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Paul Cézanne (/seɪˈzæn/ say-ZAN, UK also /sɪˈzæn/ siz-AN, US also /seɪˈzɑːn/ say-ZAHN;[1][2] French: [pɔl sezan]; Occitan: Pau Cesana; 19 January 1839 – 22 October 1906) was a French Post-Impressionist painter whose work introduced new modes of representation, influenced avant-garde artistic movements of the early 20th century and formed the bridge between late 19th-century Impressionism and early 20th-century Cubism.
While his early works were influenced by Romanticism—such as the murals in the Jas de Bouffan country house—and Realism, Cézanne arrived at a new pictorial language through intense examination of Impressionist forms of expression. He altered conventional approaches to perspective and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art. Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles.
Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.[citation needed]
His painting initially provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890s it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work and were among the first to buy his paintings. In 1895, Vollard opened the first solo exhibition in his Paris gallery, which led to a broader examination of Cézanne's work.[3] Both Henri Matisse and Pablo Picasso are said to have remarked that Cézanne "is the father of us all".
Life and work
Early years and family
The Overture to Tannhäuser: The Artist's Mother and Sister, 1868, Hermitage Museum, St. Petersburg
Paul Cézanne was born on 19 January 1839 at 28 rue de l'Opéra in Aix-en-Provence,[4] the son of the milliner and later banker Louis-Auguste Cézanne (1798–1886),[5] and Anne-Elisabeth-Honorine Aubert (1814–1897),.[6] His parents married on 29 January 1844. He had two younger sisters: Marie, born in 1841, and Rose, June 1854. The Cézannes came from the commune of Saint-Sauveur (Hautes-Alpes, Occitania). On 22 February, he was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents,[4][7][8][9] and became a devout Catholic later in life.[10] His father, a native of Saint-Zacharie (Var),[11] was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.[12][n 1]
Spring, 1860, Petit Palais
His mother was "vivacious and romantic, but quick to take offence".[14] It was from her that Cézanne got his conception and vision of life.[14] He also had two sisters, Marie and Rose, with whom he went to a primary school every day.[4][15]
At the age of ten, Cézanne entered the Saint Joseph school in Aix.[16] Classmates were the later sculptor Philippe Solari and Henri Gasquet, father of the writer Joachim Gasquet, who was to publish his book Cézanne in 1921, a testament to the life of the artist. In 1852, Cézanne entered the Collège Bourbon in Aix[17] (now Collège Mignet), where he became friends with Émile Zola, who was in a less advanced class,[12][15] as well as Baptistin Baille—three friends who came to be known as "Les Trois Inséparables" (The Three Inseparables).[18] It was probably the most carefree time of his life as the friends swam and fished on the banks of the Arc. They debated art, read Homer and Virgil and practiced writing their own poems. Cézanne often wrote his verses in Latin. Zola urged him to take poetry more seriously, but Cézanne saw it as just a pastime.[19] He stayed there for six years, though in the last two years he was a day scholar.[20] In 1857, he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk.[21]
At the request of his authoritarian father, who traditionally saw in his son the heir to his bank Cézanne & Cabassol, Paul Cézanne enrolled in the law faculty of the University of Aix-en-Provence in 1859 and attended lectures for the study of jurisprudence. He spent two years with his unloved studies, but increasingly neglected them and preferred to devote himself to drawing exercises and writing poems. From 1859, Cézanne took evening courses at the École de dessin d'Aix-en-Provence, which was housed in the art museum of Aix, the Musée Granet. His teacher was the academic painter Joseph Gibert (1806–1884). In August 1859 he won second prize in the figure studies course there.[22]
His father bought the Jas de Bouffan (House of the Wind) estate that same year. This partly derelict baroque residence of the former provincial governor later became the painter's home and workplace for a long time.[23][24] The building and the old trees in the park of the property were among the artist's favorite subjects. In 1860, Cézanne obtained permission to paint the walls of the drawing room, and created the large-format murals of the four seasons: spring, summer, autumn and winter (today in the Petit Palais in Paris), which Cézanne ironically signed as Ingres, whose works he did not appreciate. The winter picture is additionally dated 1811, alluding to Ingres' painting Jupiter and Thetis, painted at that time and on display in the Musée Granet.[25]
Going against the objections of his banker father, he committed himself to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time and urged Cézanne to abandon his hesitancy and follow him there. Eventually, his father reconciled with Cézanne and supported his choice of career, on condition that he begin a regular course of study, having given up hope of finding Paul as his successor in the banking business. Cézanne later received an inheritance of 400,000 francs from his father, which rid him of all financial worries.
