspire them to do something, what would you hope that they did?
Well, I think that together we’re getting wiser and wiser, and if I can contribute to that in some way I’m very happy, because becoming wiser is almost synonymous to getting this world into a peaceful place.
We’ll get there eventually.
Yeah, we’re getting there.
Do you see this album as a competition to the latest releases by young bands, or are you competing on a level with your contemporaries?
I never thought about those things. When you make an album, you make an album that you think is good and great - most artists are narcissists, and they have to be if they want to survive! (Laughs) So, you make an album as best as you can, and what are you gonna do, check who’s gonna listen to it? I never know what’s going on in that sense. You keep saying ‘young people’, but I never ask their age, first of all; they might be fourteen or they might be fifty, I don’t know! (Laughs)
You said earlier about the patchwork quality of the songs.
Yeah, I love that.
Were you worried that it wasn’t gonna fit, that people might think it doesn’t work together?
I couldn’t care less. Maybe that’s why I was slow in being appreciated, because I don’t care about those things. But the first song, ‘Waiting For The D-train’, some people were saying, ‘Don’t put ‘Waiting For The D Train’ first, because they’re all gonna think that the whole thing is gonna be a screamer.’ I said, ‘This is selectivity, we select the people.’ If they don’t want to hear about this album after that, then go to another album.
I don’t think it matters nowadays anyway - people don’t listen to albums anymore, they listen to songs. If you get a good song, people will download the song or buy the song. Sean has obviously come into his own as an artist...
Did you know that? The point is, it seems that before, before I recognised it or started to understand or appreciate it, it seems like everybody knows that. He’s a very good, talented musician.
Yeah, obviously he’s forged his own career.
I don’t know, he could get crushed by the history of it all. (Laughs)
It’s commendable that he isn’t!
Yeah, he just survived, you know?
When you see him working in music, who do you see more of in him, is it you or his dad?
His dad, definitely, because I was making [music] with John and I remember that experience, so I have to - it’s bad, maybe - but I just compare it; I can’t help it.
Yoko Ono interviewed by Simon Harper for ClashMusic.com
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 ]
March 7 - April 9, 2010
Opening reception: March 7, 4-7pm
It is with great pleasure that devening projects + editions announces The Lodger, an exhibition of new work by Peter Otto. The show will feature new paintings, works on paper and editions.
In this exhibition, as throughout most of his career, Otto makes the task of facing untenable cultural truths only slightly easier by persuading us with a system of delivery almost impossible to ignore. Otto’s work reports on the constituent factors of a human condition continually shifting between beguiling and highly disturbing. He reveals the state to which humanity—ever tested by social, cultural and political forces—bends, breaks and at times collapses. These paintings and sculptures show a reality emerging from the darkest moments. Evidence of the ways culture and society impose will and exert power is revealed on the surfaces of his verdant canvases and in the sculptures made from clay, plaster and bronze.
The themes are somber; the work though is delicately formed and teeming with graceful facture. It’s a difficult balance to strike, but Otto is able to bring forth stories of how cultural ruptures created by wars, famine, natural and man-made disasters form the basis from which that same culture is ultimately shaped. His paintings and drawings express a highly personal relationship with historical and contemporary events but always leaves the narrative open to evoke sensations interpretable from varied positions.
One thinks of Philip Guston when looking at Otto’s work. An acknowledged influence for the artist, Guston is a model for how to bridge the political and the formal. An example in Otto’s work is a regular use of stacked or hanging objects. Macabre associations are unavoidable, but one can never be sure. These “things” might also suggest built structures raised from a destroyed place or re-presented from an emergent culture. One might consider Guston’s piles of shoes and find a strong link to Otto. The concerns addressed in Otto’s most well-known paintings can also be seen in occasional large-scale public works in Holland such as Twisted Totem in Den Haag. This monumental work is a aggressively fragmented totem made from disparate parts. The sculpture, like the paintings, asks us to face difficult and challenging revelations about our culture and brings awareness to the ways in which we process trauma.
In one of several essays in Votive/Totem, the 2006 book on Otto, Rob Smolders writes: “Peter Otto juxtaposes his own malicious imagination with the imagination of society. He tightens pieces of string, erects crosses and gallows, puts up doors and fences, has a ball with junk he finds in his way: swastikas and Christmas trees, feet and heads, flowers and walking sticks. No dances in this world for it is inhabited by monsters and crutches.”
Of his painting and process, Smolders writes: “… Meanwhile, Peter Otto remained the painter he was. Magician when glazing, alchemist when patinating. The pictorial language of the paintings dating from the past five years is often acrid yet playful. Colors that are sometimes reminiscent of blood, tar or flesh, suddenly give way to the ripe color modulations of overblown flowers in an exuberant representation. References to war and violence that are too literal have been forced back. The tenor of the work is more general, even if the prevailing mood remains somber.”
Otto, who lives in Arnhem, has been featured in solo and group exhibitions throughout Europe including projects at Museum Beelden aan Zee in Scheveningen, the Kröller-Müller Museum, Boÿmans van Beuningen in Rotterdam, Galerie Reuten and Galerie Swart in Amsterdam, the Museum Kurhaus Kleve and the Pushkin Museum in Moscow.
Devening Projects & Editions
3039 West Carroll
Chicago, IL 60612
Tel.: 312-420-4720
The effects of modulation and under-highlighing are very subtle, but very much worth the effort
It adds an extra dimension of tonality that a miniature inevitably will lack due to its size. Carefully considered modulation can make a miniature feel more dynamic, and closer to how we would imagine 'the real thing' to be.
Grant Petersen once waxed poetic about these brakes for their smooth modulation and ever since I had to have 'em. I must say that mated to the Tektro RX4 Inverse Levers, this is some of the most pleasant and intuitive braking I have ever felt on any bike. Superior to the Shimano Ultegra 9-speed STI brake levers and V-brakes on my Cannondale T1000 touring bike; superior to the Cane Creek SCR-5 levers and Ultegra caliper brakes (BR-R600) with Kool-Stop brakepads on my Rivendell Rambouillet. Seen here on a Velo Orange Campeur singlespeed commuter. Complete build specs are available at this image in the album. Image made at W 19th and 9th Ave, NYC on a rainy summer afternoon.
Basically, the Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit.
The Moisturizer was developed with the help of Jason Willett (Half Japanese, Leperchaun Catering), Martin Schmidt (Matmos, Instant Coffee), Joshua Atkins (Polygons, Major Powers), mom & dad and many more
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 of the outdoor shower and spa area by the beachfront pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Plants
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: WB2010-0281 Concha.JPG
Record ID: WB2010-0281
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
MITSUBISHI 50 INCH REAR PROJECTION TV
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•2-tuner Picture-In-Picture (PIP) with TV still, moveable, and PIP exchange; Sizes: 5 (1/4, 1/6, 1/9, 1/12, 1/16); POP, split-screen, and channel preview; V-Chip controlled
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Specifications:
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•Speaker : 5" round
WE ARE 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
Oscilloscope showing zero ddm* between the 90hz and 150hz signals immediately after an FAA Flight Check.
*ddm: Difference in Depth of Modulation
+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