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The large 1mA meter is a bit sluggish to be really useful for modulation and power display. Maybe a peak hold circuit could help there as peak is the useful thing to know for those two parameters. I can always use the LCD display on the radio for the fast moving values.
I don't know if a 100uA would be less sluggish. Still, it's a nice big meter. It looks the part!
One idea I have is to build a driver circuit for it. It would be interesting to drive it from the low impedance output of an op-amp. I could also have a go at adding a differential signal in a feed-forward configuration.
The radio in this shot is running off battery power using an external battery pack which is also propping up the meter.
This is a full shot of the robot while lying down.
This project uses an Arduino to drive a miniature "segway" balancing robot.
A pair of Lego Mindstorm NXT motors are used to drive the robot wheels. An Arduino is used to control the motors. An ADXL335 3-axis accelerometer is used to determine robot orientation. An L293D H-Bridge is used to allow the Arduino to interface with the Lego NXT motors using pulse-width modulation signals. A proportional-integral-derivative (PID) algorithm was used to determine the logic for wheel movement. Programmed in C++.
Unfortunately, the robot required "human assistance" to stand up on its own for any length of time. I wish I had a bit more time on this project to continue tweaking the PID algorithm to improve this.
Crown XLS1500 DriveCore Series 1550W Amplifier Description:
Crown's XLS 1500 amplifier is a premiere portable PA system with unmatched performance, technology and affordability. It includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance Crown power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 12 pounds, it's much easier to set up and move from show to show.
A Crown Power Amp with Integrated DriveCore Technology
Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into the development of this technology resulting in truly remarkable benefits. DriveCore Technology provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the Crown XLS1500 power amp will not compromise your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc.
In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low-frequencies at high power levels for maximum subwoofer output.
Advanced Switched-Mode Power Supply
The advanced power supply in the Crown power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies.
PureBand Crossover System
The PureBand Crossover System in the Crown XLS Series power amplifiers adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provides steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.
Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher SPL will less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
The XLS is a leader in portable amps, with DriveCore Technology, PureBand Crossover System, and Peakx limiters
XLS High Performance, Lightweight Class D power amp weighs less than 11 lbs.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
inimum Guaranteed Power per channel, both channels driven: 775W, Stereo, 2 Ohms (per ch.); 525W, Stereo, 4 Ohms (per ch.); 300W, Stereo, 8 Ohms (per ch.); 1050W, Bridge-Mono, 8 Ohms; 1550W, Bridge-Mono, 4 Ohms
Sensitivity (for full rated power at 4 Ohms): 1.4 Vrms
Frequency Response (at 1 watt, 20 Hz - 20 kHz): +0 dB, -1 dB
Signal-to-Noise Ratio Rated as dBr to full rated 8Ohm power output (A-Weighted): XLS1500 > 103 dB
Damping Factor (8 Ohm): 10 Hz to 400 Hz: > 200
Crosstalk (below rated 8Ohm power): At 1kHz: > 85dB; At 20kHz: >55dB
Input Impedance (nominal): 20 kOhm balanced, 10 kOhm unbalanced
Load Impedance: 2 to 8 Ohm per channel in Stereo; 4 to 8 Ohm in Bridge Mono
AC Line Voltage and Frequency Configurations Available (± 10%):120 VAC 60 Hz; 100 VAC 50/60 Hz; 220 and 240 VAC 50 Hz
Ventilation: Flow-through ventilation from front to back
Cooling: Internal heat sinks with forced-air cooling for rapid, uniform heat dissipation
Air Volume Requirements (per minute per unit): 80.15 ft (2.27 m )
Integrated Processing: PureBand Crossover System; Crossover Filter: Linkwitz-Riley 24dB per Octave; Crossover Frequency Range: 50 HZ - 3 kHz: Crossover Mode: Crossover (CH1=LPF, CH2=HPF), LowPass (both channels LPF), HighPass (both channels HPF), Bridge (LPF or HPF); Peakx limiters: Channel independent clip limiter designed to provide maximum output while protecting your loudspeakers
Input/Output: Input Connectors: XLR (one per channel), 1/4-Inch (one per channel), and RCA (one per channel). 1/4-Inch connectors can be used as loop-thrus to distribute signal to additional amplifiers. Output Connectors: Two 4-Pole Speakon Output Connectors accept 2-pole or 4-pole Speakon connectors. The top Speakon connector is wired for both channels so it can be used for bridgemono wiring or for stereo wiring of two speakers to a single Speakon connector. One pair of back-panel binding posts per channel; accepts banana plugs or bare wire. (European models do not accept banana plugs.)
