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Sarah Perkins | Springfield MO
"Black Open Bowl" (2010)
copper, enamel
As a maker of hollowware, I use properties of the metal: the plasticity, the permanence and the dimensionality. As an enameler, I use properties of the glass: the preciousness, the surface qualities and the color. In my work these properties function together to make a whole, with the two materials complementing and completing each other, rather than one being visually more important than the other.
My work reflects my emotional response to my environment, often referring to landscape, body part or natural object. Some of the forms are based directly on plants, fruits, rock formations and other natural objects. The colors and enamel imagery are derived from natural objects as well because I find the natural modulations of color, texture and surface very appealing and very intimate.
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
Inner panel: the famous 24db filters.
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.
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
"Architecture is a chained and fettered art. Far from being "frozen music," it is an art constantly attempting to realize in solid, stable form those effects which music is able to conjure up in an instant—effects which succeed each other rapidly during the progress of a musical work. Music can attain the colossal in a way which, in architecture, only the rarest opportunities render even remotely possible. Music can, in a few moments, admit us through vast portals into avenues, courts and halls of infinite extent and variety. Music can suddenly raise up an entire structure and, by the device of modulation, lift it on to a podium, abruptly recess its facades and turn them bodily into the sunshine. Music can etch silhouettes ten times more intricate than those of Dresden or London City, repeat them, increase or reduce them, hurl them into the distance or bring them before us in precise detail. Most of the essentials of architecture—mass, rhythm, texture, outline—are within music's power. Almost, the two arts are the same art, the one able to express nearly everything which the imagination is capable of conceiving, the other bound by the rigours of economy and use."
~ John Newenham Summerson, Heavenly Mansions and Other Essays on Architecture, ch. 5, AMS Press (1949)
So we definately have a special beast on our hands here.
At first glance 3 things about this controller stand out.
A. It's big
B Its's sexy
C ...And something's missing. Or should i say no more jog wheels.
Indeed removing the jog wheels is a bold step in a different direction that will not please all. Instantly I think of the #REALDJING campain launched recently by allstar DJs such as A-Trak, DJ Craze, Shifty and friends... who aim to bring back value to battle DJ techniques. Think scratching, mary go rounds, back spins, etc... paired with a modern flare of cue point juggling, finger drumming and manual beatmatching. In a nutshell the #REALDJING crew really seems to be promoting the idea of turntable gymnasts with rugged attitudes. Which means that removing the jogwheels from the flagship NI S8 controller places them at odds with practically all of the above.
So who is the Kontrol S8 for?
Although one could make the point that the S8 is a solid and very capable machine that will inevitably be used to play all types of music. It's energy is more closely alligned with the style of house, minimal, techno, and electronic music. This controller pratically begs it's users to start layering songs, samples, loops and effects together. As if each sound is a different brush strokes on canvass adding richness, character, and depth, the S8 will excell in the details, seemlessness, modulations, and the combination of individual instrument lines. This is great news for producers, as they will be able to deconstruct their original songs by seperating all the instruments to re-arrange and/or enhance them into brand new compostions and remixes LIVE. Not suprisingly this live aspect of creativity and performance is the direction Native Instruments have been pushing towards for many years now as they chant their battle cry: #FUTUREOFDJING.
Many will say that ideally you would want a controller that could progress in both worlds. Like Jack Nicholson said, "Why can't we just all ...get along?". But as of now, it seems that lines have been drawn in the sand #REALDJING on one side and #FUTUREOFDJING on the other.
But let's move past they hype and the hashtag wars. Here's my Traktor Kontrol S8 Pros & Cons Breakdown:
Pros:
1. DESIGN
Visually it's a killer straight out of the box and even more so once all the lights are on.
2. BUILD QUALITY
Superior build quality then all their previous controlers with full metal facing, glossy displays, and improved knobs and faders.
3. LESS "COMPUTER FACE" TIME
This is due largly to the addition of the two beautiful, clear, and vivid screens. It's not very exciting to watch an artist with his nose constantly tucked in his laptop screen. (something I'm also guilty of doing). But that's the good news. This feature will lead you into minimizing that time to concentrate on performing the instrument in a similar way that the the CDJs do.
4. EXTRA FX PLAYABILITY
Forge your singnature style with FX.
With the the extra knobs and buttons placed on the S8 will finally be able to take advantage of the 4 assignable FX units (with 3 fx in each). So theoretically you could have 12 fx at your fingertips routed to Deck A! But I know for me assigning 6 FX to Deck A and 6 FX to deck B will probably be more suiting and practical for a healthy workflow.
5. EXTRA HEADPHONE VOLUME
It's loud & Clear. For those who struggled with the S2's and the S4's headphone gain for cueing mixes in loud bars & clubs, struggle no more!
6. REMIX DECK CONTROL
Unleash your creative remix potential it's like having two F1s incorporated directly in your main controller.
7. EXTRA CONNECTIVITY
The most notable is the full 4 track mixer's
4 Ins (1 Line / Phono input corresponding to each deck)
Pairing it with turntables, CDJs, Effects Processors, Synths etc.. is simpler than ever.
2 Microphone inputs (XLR & 1/4" jack)
2 Headphone Inputs (1/8" and 1/4" jack)
2 Main Outs (RCA, XLR)
1 Booth Out (1/4" jack)
1 Midi In and 1 Midi Out
CONS:
1. NOT MIDI CUSTOMIZABLE.. YET.
So this seems to be the #1 concern as of now. I'm sure this will be fixed with software / firmware updates in the future but for now you must use the default settings. If you were one of those who liked to swap out the filter to get a Xone 4 band EQ you'll just have to shine it on for a little bit longer.
2. TOO BIG?
Depending on what you're used to, it might be too big to fit comfortably in many of todays small dj booths.