Wikipedia
A Cyanobacterial filament glides under the filamentous algae. Cells and chloroplasts are clearly visible inside the cell walls. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification.
Three A81 ELGE heat exchangers can handle up to 10 million BTU/Hr in modulation. Built in redundancy, Repair/Maintenance without interuption of service.
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0021
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
The Enterprise (NCC-1701-D) was a Galaxy Class Starship. She was 43 decks think. 1701-D was the fifth Starship to bear the Name Enterprise. She was launched from Utopia Planetia Ship Yards at Mars in 2363 and Commissioned in 2364. She would be launched under the Command of Captain Jean-Luc Picard. It would turn out that he would be her only Captain. In 2371 in an attempt to prevent Soren and the Duras Sisters from Destroying the Veridian Star Lt. Commander Geordie LaForge was kidnapped and released. Unknown to him his visor relayed the Enterprise's Shield Modulation and were able to penetrate the Enterprises Shields in battle. " They have found a way to penetrate our shields". "Lock PHASERS and RETURN FIRE". The battles resulted in damage so bad that the warp core lost containment. Everyone evacuated to the saucer section and the ship separated. The Warp Core Breached destroying the Star Drive and it also caused damage to the nearby Saucer Section knocking out helm control and they crashed into the surface of Viridian III. The Enterprise Could Not be salvaged. In 2372 Captain Picard was given another more advanced Starship. A Sovereign Class.
U.S.S. Enterprise (NCC-1701-E) the sixth Federation Starship To Bear the name.
USS Enterprise NCC-1701 Constitution Class.
USS Enterprise NCC-1701-A Enterprise Class
USS Enterprise NCC-1701-B Excelsior Class
USS Enterprise NCC-1701-C Ambassador Class
USS Enterprise NCC-1701-D Galaxy Class
USS Enterprise NCC-1701-E
OnLine - The Performance - Premiere - Venice Biennale of Architecture 2014 - Fundamentals, Salon d'Armi, Arsenale, opening day, 7th June 2014, Venice, Italy. Face tracking, clmtrackr portrait leaks. Code modulation by Henner Wöhler.
This Lexus did not come equipped with Sirius satellite radio, so Shore Cellular added factory-style Sirius capability right through the existing radio. No FM modulation or distorted sound, just high-quality Sirius audio.
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
Top trace: VCO (voltage-controlled oscillator) output. Bottom trace: 8.2Hz modulation signal from phase-shift oscillator. This version has a 1.0μF coupling capacitor between LFO and VCO, and exhibits a little bit of high-frequency oscillation.
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 ]
Avantalk BTDG-20 with patent design is a super small Bluetooth dongle, suitable to connect PC all the time - No need to plug and un-plug anymore. 3 times faster than normal Bluetooth.
Specification
General Radio
--Bluetooth Class 2: 20 meters (in open space)
--Carrier Frequency: 2.4 ~ 2.483GHz
--Data Rate: Up to 3Mbps
(The maximum operating range depends on the environmental factors.)
------------------------------------------------------------------------------------
Bluetooth Standard
--Bluetooth v2.1 + EDR
------------------------------------------------------------------------------------
Spread Spectrum
--FHSS (Frequency Hopping Spread Spectrum)
------------------------------------------------------------------------------------
Modulation Method
--GFSK (1Mbps), ¦Ð/4-DOPSK (2Mbps)
--8DPSK (3Mbps)
------------------------------------------------------------------------------------
I/O Interface
--USB version 1.1
------------------------------------------------------------------------------------
Input Power
--DV 5V (USB Power)
------------------------------------------------------------------------------------
Sensitivity
--/-82 dBm (typical), GFSK
------------------------------------------------------------------------------------
RF Output Power
--13 dBm (typical), GFSK
------------------------------------------------------------------------------------
System Support
--Windows XP/2000/ME/98SE/Vista
------------------------------------------------------------------------------------
Bundled Bluetooth Software
--IVT 2.7
------------------------------------------------------------------------------------
Supporting Profiles
--Serial Port Profile
--Dial Up Networking Profile
--File Transfer Profile
--Human Interface Device Profile
--Hardcopy Cable Replacement Profile
--Headset Profile
--Object Push Profile
--Synchronization Profile
--LAN Access Profile
--FAX Profile
--Personal Area Networking Profile
--Advanced Audio Distribution Profile
--Audio Video Remote Control Profile
--Basic Imaging Profile
Fujifilm X-T10 (pre-production), SOOC JPEG
Lens Modulation Optimizer (LMO) OFF
Fuji X Secrets Workshops & Blog
Read the X-Pert Corner blog.