Dimensions: 19"W x 3-1/2"H x 7-3/4"D
Weight: XLS1500: 8-3/4 lb.
The mess of today's experiment of generating DC signals in Reason and routing them to moogerfoogers -> Like a ReVolta!
Cimabue (Firenze, documentato tra 1272 e 1302)
1290-1300 ca. The Uffizi Painting
The painting originally hung in the Vallombrosians church of Santa Trinita in Florence and since the 16th century it has been recorded as the work of Cimabue, Florence’s most important 13th-century painter who, as well as working in Tuscany, was also present in Rome, Assisi and Bologna.
Seated on a grand, imposing ivory throne, with an articulated architectural form, the Virgin Mary is using her right hand to point to her son, whom she is holding, according to the Byzantine model of the Virgin Hodegetria, i.e. he who shows the way to salvation. Dressed like a philosopher from ancient times, Jesus is blessing and holding a rolled scroll, which is perhaps the scroll of the Law. The clothes worn by Mary and her son feature a precious golden decoration known as damascene, a characteristic of traditional Byzantine painting, which was greatly fashionable in Italian medieval painting. Around them are eight angels with splendid multi-coloured wings, gently raising the throne. What is rather unusual for the iconography of the Virgin and Child enthroned is the depiction, under the throne, of several prophets from the Old Testament (left to right: Jeremiah, Abraham, David and Isaiah) who are holding phylacteries with writings from the Holy Scriptures, alluding to the mysteries of the Incarnation and Virginity of Mary.
The painting stands out for the boldly elegant decorations, also seen on the background, which is finely decorated with geometric motifs engraved into the gold. Although the dates of this work have been the subject of much discussion, there is a tendency to date the Santa Trinita Maestà to the latter part of Cimabue’s career. In this masterpiece, the complex division of space used for the throne, the folds of the clothing, the modulation of chiaroscuro and the good-natured expressions of the Virgin and the angels seem to be affected by the naturalism distinguishing younger artists, such as Duccio di Buoninsegna and, above all, Cimabue’s own pupil, Giotto.
Source: www.uffizi.it/en/artworks/virgin-and-child-enthroned-and-...
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.
The Palatine Chapel, is the royal chapel of the Norman kings of Sicily situated on the first floor at the center of the Palazzo Reale in Palermo, southern Italy.
Commissioned by Roger II of Sicily in 1132 and built upon an older chapel (now the crypt) constructed around 1080.
The mosaics being only partially finished by 1143.
The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei.
Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas.
The three central figures, St. Gregory, St. Basil, St. John Chrysostom, allude to the Orthodox cult known as the Three Hierarchs, which originated fifty years earlier.
Roger II of Sicily depicted on the muqarnas ceiling in an Arabic style.
The rest of the mosaics, dated to the 1160s or the 1170s, is executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
Muqarnas ceiling
The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.
The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave.
The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.
Nave
The nave, constructed under Roger II, did not contain any Christian images.
These were added later by Roger II's successors, William I and William II.
The nave's ceiling consists of Greek, Latin and inscriptions.
The frame for the royal throne sets against the west wall of the nave.
There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gabel.
Sanctuary
As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary.
Mosaics are of Byzantine culture in their composition and subjects.
The apex of the dome consists of the Pantokrator, with rows of angels, prophets, evangelists and saints.
The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints
SMS303 Tantek Tanrak (8 module) Modular FX:
- Comp-Lim2
- Parametric Equaliser
- Enhancer
- Modulation Oscillator
- Multi Delay
- Fader-Panner
- Dynamic Noise Filter 2
- Pro-Gate 2
- Power
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
STEREO COMPRESSOR/LIMITER - A high quality stereo comp/limiter with variable input, slope, attack and release controls, and a switched 'key' input that can link both channels...handy for de-essing, ducking etc. It's pretty much 'invisible' when used as a limiter, only squeezing when the threshold is crossed (depending on the ratio setting). Great for laying vocal tracks, mix thickening, fattening up drums, percussions and bass. In fact, it can make anything sound 'phat' but still retains that important top-end clarity.