3. LESS SENSITIVE PADS
I've noticed the main pads are less sensitive than the S2 & S4 making them less conviniant for cue point juggling or finger drumming with out using more force (simply touching the pads is not enough they have to click)
4. NO MORE SCRATCHING AND BACK SPINS
As i write this the only scratching you can do with this controller is if the track is stoped using the touch strip. Awkward. So guess what, if you want to scratch, you'll have to hook up a turntable. Yet you know they could have added just a small button to switch from scratch mode to needle droop mode for the touch strip, but why didn't they do this? Which brings us to our next point.
5. QUESTIONABLE USE OF REAL-ESTATE
I feel like this 30% percent larger controller than the S4 could have easily packed in more functions. For instance they took away 1 of the 2 encoders previously used to loop, navigate songs in beatgrid increments, and beatmashing (in flux mode). These tasks become more demanding with a single encoder where where you constantly use your second hand to press the SHIFT botton. So if i want to simultaneously throw in a filter or another stylistic effect at that moment it becomes complicated. Again they could have easily kept the second encoder. Or they could have pusitioned the SHIFT key so it was close enough to the encoder to do both with one hand. Maybe the S16 will solve this problem. Next I can think of the assignement of the fx pannels to decks. They could have placed 4 buttons on the mixer one for each fx pannel. But yet again you have to use the evil SHIFT button to do the proper routing to fx pannel 3 and 4.
And i could go on about the use of the space things lacking and things awkwardly placed... But obviously it's probably not a deal breaker. It's just me thinking of how this could have been a better more perfect controller for my purposes.
In conclusion NI have made an impressive new DJing tool that will surely inspire producers and DJs alike to blur the lines between DJ sets and a Live sets. Is it perfect? No. Is it the best DJ controller by N.I. yet? Without a doubt! When it's all said and done the S8 will go down in history as the first serious DJ controller to lose the jog wheels marking a paragdim shift in Djing. Where DJs without vinyl and turntables will stop pretending to be mixing on turntables and allow themselves to sync tracks in order to concentrate more energy and creativity into their DJ sets. So keep mixing in the free world and doot-dola doot doo... doot doot.
13 Nov 2014
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
Orange Juice Drive is in a classical RAT type circuit and sounding topolgy. We add extra switch for select between symmetric or asymmetric clipping. Not operable with battery.
Notice the extra VCA-01 module in the middle row - this is wired to the modulation wheel, and the LFO-01 module feeds into the VCA, which in turn outputs to the CV input on the VCF-12 (filter). In practical terms: the mod wheel fades in a pulsing filtered vibrato effect - I'm pleased and relieved that it all worked first time (thanks to the Modular manual!).
How to control the intensity of some LEDs in PWM (Pulse Width Modulation).
/*
Fade
This example shows how to fade two LEDs on pin 9 and pin 10
using the analogWrite() function.
The analogWrite() function uses PWM, so if
you want to change the pin you're using, be
sure to use another PWM capable pin. On most
Arduino, the PWM pins are identified with
a "~" sign, like ~3, ~5, ~6, ~9, ~10 and ~11.
This example code is in the public domain.
*/
int led1 = 9; // the PWM pin the LED is attached to
int led2 = 10;
int brightness = 0; // how bright the LED is
int fadeAmount = 5; // how many points to fade the LED by
// the setup routine runs once when you press reset:
void setup() {
// declare pin 9 and 10 to be an output:
pinMode(led1, OUTPUT);
pinMode(led2, OUTPUT);
}
// the loop routine runs over and over again forever:
void loop() {
// set the brightness of pin 9:
analogWrite(led1, brightness);
analogWrite(led2, brightness);
// change the brightness for next time through the loop:
brightness = brightness + fadeAmount;
// reverse the direction of the fading at the ends of the fade:
if (brightness = 255) {
fadeAmount = -fadeAmount;
}
// wait for 30 milliseconds to see the dimming effect
delay(30);
}
Acrylic and tempera on canvas; 90.2 x 115.5 cm.
Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.
In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.
The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.
Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).
Built for Session guitarist extraordinaire Rob Piltch of the avant garde cabaret combo Nick Buzz, and The Art of Time Ensemble chamber orchestra.
Due to the super quiet stage volume of the chamber orchestra environment, the signal path and "noise floor" of the system had to be super quiet. Each effect pedal's mechanical switches had to be quiet as possible as well.
Mono Dynamic Effects into Stereo Modulation & Delay with Stereo Volume Control.
Buffered Split Dry line to Mixer for Parallel with 100% Wet Stereo Effects. Also buffered split to send signal to tuner constantly, provides a visual "cheat" for hitting certain intervals on a pitch bend, also allows for volume swelling a bent note while coming in on pitch with other players.
Clickless switching installed in Overdrives & Compressor. Clickless Switching "External" Effects loop between Dynamics and Post Effects for easy insertion of extra effects into signal path.
Switching Circuit to sum Stereo Effects to Mono for Single Amp gigs, no re-patching, no signal loss, no phase issues.
Latching In & Out Connection points for Signal & Power to the pedalboard. The Amplifier I/O box features Switchable Ground Isolation Transformers for the Left & Right Amp Outputs and Clickless Relays for silent switching to Mute.
Updated system PSU with no "wall warts" for Strymon pedals.
Sync'd Tap Tempo from Time Line to Mobius.
MIDI Integration point for connecting the Strymon pedals to an external sequence/recording.
Set up and tear down time -2 minutes.
First successful test of an improvement to the PWM synthesis code that allows user-defined envelope shapes. This one is a computed exponential decay, similar to a stringed instrument being plucked. The resolution is only 8 bits, but the result looks OK.