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The Fujifilm X-E2 – Beyond the Manual
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Die Fujifilm X-T1. 111 Profitipps
7ème Anniversaire du Burn Crew Concept - Palais de Tokyo (Paris)
7th Birthday of Burn Crew Concept - Palais de Tokyo (Paris)
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of a model of the hotel with proposed expansion.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0267 Concha.JPG
Record ID: WB2010-0267
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of a model of the hotel with proposed expansion.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0258 Concha.JPG
Record ID: WB2010-0258
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
What happens when you comp work for your good friends at Mountain Goat / First Flight Bicycles? PARTS FOR PAYMENT. New levers! I have to say-I've drooled over these for a while now and love their modulation, fit, finish and overall attention to detail. Definitely an industrial designers lever...
Bearfoot FX version of the Bjorn Juhl BJFE Mint Green Mini Vibe. This one's serial no.149 and #10 of 10 "Threemē" versions painted by Jason Myrold.
Radium 49 Key M-Audio polyphonic Keyboard.
Features
USB connection with power - power it off your laptop.
Pitch and Modulation wheels
999 programmable options
Multi-octave presets
8 little sliders and 8 little dials
plugs for sustain switch, midi out to keyboard and USB, runs off battery, usb or power adapter.
Works great with GarageBand.
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 ]
Aaron Onchi from or(g)A + SPAU
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 ]
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 ]
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
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 ]
Virtually Vogue uses a combination of Xadow Mainboards, Spark Cores, and 3W White LED’s, Pulse Width Modulation Control boards from Adafruit, and lots of batteries.
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 ]
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
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 ]
"(from) Lymph Nodes with White Blood Cells and Macrophages #4," Oil, latex, and resin on panel
"“What is the measure of progress? . . . We can measure it in the rate of species extinction. We can measure it in pollution, in the toxicity of the world. Those things, like power and speed, are perfectly measurable.” Wendell Berry: “The Myth of Progress”
These Lymph Nodes paintings are inspired by Berry’s perspectives on the “myth of progress” and questions the efficacy of a seemingly wholesale adoption of chemically enhanced living and the resulting impact on biology.
Unfortunately, the positive embrace of scientific advancements that make our lives better is often countered by the consumption of chemically modified food products, the over-use of pharmaceuticals, and the impact of negative corporate externalities and agricultural by-products that pollute our air, water, land, and bodies. Undoubtedly, chemicals enhance and save lives, but they also damage and end lives. There is a certain irony in that we often engage chemicals to do battle with diseases possibly caused by other chemicals.
The Lymph Nodes paintings explore the cellular mutations of our bodies triggered by cancer’s rogue growth. Abstracted biological micro interiors combine with infusions of festering bumps and dots that envelope and penetrate, at once representing chemical permeations, spreading biological growths, and invading molecular forms or patterned modulations that shift the forms from their organic state to a more artificial realm. These figurative transformations represent the unnatural modifications of our natural interior environment."
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MM will be showing Sculptural VIDEO - ART
at the
=- group exchibition MODULATION -=
Join us for the premiere screening-February 7th 2006
Sofia 7-28 February
further info:
allilinin.livejournal.com/48388.html
===============
Зповядайте на първият официален показ на скулпурната видео-инсталация ANIMATED REFLECTIONS или още известен е този експеримент като ТРЕМОНТСКАТА СЕСИЯ...