MULTI-DELAY - This exciting module opens the way to high quality time domain effects including ADT, chorus, echo, vibrato and reverb. It features a built-in limiter, auto-optimising bandwidth, true spatial stereo outputs and multi reflection reverberation.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-delay to create chorus, flanging etc.
DYNAMIC NOISE FILTER - An effective single ended, easy to use, stereo noise reducer which will be found invaluable in any home studio set up to enhance the signal to noise ratio of outboard effects including those which exhibit digital quantisation noise.
STEREO NOISE GATE – This is a pro noise gate. Variable threshold, attack, release controls, with a 'hold' timer control to keep the gate open for a predetermined time after triggering from the switched 'key' input on the back panel. Good sensitive threshold control, it really enables you to home in on that elusive area between the sounds you want and the sounds you don't, with the threshold setting staying put and not 'drifting'.
POWER SUPPLY MODULE – Supplies regulated 12v DC power to all of the above modules via the 240v mains lead. It's got an on/off switch and an LED. It sits at the end of the rack.
I bought a soft heat electric mattress pad. It is supposed to be low voltage and DC. I brought out my portable oscilloscope to check their claims. The power supply says 16 volts on it, and it really is 16 volts. The waveform looked very clean throughout the timescale range of 1 second to 1 microsecond.
After preheat, the unit goes into a pulse width modulation mode of some sort. At a setting of 3, the waveform was high for about 1.3 seconds over a 3 second period.
The pad measured 3.8 ohms after the preheat.
Sunnyvale, CA
Just about everything in place. I need some tidier patch cables and there might be another one or two the sneak in. Following the signal from the right: BOSS TU3 tuner, then grey home-made BYOC compressor, BOSS EQ, Visual Sound Double Trouble, EHX Electric Mistress chorus/flanger, home-made BYOC Tremelo. Top shelf from right: Proctavia (octaver) that I discovered needs its own isolated power, so I'll pop a battery in it, Love Pedal Pickle Vibe (lush throbbing Univibe), TC Electronic Nova Repeater (ace) delay, BOSS RC20 looper and finally a BOSS Fender Reverb pedal (for when I run into my old valve head). There's still room (and 'need' for a volume pedal (perhaps a Morley mini-wah/volume in one) and a boost or distortion. And with neater cabling, I can get at least one more pedal in the bottom row.
And I might pull the looper out as it's not part of my regular gigging setup - I can always run it last in the chain when needed. That'll give me room to put all my modulation/delay pedals up top and keep downstairs for boosts, EQs and overdrives.
M3 Globular Cluster: Taken on 5th Jan 2022. An integration of 252 x 30s images (2hrs 6mins). Note the galaxy at approx. 12:00.
From Wiki: Messier 3 (M3; also NGC 5272) is a globular cluster of stars in the northern constellation of Canes Venatici. It was discovered on May 3, 1764, and was the first Messier object to be discovered by Charles Messier himself. Messier originally mistook the object for a nebula without stars. This mistake was corrected after the stars were resolved by William Herschel around 1784. Since then, it has become one of the best-studied globular clusters. Identification of the cluster's unusually large variable star population was begun in 1913 by American astronomer Solon Irving Bailey and new variable members continue to be identified up through 2004.
Many amateur astronomers consider it one of the finest northern globular clusters, following only Messier 13. M3 has an apparent magnitude of 6.2, making it a difficult naked eye target even with dark conditions. With a moderate-sized telescope, the cluster is fully defined. It can be found by looking almost exactly halfway along the north-west line that would join Arcturus (α Boötis) to Cor Caroli (α Canum Venaticorum). Using a telescope with a 25 cm (9.8 in) aperture, the cluster has a bright core with a diameter of about 6 arcminutes and spans a total of double that.
This cluster is one of the largest and brightest, and is made up of around 500,000 stars. It is estimated to be 11.4 billion years old. It is centered at 32,600 light-years (10.0 kpc) away from Earth.