The upcoming Hertz Donut by The Harvestman. Its a dual oscillator design (primary/modulation), kinda like a digital Buchla 259. From the Harvestman site (www.theharvestman.org/9791.htm): "Voltage-controlled waveform discontinuity, internal pitch tracking with several lag settings. Dedicated square wave outputs, as well as the Cleanest Sine in Town." 17 HP in size, price to be announced, available sometime in May. LINK to mp3: soundcloud.com/harvestman/hzdfmtest1 .
Inner panel: the oscillators
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.
Generates 0.001 Hz - 5 MHz sine, triangle, square and pulse waveforms. Plus it has ext. FM modulation, sweep and crystal lock modes.
My fleamarket find this weekend. It's in immaculate shape, works perfectly, and it came w batteries and a "Rock On" ROM card w Listen to the Music (gay), Escape (the Pina Colada song, one of my fkn favorites), Ventura Highway (awesome) and Slow Hand (eh).
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Plaza Intersección Ryerson y Ruiz -
Ensenada, Baja California
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 view of the electronics inside the model R/C tank I am designing on a gearbox + Tracks & wheels from Tamiya. The radio is Hitec and two receiver servo outputs feed my microcontroller-based Pulse Position Modulation output into Pulse Width Modulated power output to the two motors. Full details at www.5volt.eu
Captured 5 May 2021, 23:00 hrs ET, Springfield, VA, USA. Bortle 8 skies, Mallincam DS10C camera, Celestron 8 inch SCT f/6.2, exposure 14 sec, gain 20, bin 1, stack of 50 light frames, dark and flat frames subtracted, no filter.
Clouds: clear
Seeing: 30, good
Transparency: 30, good
Moon phase: 33%
FOV: 44 x 34 arcmin before crop
Resolution: 0.8 arcsec/pixel
Orientation: Up is South
Apparent magnitude: +6.2
Apparent size: 18 arcmin
Appearance: Beautiful rich star cluster.
From Wikipedia:
Messier 3 (M3 or 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 32,615.64 light-years (10 kpc) away from Earth.
Messier 3 is quite isolated as 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.
Architect : Antonio Bonet
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.
Features:
- Bluetooth 3.0 interface with AIROHA AB1108 as main control chip
- WIDCOMM BTW Bluetooth technology which is officially approved by Microsoft
- Stylish protective PU leather case designed for iPad Mini with display stand for easy viewing
- Light weight,quiet keystroke,dust proof and spill-proof
- Energy saving keyboard with sleep mode
Specifications:
- Executive standard:Bluetooth V3.0
- Working distance:10 meters
- Modulation system:FHSS 2.4G
- Transmitting power:Class 2
- Operating voltage:3.0-5.0
- Working current:<4.0MA
- Standby current:≤1MA
- Sleeping current :<200UA
- Charging current :≥100MA
- Standby time:60days
- Uninterrupted working time:30 hours
- Charging time:4-4.5 hours
- Lithium polymer batter Capacity:330MAH
- Lithium polymer batter life:3 years
- Lithium polymer batter Specifications:40*15*50mm
- Key strength 80±10g
- Key life:5 millon
- Operating temperature:-20℃~+55℃
- Storage temperature:-40℃~+70℃
- Humidity:20%-50%
Packing Contents:
1 x Leather Case w/Keyboard
1 x USB Power Charging Cable
1 x Bluetooth keyboard manual
www.casesinthebox.com/leather-protective-case-with-wirele...
The layering corresponds to Milankovitch cycle
Unit: Morbiokalk (limestone), Lias
Graham P. Weedon:
"The 21 000 year (21 ka) precession cycle was detected in all three cases, the 100 ka eccentricity cycle in two cases and the 41 ka obliquity cycle in one. Filtering revealed that the supposed 21 ka sedimentary cycles are grouped into packets of four or five small and large amplitude cycles. The packets reflect the 100 ka modulation of the 21 ka precession cycle. Local disruption of the packaging can be used to locate hiatuses in pelagic strata."
source: jgs.lyellcollection.org/cgi/content/abstract/ 146/1/133
int ledPin = 13; // LED connected to digital pin 13int h=1;
int h = 1;
int h2=0;
int h3=0;
int h4=0;
int h5=0;
int h6=0; // direction memory motor 1
int h7=0; // direction memory motor 2
void setup() // run once, when the sketch starts
{
pinMode(4, OUTPUT); // pwm motor 1
pinMode(6, OUTPUT); // pwm motor 2
pinMode(5, OUTPUT); // direction motor 1
pinMode(7, OUTPUT); // direction motor 2
pinMode(13, OUTPUT); // PWM INDICATOR LED
pinMode(2, INPUT); // direction motor 1 - input test switch
pinMode(3, INPUT); // direction motor 2 - input test switch
digitalWrite(4, LOW); // motor 1 off
digitalWrite(6, LOW); // motor 2 off
digitalWrite(5, LOW); // motor 1 direction L - low
digitalWrite(7, LOW); // motor 2 direction L - low
}
void loop() // run over and over again
{
h5 = digitalRead(2); // motor 1 direction
if (h5!=h6)
{
h6=h5;
digitalWrite(4, LOW); // motor 1 pwm low - stop
delay(1000);
digitalWrite(5, h5); //
delay(1000);
}
h5 = digitalRead(3); // motor 2 direction
if (h5!=h7)
{
h7=h5;
digitalWrite(6, LOW); // motor 2 pwm low - stop
delay(1000);
digitalWrite(7, h5); //
delay(1000);
}
digitalWrite(4, HIGH); // motor 1 2 pwm high
digitalWrite(6, HIGH); //
digitalWrite(13, HIGH); //
h5 = analogRead(0); // read the value from the sensor
while(h5>0){
h2 = analogRead(0); // read the value from the sensor
while(h2>0){
h2--;
}
h5--;
}
digitalWrite(4, LOW); // motor 1 2 pwm low
digitalWrite(6, LOW); //
digitalWrite(13, LOW); //
h4 = analogRead(1)*2; // read the value from the sensor
while(h4>0){
h3 = analogRead(1); // read the value from the sensor
while(h3>0){
h3--;
}
h4--;
}
}
Eddie in the center, his wife Ray Dooley on the right, a Ziegfeld star comedienne, and their son, John, faintly, on the left.