ОЩЕ ИНФО:
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
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 ]
Konzert Herbert Grönemyer
MENSCH-Tour
Letzigrund Zürich, 18. Juni 2003
Tages-Anzeiger, 19.6.03:
Eine ehrliche Haut für alle Generationen
Ein Meister der Modulation: Herbert Grönemeyer liess sich und seine Musik im Stadion Letzigrund feiern.
Von Philippe Amrein
Das demografische Grübeln geht bereits lange vor Konzertbeginn los: Woraus setzt sich die grönemeyersche Fangemeinde eigentlich zusammen? Auf seiner aktuellen Tournee «Das Beste von Gestern bis Mensch» spielt er immerhin für ein Publikum von weit über 500 000 Menschen. Nun, es findet sich der leicht angegraute Popliebhaber aus alten «Das Boot»-Tagen neben der gutmütigen Industriekauffrau, der Musikpluralist im abgewetzten «Santana»-Shirt neben dem jugendlichen Fan.
Der Meister kennt sein Publikum. Er schmeisst sich sofort in Stadionrockpose, joggt flott über die ganze Bühnenbreite und schmettert seine schnörkellose Stahlrohrpoesie mit kehliger Stimme ins Stadionrund. Nach zwei Haudrauf-Rocknummern stimmt Grönemeyer eine balladeske Nummer an, bei der ihn sein Saxofonist und ein mehrköpfiges Streicherensemble begleiten. Als auf der Videowand schliesslich ein Fan in Grossaufnahme gezeigt wird, der einen «VFL Bochum»-Schal schwenkt, hebt Herbert sofort zu seiner legendären Zeile an: «Tief im Westen, wo die Sonne versinkt.» Ein erster Höhepunkt, den er mit der Modifikation einer weiteren Zeile nachdrücklich markiert: «Bist keine Weltstadt wie Zürich.» Im Hintergrund werkelt derweil Grönemeyers äusserst versierte Band, die ihn mit modernen Grooves und souveräner Popmusik begleitet, mal stampfend und funky, mal entrückt und besinnlich. Bereits in der ersten Konzerthälfte gleiten sie dann in eine blubbernde Version des letztjährigen Superhits «Mensch». Das gesamte Publikum singt mit, und sofort kriegt man eine ehrliche Gänsehaut, die bis zum Ende des emotional und musikalisch mitreissenden Konzerts anhält. Und dann geht das dermatologische Grübeln los.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: General view of the hotel and restaurant from the northeast.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0247 Concha.JPG
Record ID: WB2010-0247
Sub collection: resorts
waterfront
Copyright holder: Copyright Henry Pisciotta
Kate Beck
Modulation , 2010
Graphite of paper on aluminum floated in maple frame
12 x 12 inches
PG# KB.0022
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of a model of the hotel with proposed expansion.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0257 Concha.JPG
Record ID: WB2010-0257
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
So, today was one of those days that I was like, "Whoa...mind blown."
I have been trying to document my trip really well this December, but it is not always easy to find other people or toys who are willing to take pictures of me. Then today, while I was listening to the frequency modulation radio, I heard this song that was talking about people about taking pictures of themselves. And that's when it hit me. I don't always need other people or toys to take pictures of me! I can do it myself sometimes too!
So I thought I'd give it a try. The first method I tried didn't work out so well. The light was very, very bright in my eyes, and when the picture printed out, it didn't look too good. Plus, I would never be able to carry such a big machine around with me to take pictures. Then I realized that Hudson's mama had an old mobile cellular smart device that I might be able to use. I just had to wait until she went to bed to find it.
Song: Dabrye - Special (Instrumental)
Dancer: Julie Chapple
Glitch Overlays: betacrack
Glitch, editing and a dancer come together to form a dance for video that will never be seen live.
Watch this video on Vimeo. Video created by Stuart Maxwell.
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 ]
IFAM, the Institute for Aesthetic Modulation, is a sub-group of Collective:Unconscious. IFAM has produced work in installation art and visual theater since 1993 at such venues as Theater for the New City, Here, The Knitting Factory, Exit Art, La Plaza Cultural, The 6B Garden, The Coney Island Mermaid Parade, The Pyramid Club, and Mustard.
Collective: Unconscious is a confederation of artists working in the visual and performing arts, founded in early 1995 in the Lower East Side of New York City.