Messier 3 is quite isolated as it is 31.6 kly (9.7 kpc) above the Galactic plane and roughly 38.8 kly (11.9 kpc) from the center of the Milky Way. It contains 274 known variable stars, by far the most found in any globular cluster. These include 133 RR Lyrae variables, of which about a third display the Blazhko effect of long-period modulation. The overall abundance of elements other than hydrogen and helium, what astronomers term the metallicity, is in the range of −1.34 to −1.50 dex. This value gives the logarithm of the abundance relative to the Sun; the actual proportion is 3.2–4.6% of the solar abundance. Messier 3 is the prototype for the Oosterhoff type I cluster, which is considered "metal-rich". That is, for a globular cluster, Messier 3 has a relatively high abundance of heavier elements.
Hardware: Altair Astro Starwave 102ED-R, Planostar 0.8x reducer, SkyTech L-Pro MAX filter, Altair Astro Hypercam 26C TEC, Pegasus Focuscube V2, Pegasus Powerbox Micro, Altair Astro 60mm Guidescope, Altair Astro GPCAM3 290C, QHYCCD Polemaster, Skywatcher HEQ-5 Pro (Rowen belt mode) & Intel i5 8265U Mini PC.
Software: Imaging: NINA, PHD2. Processing: Astro Pixel Processor, Photoshop, Topaz Labs.
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
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 ]
Radio station play-sheet on the back cover of a copy of Led Zeppelin III from the late 70's. Read about the station history here!: www.hartfordradiohistory.com/WQUN__WDEE_.html
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View from the lounge and pool area at the center of the hotel looking south.
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: WB2010-0238 Concha.JPG
Record ID: WB2010-0238
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
By virtue of its design the X-Wing has many flat planes, and although these are detailed with fine panel lines, it is important to make the miniature visually appealing from any distance. A key way to add dynamism and realism to a model is by modulating or highlighting specific details which will add interesting visual texture to the object; this is a technique frequently misused by modellers and can render a piece to appear almost cel-shaded, or cartoonish. Restraint is key in this regard, modulation ought to be indiscernible to the untrained eye and yet bring the model to life in a very refined manner
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Minimoog: bastardizing the base panel.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
When I came home from work today, my room had been lovingly re-arranged. My Korg and Casio were set up right next to each other like this, ready to play. The Dick Smith variable power supply was new that day on sale, and the multimeter is my trusted friend for many many years now.
My only wish is that the Casio had a mod wheel. It's got a Vibrato On/Off button, which applies Modulation controller in one big jump, but, no mod wheel. The lack of velocity sensitivity doesn't phase me that much.
A thermistor is used to find the temperature of the room. The arduino then updates the speed of a 12V computer fan by use of pulse-width modulation (PWM). As themistor detects more heat, the fan increases in speed, and as the themistor cools down, the fan slows down. An opto-isolator was used to isolate the 12V parts from the Arduino (which operates at lower voltages). The Arduino was programmed in C++.
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 ]
Equipped with sophisticated Enhanced Capture/Compare/PWM (ECCP) peripheral the Microchip PIC18F14K50 microcontroller could produce up to four PWM channel outputs. The enhanced PWM (Pulse Width Modulation) mode in ECCP peripheral is capable to drive the full bridge DC Motor circuit directly both in forward or reverse direction. It also could generate single PWM output on the selectable PIC18F14K50 pins when it configured in pulse steering mode. For more information you could visit www.ermicro.com/blog/?p=1461
The long reach rear brake; this took some fiddling; the reach was almost not long enough to reach the 650b rim. I have to use v-brake pads because the threaded posts on these are slightly thinner than ones on the road-brake shoes; plenty of braking power and modulation, though; definitely an upgrade in those areas from the tektrok R-556 sidepulls
One of my facebook friends posted a status update observing that, if you go to Mitt Romney's facebook page, note the number of "likes", and then re-load, you can see the number of "likes" drop in real time!
This was a complete shock to me, that disappointed voters might express themselves by "unliking" their erstwhile favorite candidate after the election, and at a remarkably steady rate.
I wrote a stupid little shell script to periodically poll Facebook for the number of "likes" on Romney's page. The data from the last several days is plotted above. As you can see, Facebook users—presumably disappointed Republicans— are de-friending Mitt Romney at a consistent rate of around 10,000 defriendings per day.