"Dowling, Eddie [né Joseph Nelson Goucher] (1894–1976), actor, director, producer, and playwright. Born in Woonsocket, Rhode Island, he made his acting debut in nearby Providence in 1909 in Quo Vadis? After spending some time in England, Dowling returned to America to join the Ziegfeld Follies of 1918 on tour. His first New York appearance was as a policeman in Victor Herbert's The Velvet Lady (1919), after which he performed as a song and dance man in the 1919 and 1920 editions of the Ziegfeld Follies. He co‐wrote and starred in Sally, Irene and Mary (1922) for three seasons, co‐authored another starring vehicle for himself, the successful Honeymoon Lane (1926), then repeated the same chores for Sidewalks of New York (1927) with his wife, Ray Dooley. For several seasons the couple toured in vaudeville, then made a final musical appearance (except to replace a star in later years) in Thumbs Up! (1934), which he also produced. Thereafter, his career took an unusual turn for a performer until then identified with the most frivolous musicals. He was acclaimed for his work in a number of distinguished straight plays, although his triumphs were interspersed with several dismaying dry spells. In 1938 he produced and appeared in Philip Barry's curious religious fantasy Here Come the Clowns, then directed and played in The Time of Your Life. Another major success was Tennessee Williams's The Glass Menagerie (1945), which he directed and co‐produced and in which he created the role of Tom. In 1946 Dowling directed The Iceman Cometh. John Mason Brown wrote of his direction, “His groupings are fluid; his modulations of pace admirable; and his eye for the pictorial unflagging. He never fails to heighten and interpret the meanness of life, so that they cease to be photography and emerge as art.” He won further praise when he directed and acted in a bill of one‐act plays, the best of which was Hope Is the Thing with Feathers (1948). Except for his stint as James Barton's replacement in Paint Your Wagon (1952), all his subsequent endeavors were short‐lived."
Read more: www.answers.com/topic/eddie-dowling#ixzz1wyfGr0ve
Ray Dooley was a star in her own right. Her obituary in the New York Times:
"Ray Dooley, a star of vaudeville and a successful comedienne until she retired to family life in the mid-1930's, died early yesterday at home in East Hampton, L.I. She was 93 years old.
Miss Dooley, born Rachel Rice Dooley in Glasgow in 1896, took to the stage as a little dancing girl in a family act presented by her father, Robert Rogers Dooley, a well-known Irish-born circus clown. Her debut was made in a minstrel show in Philadelphia.
She went on to play babies and brats in the ''Ziegfeld Follies'' after World War I to such stage ''parents'' as W. C. Fields, Will Rogers, Leon Carroll and Fannie Brice. She tired of the act and its tantrums early on, but Florenz Ziegfeld kept her at it until she managed to escape the ''two-a-day'' world of vaudeville for the musical stage.
She was the widow of Eddie Dowling, himself an entertainer, director and award-winning producer who died in 1976. Miss Dooley had eloped to marry him at age 15 and from 1919 to 1934 often teamed up with him, from the Follies to Mr. Dowling's revue ''Thumbs Up'' in 1934, after which she devoted herself to her family.
Miss Dooley returned briefly to the stage in 1948 to tackle a straight dramatic role in one of three one-acters presented by Mr. Dowling under the title ''Hope's the Thing.'' Appearing in ''Home Life of a Buffalo,'' she played opposite Mr. Dowling, who portrayed a vaudeville ham unable to admit to himself or his wife that vaudeville was through.
Her baby impersonations began quite by chance in 1918 when Raymond Hitchcock, the actor-producer, put on ''Kitchy Koo'' and a baby buggy used for an incidental gag in a drugstore scene turned out to be too small for another performer. The elfin-faced Miss Dooley, 100 pounds and 5 feet tall, substituted and launched her comedic career.
She soon wanted out of the act, but - the story goes - Mr. Ziegfeld talked her into signing contracts with promises that she would be given another part. Once the show came together, he then devised some ''emergency'' and asked her to ''help out'' with yet another baby act.
Once free of vaudeville, Miss Dooley starred in Mr. Dowling's production of ''Sidewalks of New York'' in 1927. The following year, she appeared with W. C. Fields in the seventh edition of ''Earl Carroll's Vanities.''" New York Times Jan 29, 1984
A PANO-Vision of Temporal Displacement Modulation in space. You can listen to the past, present or future when you tune your radio to TDM/7300!
A photo of a guitar cabinet I own that was taken the day I got it in 2003.
Custom built by VibroWorld:
Not at all what it looks like. This is a sealed 4 x 12" as opposed to the classic Hard Trucker 4 x 12" open back cabinet. The form factor is all manner of groovy and you can get the feeling of playing in front of a stack with half as many speakers which work better anyway in this line array.
Of course seeing the old McIntosh MC 2300 tells you where the inspiration came from, but this pair have actually spent most of their time as an "Entwistle Module" in a bass rig. I split the signal and send the wooly low end to my SVT and then use this with a pedalboard to add distortion, modulation effects and Echoplex to a signal with a little of the bass rolled off. Which is, of course, why it's a sealed cab and using more neutral speakers than Jer's rig did.
What I'd really like to do is add a pair of 15" Bag End cabinets and send the lows to that, as well. And if I was Jack Bruce or someone with a small pack of roadies following me around I would, but even the SVT and this amounts to too much for me to carry without a lot of Advil.
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 ]
Intention: I wanted to capture the feeling of what it’s like when you’re in your car when it’s raining. How it sounds completely different when your inside a car than when your outside
Reference: Freeman “black and white allows more e pression in the modulation of tone, in conveying texture, the modeling of form, and defining shape”
Outcome: the rain on the windshield and the dark skies gives the implication of rainy weather.
Edits: I decreased the highlights and added contrast while increasing the dehaze and clarity
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Escalinata Ryerson
Ensenada, Baja California
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 ]
Vargas Zamora, Fernando Rodolfo de Jesus (22 September 1928 – 20 February 1989)
Raised a Catholic, Vargas renounced Catholicism when as a teenager he left Costa Rica. The co-founder of Variety Recording Studio in New York City, Vargas was a significant figure in show business from the late 1950s until his death in 1989.
Vargas was the son of Manuel Elias Vargas Cordero, a department store owner, and Elena Zamora Paniagua. Their children were Aura Vargas de Moreno, Eugenia Vargas Zamora, Nery Vargas Zamora, Elena Vargas Zamora, and Otto Vargas Zamora. Fernando was the last-born.
When 16 and a student at Colegio Los Angeles in San José, Vargas earned his best grades in biology and history, his weakest in religion and English. His father owned a large department store, in which he worked and was allowed to handle money. His youth was spent excelling in sports, riding a bicycle, visiting relatives in Cartago, Heredia, and Alajuela, and spending time near Teatro Melico Salazar and the Parque Central, the park on Calle 14 that he knew the best.
His hard-working mother supervised several servants and looked after her large family. When her husband died, a big tomb was erected at Cementerio Obreros, for he was an important person who once had dreams of becoming President. MANUEL ELIAS VARGAS CORDERO was written on the tomb, which had an angel atop. Later, members of the family were to be buried there next to Father and Mother.
On 3 May 1946, at the passport office Fernando received his passport and on 22 May 1946 he, his sister Elena, and his mother arrived in Miami. His Alien Registration Receipt Card was #6312922. Quickly, Selective Service on 3 Dec 1946 gave him a registration card that showed he had green eyes, was white, had brown hair, was 5' 7", and weighed 132.
When he was 8 months older than 17, Vargas arrived at 175 Claremont Avenue, New York City. His mother, sister, and he lived in a one-bedroom apartment between 123rd and 125th Street near the International House and the Manhattan School of Music. It was just west of Harlem, and he and his sister were not allowed to walk in the neighborhood, which their mother thought was dangerous. Little by little, they were allowed to go together around the immediate neighborhood. Much of his time was spent watching TV or going shopping with his sister for groceries or supplies. In the evenings they eventually got tired of supervising him and allowed him to go out alone. He spent lots of time around the corner at Grant’s Tomb, 122nd Street.
Almost every time that he went to Grant’s Tomb and walked around Riverside Park, he found people who were Columbia University professors, students, and professional types. Also, as was the case at Parque Central near his home in San José, he noticed some younger and older males who were looking for sex. Although they were relatively rare at Parque Central, they were quite numerous in that section of Riverside Park. If you sat on a park bench alone here, someone might sit down next to you and if you just sat in a slouched position, your hands clasped behind your head, someone would unzip your pants and play with you.
His first introduction to sex had been when he was an altar boy and a Catholic priest, who pretended it was accidental, touched his crotch. Asking a childhood friend whose family was German and imported toys if the priest had ever pulled his pants down to see his penis, he found that had happened to him, also. The German boy was a best friend, was heavier and easily beaten in races. But on one occasion his friend claimed he had something bigger than Vargas did and, bragging, pulled out his pene and "testículos." Then, his friend had put one of Vargas's hands on his own crotch, which felt good, and he reciprocated. Not knowing whether to tell an older brother or anyone else, he decided he might get in trouble both with the church and his family and said nothing.
Between Riverside Drive and the Hudson River, the park was extensive. There was a tennis court, a skating area, and there was a big sports area before you got as far downtown as 96th Street. Whatever transpired while cruising the area, he had to make sure he got home before 10 p.m.
Harold Bonilla, who was Costa Rica’s consul in the city, accidentally met him in the park and asked him to move in with him nearby on 103rd Street. It was not difficult to obtain his mother's approval, for here was a person who wrote history books, was a Catholic, and mentioned that he might be able to get Fernando a job and schooling.
Now exactly 20, finding no jobs but not having to pay any rent, Vargas moved in. But when "Major" Bonilla was at work, Vargas hung out in the nearby Riverside Park.
Just up from 103rd Street one day in September 1948, he saw a college student sitting alone. The guy was friendly, said hello, and Vargas's response sounded to the stranger as if he were French. What transpired that day, the first week in which the stranger had arrived on the GI Bill to study English at Columbia University, has been described in Warren Allen Smith's biography/autobiography of their 40 years together. Bonilla helped Vargas get a job in Manhattan's Garment District, one in which he used a sewing machine to stitch garments and was paid by the piece.
But in 1949 Vargas moved from Bonilla's place with Smith to a furnished room on 109th Street, where their Austrian landlady, Sophie Likar, liked them so much she allowed them alone of her various renters to share her refrigerator. Smith now had earned his M.A. at Columbia - Vargas took a photo after Eisenhower handed him the sheepskin - and began teaching English at Bentley School on 86th Street. He answered an ad for Vargas that led to his being interviewed by R. E. L. Lab, where he made a favorable impression on Edwin Armstrong after being coached about how to weld a certain item. Hired, he found Armstrong avuncular and confiding his problems. Telling Armstrong he lived on 109th near Columbia, he learned that his boss taught there and in 1913 had discovered regeneration. With talk about amplifiers, feedback, and oscillators, the work turned out to be educational and enjoyable, particularly when Edwin - they soon were on a first-name basis - told of being paid only $1 by Columbia but was earning money from his patents. He allowed the military to use royalty-free his findings about FM - frequency modulation - but when the war ended RCA claimed that they, not he, had invented it and they were suing each other. Edwin complained that he became nearly bankrupt from defending his patents, that his wife had left him in the middle of all this, and in 1953 his licenses and patents would all expire. He did not confide everything all at once, but on some days when agitated he would tell bits and pieces about having made the first portable radio and advanced AM radio and on other days he was like a friendly uncle.
In 1954, Edwin dressed neatly, walked to a 13th story window, and jumped out. His body hit a third story overhang. Vargas was devastated. Later, Armstrong's wife settled with RCA for over a million dollars. Vargas then studied electrical engineering at RCA Labs in Greenwich Village, West 4th and Greenwich Street, receiving a certificate in a year.
When Major Bonilla told them that a 1 1/2 room apartment adjacent to his own on 103rd Street was vacant (and had once been lived in by a mistress of Costa Rican President Rafael Calderón Guardia), the two moved into their first apartment together.
Upon hearing from one of his many gay friends that Audiosonic Recording Studio was looking for someone who knew about electrical engineering, Vargas applied for the job at the Brill Building on Broadway and was hired as a temporary the same day by Bob Guy, the studio's owner.
When one of the engineers mentioned that there was a vacant 2 1/2 room apartment at 425 West 45th in Hell's Kitchen, Vargas and Smith moved into Apartment 3FW where the rent of $194.40/month was only slightly more than the one back on 103rd Street.
By 1961, Audiosonic was floundering. Guy, the bi-sexual owner, was kiting checks and had put a prima donna trick on the payroll, Vargas complained. Fellow engineer Joe Cyr warned that they might all need to look for a job somewhere else. Vargas's and others' paychecks began to bounce and, at a quickly called meeting the owner said, yes, the place was bankrupt, he was sorry the paychecks were no good, and Eaton Factors that was owed money was going to shut the place down.
Cyr and Vargas, explaining this to Smith, suggested the three together might try to salvage the company by working with Eaton Factors. It was agreed that the three would be equal owners of a Sub-Chapter S corporation that would be set up. Space at Variety Arts, a major rehearsal building on 46th Street, became available. With many difficulties, the three not only founded Variety Sound Corporation but also included Guy as a partner because he had contacts with all the clients and would include Ad-Lib, his company that made radio jingles for stations.
In April of 1961, Variety Sound Corporation was formed. Smith and Vargas also started Variety Recording Service, a d/b/a that separated Variety Sound Corporation's recording income from Vargas's wholly owned dub-cutting business. The agreement with Guy included the stipulation that only Smith could sign checks, and eventually it was arranged that Guy would exchange his one-fourth interest in Variety Sound for his entire Ad-Lib company. With Guy no longer associated with the business, Variety continued profitably until Vargas's death in 1989.
Philosopher Corliss Lamont came early one morning to Vargas's 103rd Street Manhattan apartment to speak with Vargas’s roommate, Warren Allen Smith. Finding Vargas in red pajamas, he said, “Oh, your roommate rooms with the Devil?” It was Vargas’s first introduction both to a Columbia University professor and to a bona fide naturalistic humanist.
On another occasion Vargas attended Charles Francis Potter’s humanist “church,” laughing at the lecture on the joys of sex. But astronomy, not religion or academic philosophy, was his major diversion. A nominal member of the Bertrand Russell Society, he was only mildly interested in the various philosophers. For its founding meeting in 1989, he allowed the New York Chapter of Secular Humanists to meet in his recording studio and became its first member.
To have lived a great life, no matter how long, is life’s purpose, he believed. To that end he mastered acetate disks, using his own inventive modification of a Scully lathe and being one of the few in the Greater New York Area who could operate such a machine; recorded Broadway plays, working with Arthur Miller ("After the Fall," 1964), Paddy Chayevsky ("Joseph D," 1964], Robert Whitehead ("Medea," 1982), Hal Prince, "Fiddler on the Roof," 1964; David Amram ("Joseph D," 1964); worked with internationally known songwriters and performers (he recorded Liza Minnelli’s first demo record, at which Marvin Hamlisch was accompanist in 1963); worked with songwriter Jerry Bock on “Fiorello” (1959) and “Fiddler on the Roof” (1964); completed master acetates from 1961 to 1990 for Sun Ra, arguing over wine with him about mysticism; and was well-known among a who’s who of Broadway and Latino musicians and artists.
Vargas produced a collector’s LP of “Costa Rica’s Caruso, "Manuel Salazar."
He sang “I-gotta-be-me” and fearlessly ventured on life’s less-traveled roads.
Vargas, who died six months after being diagnosed with having Kaposi’s sarcoma in the lungs, was resigned to his condition and spent much of his final and painful weeks studying the latest developments in astronomy. Up to 2007, over 25,000,000 had died of AIDS and in 2007 an estimated 33,000,000 adults and children were living with HIV/AIDS.
A portion of his cremains were scattered in the Hell’s Kitchen and Times Square neighborhoods of New York City, where he had spent most of his life. Some ashes were deposited behind the walls of the Variety Recording Studio during a time in which a door was being replaced and they were easily inserted. Another portion was saved to be mixed with the cremains of his companion of forty years, Warren Allen Smith, to be buried at the Spencer Smith plot in Waukee, Iowa. The bulk was returned by Smith to Costa Rica, where his cremains are buried in the family tomb next to his father (Elias) and mother (Elena) at San José’s Central Cemetery. In his honor, an Agua Buena support group was formed in Costa Rica.