There is also a clear daily modulation to the dislikification rate. I conclude that these fairweather friends do not defriend Mitt while they are sleeping, but once they wake up again in the morning, they get right back to pressing "unlike".
Today at lunch, it occurred to me that instead of dealing with building a chassis from metal, wood, or plastic, and attaching Radio Shack wheels to industrial gear motors, that maybe I could find the information on the pinout of the Lego Mindstorms motors on the internet.
I'm not very good at googling, but I did, indeed, find the pinout. A cut cable , some stripped wires, and a little soldering later, and I'm turning this wheel with code, in both directions.
If you're interested, here's the technical information for the Mindstorms motor:
Pin 1 (white wire) = Motor lead.
Pin 2 (black wire) = Motor lead.
Pin 3 (red wire) = Ground
Pin 4 (green wire) = +4.5 Volts (though, I pushed 5 through, without adverse results)
Pin 5 (yellow wire) = Encoder output
Pin 6 (blue wire) = Encoder output.
The motor will run with just the black and white wires connected. As you'd expect, reverse the polarity to reverse the motor (I'm using an SN754410NE H-bridge IC for ease)
Power and ground are there to power the encoder outputs. The encoder outputs indicate the speed of the motor via pulse-width modulation. Shorter pulses mean the motor is moving faster, longer pulses mean it's moving slower. If you spent any time in Mindstorms, you may remember that the motors have a free-wheeling mode, and a brake mode. With no voltage on either the black or white wires, the motor is free wheeling, and the encoders send the pulses on the blue and yellow wires. I've read, but haven't confirmed, that a low voltage on both motor leads activates "brake mode". Dunno.
Anyway, the encoder outputs are identical, except that one leads the other, slightly out of phase. The direction of the motor determines which output leads. Get a scope, work it out... forward and backward aren't concrete concepts with these motors, anyway.
SMS303 Tantek Tanrak (8 module)
Modular FX:
- Comp-Lim2
- Parametric Equaliser
- Enhancer
- Modulation Oscillator
- Multi Delay
- Fader-Panner
- Dynamic Noise Filter 2
- Pro-Gate 2
- Power
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. Modules audio signals are linked internally with their own bus or Use the rear 1/4'' sockets as a patchbay in stand-alone mode. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
STEREO COMPRESSOR/LIMITER - A high quality stereo comp/limiter with variable input, slope, attack and release controls, and a switched 'key' input that can link both channels...handy for de-essing, ducking etc. It's pretty much 'invisible' when used as a limiter, only squeezing when the threshold is crossed (depending on the ratio setting). Great for laying vocal tracks, mix thickening, fattening up drums, percussions and bass. In fact, it can make anything sound 'phat' but still retains that important top-end clarity.
MULTI-DELAY - This exciting module opens the way to high quality time domain effects including ADT, chorus, echo, vibrato and reverb. It features a built-in limiter, auto-optimising bandwidth, true spatial stereo outputs and multi reflection reverberation.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-dealy to create chorus, flanging etc.
DYNAMIC NOISE FILTER - An effective single ended, easy to use, stereo noise reducer which will be found invaluable in any home studio set up to enhance the signal to noise ratio of outboard effects including those which exhibit digital quantisation noise.
STEREO NOISE GATE – This is a pro noise gate. Variable threshold, attack, release controls, with a 'hold' timer control to keep the gate open for a predetermined time after triggering from the switched 'key' input on the back panel. Good sensitive threshold control, it really enables you to home in on that elusive area between the sounds you want and the sounds you don't, with the threshold setting staying put and not 'drifting'.
POWER SUPPLY MODULE – Supplies regulated 12v DC power to all of the above modules via the 240v mains lead. It's got an on/off switch and an LED. It sits at the end of the rack.
Atmospheric optics expert James Bridge had this to say:
"I
don't know how many times this effect has been noticed but it must be
quite often because you are the second person to ask about it in the
last year, to my knowledge. I first noticed several years ago and
started to think about it. The striking thing is the way it encircles
your eye. Eventually I wrote a paper for Physics Education and you can
find a copy on my web site www.xmas.demon.co.uk/misty.html. So
far as I know it had not been written up before.