Crystallinity and porosity are of central importance for many properties of covalent organic frameworks (COFs), including adsorption, diffusion, and electronic transport. We have developed a new method for strongly enhancing both aspects through the introduction of a modulating agent in the synthesis. This modulator competes with one of the building blocks during the solvothermal COF growth, resulting in highly crystalline frameworks with greatly increased domain sizes reaching several hundreds of nanometers. The obtained materials feature fully accessible pores with an internal surface area of over 2000 m2 g–1. Compositional analysis via NMR spectroscopy revealed that the COF-5 structure can form over a wide range of boronic acid-to-catechol ratios, thus producing frameworks with compositions ranging from highly boronic acid-deficient to networks with catechol voids. Visualization of an −SH-functionalized modulating agent via iridium staining revealed that the COF domains are terminated by the modulator. Using functionalized modulators, this synthetic approach thus also provides a new and facile method for the external surface functionalization of COF domains, providing accessible sites for post-synthetic modification reactions. We demonstrate the feasibility of this concept by covalently attaching fluorescent dyes and hydrophilic polymers to the COF surface. We anticipate that the realization of highly crystalline COFs with the option of additional surface functionality will render the modulation concept beneficial for a range of applications, including gas separations, catalysis, and optoelectronics.
We present a method of rendering aerial and volumetric graphics using femtosecond lasers. A high-intensity laser excites physical matter to emit light at an arbitrary 3D position. Popular applications can then be explored especially since plasma induced by a femtosecond laser is safer than that generated by a nanosecond laser. There are two methods of rendering graphics with a femtosecond laser in air: producing holograms using spatial light modulation technology, and scanning a laser beam using a galvano mirror. The holograms and workspace of the system proposed here occupy a volume of up to one cubic centimeter; however, this size is scalable depending on the optical devices and their setup.
Credit: Yoichi Ochiai
Complete back view of set. Two aerial sockets might seem strange to some, but is quite normal for 405 line sets post 1953. The initial BBC allocations were all Band 1, but when ITV joined the scene, Band 3 was opened up. Multiband aerials were not popular in the UK, possibly because they were seen as a compromise, except for good signal areas, and also that transmitters were not always co-sited.
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 ]
TNS 400 serie Servo Motor is designed to meet almost all basic light duty requirements of various commercial sewing machines, including lockstitch sewing machines, overlock sewing machines and interlock sewing machines. It utilizes Ferrite permanent magnets.The motor produces almost no noise, saves energy (60-80%) and is brushless, speed djustable and durable. It provides a high starting torque even at low speed or from a complete stop. By using a modern technologically advanced microprocessor,Hall sensor and Pulse-Width Modulation technology,the TNS400 series motor can be set to rotate at different maximum speeds, in either normal or reverse directions, and can start with different accelerating speeds. It will stop automatically with any interruption such as in-line voltage, electrical surge, radio frequency interference or overloading. It is fully protected by the software and will give error messages indicating which problem is encountered. It even works well in environments with an unstable electrical power supply.
Features:
Features & Settings:
1.Motor rotating direction setting
2.Slow starting speed
3.Maximum speed setting
Supplied with:
1.Instruction manual / parts list
2.Mounting hardware
3.Pulley cover (belt guard)
4.65mm pulley
5.Push-button on/off wire harness
Specification:
1.110V Singe Phase
2.Cycles: 50/60
3.Variable Speed to 5000 RPM
4.Power: Up to 1000W
Application:
All kinds of lockstitch sewing machines, overlock sewing machines and interlock sewing machines.
Ogundipe Fayomi's monument for Dr. Ronald Erwin McNair (1950–1986) combines a traditional bust with a uniquely shaped pedestal. McNair was the African-American astronaut, physicist, teacher, and musician who died aboard the Space Shuttle Challenger when it exploded on January 28, 1986.
This park, formerly known as Guider Park, was named for Dr. McNair in the same year as the Challenger disaster. The City’s Department of Cultural Affairs sponsored a competition through its Percent-for-Art program to choose an artist to create a central sculpture. They ultimately selected the Nigerian-born sculptor Fayomi, who fashioned a sensitive bronze portrait, set within a nine-foot tall polished red-granite pedestal resembling a modified rocket ship. The pyramidal base features bronze relief with images relating to Dr. McNair’s achievements and interests.
Dr. McNair was born on October 21, 1950, in Lake City, South Carolina. He graduated from Carver High School in Lake City in 1967, and received a B.S. degree in physics from North Carolina A & T State University in 1971. In 1976, Dr. McNair completed his Ph.D. in physics at the Massachusetts Institute of Technology (MIT). After graduating from MIT, Dr. McNair was employed as a staff physicist at Hughes Research Laboratories in Malibu, California. His work there involved developing lasers for isotope separation and photochemistry, using non-linear interactions in low-temperature liquids. He also conducted research on electro-optic laser modulation for satellite-to-satellite space communications and explored the scientific foundations of the martial arts. A member of numerous scientific organizations and a visiting lecturer in physics at Texas Southern University, Dr. McNair also taught karate as a fifth-degree black belt and was a performing jazz saxophonist.
In 1978, the National Aeronautics and Space Administration (NASA) selected Dr. McNair as an astronaut candidate. He completed his training the following year, and became eligible as a mission specialist astronaut on Space Shuttle flight crews. He first flew as a mission specialist on Mission STS-41-B on February 3, 1984, which featured the first untethered spacewalk. Serving as a mission specialist on Mission STS-51-L, his life was tragically cut short when the space shuttle exploded one minute and 13 seconds into the launch. After his death, the Dr. Ronald E. McNair Foundation for Science, Technology & Space Education was established in Atlanta, Georgia.
When this monument was dedicated on June 14, 1994, family, friends, former colleagues, community representatives, city officials and hundreds of school children gathered in memory of Dr. McNair’s legacy. The monument and the park, which was renovated at the time of the sculpture’s installation, evoke a mood in keeping with Dr. McNair’s wish inscribed on the pedestal. It reads, “that we should allow this planet to be the beautiful oasis that she is, and allow ourselves to live more in the peace she generates.”
12 Interlocking Irregular Hyperboloidal Dodecahedra 360 units
3-fold view.
Following an initial prototype with only a singular unit type which attempted a hexahedral symmetry analog of 30 Dodecahedra, I developed this more nuanced version, which has a different exterior weaving pattern and multiple paper proportions. However, as a constraint, I attempted to use only one pocket type for all of the units. This makes some vertices different than others in terms of the dihedral angles of the surrounding units, but the edges shafts are long enough to accommodate modulation between vertices without appreciable difficulty in most cases. This is constructed via scaffolding so that each dodecahedron represents one edge of a cube. The resulting compound is at the time of writing this, the largest interlocking origami cubic symmetry wireframe compound by unit count that I know of.
Designed by me.
Folded out of Cordenons’ Stardream paper.
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 ]
Microbiology Test Piece Medi-Ca of DNP Medi·Ca Culture Dish Media
Make food microbiological testing much easier and more effective
Compared with the agar medium, our bacterial culture media plate makes the detection of food microorganisms easier, more standardized, and more efficient, but without pollution.
1. Culture media ready to be used after opening;
2. Colonies easy to see;
3. Reduce the culture area and waste.
Notes
1) The product is used for the microbiological examination of foods and beverages, and cannot be used clinically.
2) Do not open the tectorial membrane before transplanting the sample.
3) Do not use expired products.
4) Do not use products that are damaged, deformed, discolored, dirty, or foreign matters.
5) Do not expose the product to ultraviolet light or sunlight.
6) Do not press the film after the sample liquid is dropped. This will cause the sample solution to overflow to the outside of the culture area.
7) When the sample solution overflows from the culture area, replace it with a new one.
8) If the product enters the eye or mouth, immediately wash it with water and go to the hospital.
9) When using the product, it is susceptible to microbial contamination. Perform specific operations under the guidance of relevant qualified personnel.
10) Please note that the sample or the product that has been in contact with the sample liquid is a contaminated item.
Preservation method
Keep in cold storage (2~8°C), fold it twice at the opening of the bag after breaking, and fix it with tape.
Validity period
The validity period of the product is written on the aluminum bag and the upper part of the product (the date described after "EXP" is the validity period). Please use the aluminum bag within 3 months after opening.
Abandonment method
The product has a risk of secondary pollution after use. Therefore, after proper sterilization, it should be disposed of according to the waste standards of the respective samples and related facilities.
Guarantee responsibility
When the product defect is obvious, replace the corresponding quantity with the new product. The judgment and application of the inspection results are the user’s responsibility, and the manufacturing company and the agent of the product are exempt from liability.
Quantity per carton
Medi-Ca AC and Medi-Ca CC: 1000 sheets
Medi-Ca EC and Medi-Ca SA: 500 sheets
Performance Characteristics of DNP Medi·Ca Culture Dish Media
Medium ready to be used after opening
The product does not require pre-modulation and autoclaving, just check it. No need for mixed release. Double layer coverage is easy to operate which will improve working efficiency.
Colonies easy to see
Due to the use of the color former, the colonies are clearly visible and easy to discriminate. It is beneficial to improve the working efficiency of counting bacteria and working standardization. In addition, since Medi-Ca AC is a bacillus, it is one of the characteristics that the coloring penetration is relatively small.
Reduce the culture area and waste
Compared with the culture dish, it can be reduced to about 1/15~1/20, which can reduce the storage space and the waste after use.
Variety introduction
The Culture Media Plate Medi-Ca is not considered for personal visual differences but produced according to the coloring universal design that most people can easily see, and is also certified by the NPO corporate coloring general design agency.
Usage Method of DNP Medi·Ca Culture Dish Media
1. Sample liquid preparation
Add appropriate sterile dilutions to the sample and homogenize with a homogenizer.
2.Pipetting into the culture area
3.Culture
Put into the incubator, the product can overlap up to 25 pieces.
4．Judgment
SA uses chromogenic enzymes to easily determine and count bacteria.
When the bacteria number is large, please perform statistics in the grid on the film (1cm × 1cm).
Multiply the bacteria number in a grid by the total grids number
5. Fishing for colonies which can be re-cultured
Remove the bacteria by opening the membrane.
Colony Count System
By using the colony counting system (dedicated scanner and application), high-resolution images can be analyzed, and automatic counting and inspection result image storage management can be realized in a short time, which can improve the counting efficiency.
Tear off the foil pouch and remove the required amount.
Medium TypeCulture temperatureCulture time
Media-Ca AC
(Measurement of general bacteria amount)35 ± 1 ℃48±2 hours
Media-Ca CC
(Measurement of Coliforms)35 ± 1 ℃24±1 hours
Media-Ca EC
(Measurement of Escherichia coli and Coliforms)35 ± 1 ℃24±1 hours
Media-Ca SA
(Measurement of Staphylococcus)35 ± 1 ℃24±1 hours
28th February 2015 at Half Moon, Putney, London SW5.
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 (top to bottom): Boss Chromatic Tuner TU-2, Boss Delay DM-3 (a 1980s analog delay pedal), Durham Electronics Zia Drive (an overdrive pedal, which distorts the wave form of the audio signal) and Danelectro Tuna Melt (a tremelo pedal).