In outline, it is an interference effect due to light scattered by the
water drops, related to the rings seen on dusty mirrors and first
described by Newton. However, those rings don't centre on your eye and
do require a directional light source. The mist droplets scatter light
by refraction and act as tiny point sources; the mirror reflects their
light back towards you. As it passes the same drop, some of the light is
scattered again by diffraction and this scattered light interferes with
the light passing to the side of the drop. Because the second scattering
only affects about 10% of the light, the intensity modulation is not so
marked and the rings not so obvious. The paper gives a much fuller
account with diagrams."
Accession Number: 1990:1417
Display Title: Shiva and Parvati on Nandi carried in procession
Suite Name:
Media & Support: "Opaque watercolor, gesso and gold on paper"
Creation Date: ca. 1780
Creation Place/Subject: India
State-Province: Tamilnadu
Court: Tanjore
School: Company
Display Dimensions: 8 27/32 in. x 13 in. (22.5 cm x 33 cm)
Credit Line: Edwin Binney 3rd Collection
Label Copy:
November 2006
Paintings from South India
These two paintings are from the same series, which appears to have been commissioned by a British patron from the East India Company. Elements of European watercolor landscape painting are evident in the distant vegetation along the low horizon line and in the modulations of the grass and sky.
The top painting depicts one of South Indias renowned processions in which the movable image of divinitiesin this case Shiva and his wife, Parvati, on the bull Nandiare carried aloft by priests. On special festival days, the presence of the gods is ritually transferred from the icons in the temple sanctum to the movable images in order to provide opportunities for the masses to receive the blessings of darshan (seeing god and being seen by god) during the procession. Dark-skinned mendicant holy men are directly beneath the palanquin. A dancer and musicians are shown in front of a cluster of devotees at the far right. (For information on the use of South Indian music in the context of ritual processions, see the computer kiosk program.)
Marks:
Bibliography:
Repository: The San Diego Museum of Art
My best friend lent me this old Blaupunkt short-wave/AM/FM radio for the basement recording studio...
Even deep in the cellar (without an external antenna!) it somehow receives stations my new, hi-tech stereo does not... they come in like aberrations.... broadcasting across space and time (whatever they are).
The green window appears to be an actual oscilloscope... indicating the signal strength of these ethereal frequency modulations.
:::
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
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 ]
This is a device that mixes radio waves (~1 GHz) with light waves (~1 million GHz).
By applying a radio-frequency signal to the connector, one varies the voltage applied to a thin strip of LiNbO3 embedded beneath the three gold "clips" in the very middle of the device. This voltage in turn modulates the effective index of refraction of the material. Therefore, by focusing light (from the side, in this photo) into the fiber-like waveguide one can introduce phase or frequency modulation on the light beam at the applied radio-frequnecy.
jsc2021e037283 (8/11/2021) --- Nanofluidic Implant Communication Experiment (NICE) (Faraday-NICE) aims to develop an implantable drug delivery system that allows for remote control and modulation of the release of therapeutics over weeks to months. In this investigation, fully assembled implantable devices are tested for remote communication capabilities from Earth to the International Space Station (ISS). This investigation aims to verify that 100% of the communications between controller and implant is achieved and maintained on station. Implants are immersed in saline solution, a surrogate of physiological conditions, then placed and sealed in 15 ml containers. The tubes are mounted within the ProxOpS Faraday experimental box. Image Credit: Houston Methodist Research Institute
This is my favorite synthesizer. EVER.
First released as the Yamaha DX7, being one of the most popular synthesizer of the 1980s! This is the desktop version of the popular synth. It has the exact same sound engine as it's big brother, Frequency Modulation, or FM, for short.
It has been used by the likes of:
the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Les Rhytmes Digital, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Sneaker Pimps, Lynyrd Skynyrd, Greg Phillanganes, Jerry Goldsmith, Jimmy Edgar, Beastie Boys, Stabbing Westward and Herbie Hancock. (taken from Vintagesynth.com)
And that's pretty impressive as it's just "a partial listing" as the Vintagesynth.com page says. (www.vintagesynth.com/yamaha/dx7.shtml)
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles