View allAll Photos Tagged modulation,
Pulse width modulation of the LEDs, swung about on the end of their cable in the Victoria Tunnel.
Like a numpty, I'd left my cable release at home, so was stuck to a 30s max exposure time. Also reckon the camera angle is wrong here, resulting in a bad case of excessive orbage placement in the upper regions.
Testing out the fadeable cathode wrangled by Mr J Barkby.
Changed the tube to blue, and annoyingly, the pot that controls the speed of the fade broke off.
After requests to show the setup I used for the lighting of Streets of Barqa, here is a sketch of how I remember I connected the cables. The only reason I used my eLite Advanced 2 was due to a shortage of inputs and too short cables, will probably replace that as soon as I order more stuff from LifeLites if I do not dismantle the MOC before that. The "flicker flame" diodes did not like it's ordinary outputs however even at steady light (probably due to PWM modulation messing with the flickering diode's electronics?) so I had to use the non-controlled output for that.
The ModuLites are of the warm-white kind and using two + white interior walls gave quite a lot more light as can be seen on the building to the right.
I gladly recommend LifeLites to anyone who wants to light their MOCs! Just be careful with those fragile connectors...
Edit: Replaced the file with one of better quality
Germany, Hamburg, Harbour City, Magellan Terraces, a square covering about 5,000 square metres, similar to an amphitheatre & providing a fine view of the Traditional-Ship Harbour in the Harbour City. This square is an inviting place to linger & is also used for cultural events.
For almost one & a half century, since 1866, the Harbour at the “Sandtorwall” was used as a port for ships with all kinds of imports from around the world. With the increasing size of cargo ships & later the container giants, the ware house area was not able to handle the freighters any longer. The whole area started than to be changed, maintaining the historic structure & buildings, into today’s harbour city, housing offices, apartments, gastronomy, shops etc., the re-modulation of the harbour city will still go on for many years, including the never ending story of the philharmonic concert hall.
👉 One World one Dream,
...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
10 million visits in my photostream with countless motivating comments
There is a superhighway between the brain and GI system that holds great sway over humans
"There is a muscle that encircles the gut like a lasso when we are sitting… creating a kink in the tube," Giulia Enders explains in Gut: The Inside Story of Our Body's Most Underrated Organ. She calls the mechanism "an extra insurance policy, in addition to our old friends, the sphincters" (you have two sphincters – keep reading) and cites studies showing that squatters, with their unkinked guts, are less susceptible to haemorrhoids and constipation.Enders, a 25-year-old student at the Institute for Microbiology in Frankfurt, inside an underground public lavatory in central London. "Is there a toilet in this toilet?" she asks when she arrives. There is not, a barista tells her. The Victorian urinals, abandoned in the 1960s, have been converted into cafe with booths and stools, and no room for anything else.After a dash to a pub loo above ground, Enders talks with infectious energy about the wonder of the gut. She has been delighted to discover how many people share her fascination with a subject that can suffer for being taboo. "Even today in the taxi, I told the driver what I was doing and within about two minutes he was telling me about his constipation," she says in perfect English, which she owes to a year of study in the US. "And it's not just him. It's ladies with chic hair at big gala dinners, too. Everyone wants to talk about it."Enders first got noticed after a self-assured turn at a science slam in Berlin three years ago. Her 10-minute lecture went viral on YouTube, and now, weeks after completing her final exams as a doctoral student, she is a publishing sensation. Her book, called Darm Mit Charme ("Charming Bowels") in Germany, has sold more than 1.3 million copies since it came out last year. Rights have been sold to dozens of countries.
Her way into the gut is a lightness that some reviewers have found too childish or lacking in scientific rigour to be taken seriously. But there is something compelling and refreshing about her curiosity and popular approach. "When I read the research, I think, why don't people know about this – why am I reading about it in some paper or specialist magazine? It's ridiculous because everyone has to deal with it on a daily basis." After she explains the inspiration for her fixation (the suicide of an acquaintance who had had severe halitosis, and her own teenage skin condition, which turned out to have been caused by a wheat intolerance) Enders starts at the end of the digestive tract with what she calls the "masterly performance" that is defecation. "There is so much about the anus that we don't know," she says, reaching for a gluten-free chocolate chip cookie. "The first surprise is the sophistication of our sphincters… you know about the outer one because you can control it, but the inner one nobody knows about."
This inner opening is beyond our conscious control, releasing waste material into a sort of anal vestibule where, in Enders words, "a small taster" hits sensor cells that tell the body what it's dealing with and how to respond using the outer sphincter. This opening, and our mouths, are the recognisable and controllable ends of a system that, stretched out, would be almost as long as a bus. But it's the bits in between, and their link with the rest of our bodies, including our brains and emotions, that really interest Enders.
"Medical diagrams show the small intestine as a sausage thing chaotically going through our belly," she says. "But it is an extraordinary work of architecture that moves so harmonically when you see it during surgery. It's clean and smooth, like soft fabric, and moves like this." She performs a wavy, pulsating motion with her hands. Enders believes that if we could think differently about the gut, we might more readily understand its role beyond basic digestion – and be kinder to it. The great extent to which the gut can influence health and mood is a growing field in medicine. We speak of it all the time, whether we describe "gut feelings", "butterflies in our stomachs", or "pooing our pants" in fear, but popular understanding of this gut-brain axis remains low.
A primal connection exists between our brain and our gut. We often talk about a “gut feeling” when we meet someone for the first time. We’re told to “trust our gut instinct” when making a difficult decision or that it’s “gut check time” when faced with a situation that tests our nerve and determination. This mind-gut connection is not just metaphorical. Our brain and gut are connected by an extensive network of neurons and a highway of chemicals and hormones that constantly provide feedback about how hungry we are, whether or not we’re experiencing stress, or if we’ve ingested a disease-causing microbe. This information superhighway is called the brain-gut axis and it provides constant updates on the state of affairs at your two ends. That sinking feeling in the pit of your stomach after looking at your postholiday credit card bill is a vivid example of the brain-gut connection at work. You’re stressed and your gut knows it—immediately.
The enteric nervous system is often referred to as our body’s second brain. There are hundreds of million of neurons connecting the brain to the enteric nervous system, the part of the nervous system that is tasked with controlling the gastrointestinal system. This vast web of connections monitors the entire digestive tract from the esophagus to the anus. The enteric nervous system is so extensive that it can operate as an independent entity without input from our central nervous system, although they are in regular communication. While our “second” brain cannot compose a symphony or paint a masterpiece the way the brain in our skull can, it does perform an important role in managing the workings of our inner tube. The network of neurons in the gut is as plentiful and complex as the network of neurons in our spinal cord, which may seem overly complex just to keep track of digestion. Why is our gut the only organ in our body that needs its own “brain”? Is it just to manage the process of digestion? Or could it be that one job of our second brain is to listen in on the trillions of microbes residing in the gut?
Operations of the enteric nervous system are overseen by the brain and central nervous system. The central nervous system is in communication with the gut via the sympathetic and parasympathetic branches of the autonomic nervous system, the involuntary arm of the nervous system that controls heart rate, breathing, and digestion. The autonomic nervous system is tasked with the job of regulating the speed at which food transits through the gut, the secretion of acid in our stomach, and the production of mucus on the intestinal lining. The hypothalamic-pituitary-adrenal axis, or HPA axis, is another mechanism by which the brain can communicate with the gut to help control digestion through the action of hormones.
This circuitry of neurons, hormones, and chemical neurotransmitters not only sends messages to the brain about the status of our gut, it allows for the brain to directly impact the gut environment. The rate at which food is being moved and how much mucus is lining the gut—both of which can be controlled by the central nervous system—have a direct impact on the environmental conditions the microbiota experiences.
Like any ecosystem inhabited by competing species, the environment within the gut dictates which inhabitants thrive. Just as creatures adapted to a moist rain forest would struggle in the desert, microbes relying on the mucus layer will struggle in a gut where mucus is exceedingly sparse and thin. Bulk up the mucus, and the mucus-adapted microbes can stage a comeback. The nervous system, through its ability to affect gut transit time and mucus secretion, can help dictate which microbes inhabit the gut. In this case, even if the decisions are not conscious, it’s mind over microbes.
What about the microbial side? When the microbiota adjusts to a change in diet or to a stress-induced decrease in gut transit time, is the brain made aware of this modification? Does the brain-gut axis run in one direction only, with all signals going from brain to gut, or are some signals going the other way? Is that voice in your head that is asking for a snack coming from your mind or is it emanating from the insatiable masses in your bowels? Recent evidence indicates that not only is our brain “aware” of our gut microbes, but these bacteria can influence our perception of the world and alter our behavior. It is becoming clear that the influence of our microbiota reaches far beyond the gut to affect an aspect of our biology few would have predicted—our mind.
For example, the gut microbiota influences the body’s level of the potent neurotransmitter serotonin, which regulates feelings of happiness. Some of the most prescribed drugs in the U.S. for treating anxiety and depression, like Prozac, Zoloft, and Paxil, work by modulating levels of serotonin. And serotonin is likely just one of a numerous biochemical messengers dictating our mood and behavior that the microbiota impacts.
Most of us can relate to the experience of having butterflies in our stomach, or to a visceral gut-wrenching feeling, and how often are we told not to ignore our “gut-instinct” or “gut-feeling” when making a decision.
Even from our simple slang, it’s clear just how symbolically connected the gut is to our emotions. Now, there’s tangible proof to support these popular metaphors.
We all have a microbiome, and they are as unique as our neural pathways
Research has shown that the body is actually composed of more bacteria than cells. We are more bug than human! Collectively, these trillions of bacteria are called the microbiome. Most of those bacteria reside in our gut, sometimes referred to as the gut microbiota, and they play multiple roles in our overall health.
The gut is no longer seen as an entity with the sole purpose of helping with all aspects of digestion. It’s also being considered as a key player in regulating inflammation and immunity.
A healthy gut consists of different iterations of bacteria for different people, and this diversity maintains wellness. A shift away from “normal” gut microbiota diversity is called dysbiosis, and dysbiosis may contribute to disease. In light of this, the microbiome has become the focus of much research attention as a new way of understanding autoimmune, gastrointestinal, and even brain disorders.
The benefit of a healthy gut is illustrated most effectively during early development. Research has indicated just how sensitive a fetus is to any changes in a mother’s microbiotic makeup, so much so that it can alter the way a baby’s brain develops. If a baby is born via cesarean section, it misses an opportunity to ingest the mother’s bacteria as it travels down the vaginal canal. Studies show that those born via c-section have to work to regain the same diversity in their microbiome as those born vaginally. Throughout our lives, our microbiome continues to be a vulnerable entity, and as we are exposed to stress, toxins, chemicals, certain diets, and even exercise, our microbiome fluctuates for better or worse.
The gut as second brain
Our gut microbiota play a vital role in our physical and psychological health via its own neural network: the enteric nervous system (ENS), a complex system of about 100 million nerves found in the lining of the gut.
The ENS is sometimes called the “second brain,” and it actually arises from the same tissues as our central nervous system (CNS) during fetal development. Therefore, it has many structural and chemical parallels to the brain.
Our ENS doesn’t wax philosophical or make executive decisions like the gray shiny mound in our skulls. Yet, in a miraculously orchestrated symphony of hormones, neurotransmitters, and electrical impulses through a pathway of nerves, both “brains” communicate back and forth. These pathways include and involve endocrine, immune, and neural pathways.
At this point in time, even though the research is inchoate and complex, it is clear that the brain and gut are so intimately connected that it sometimes seems like one system, not two.
Our emotions play a big role in functional gastrointestinal disorders
Given how closely the gut and brain interact, it has become clear that emotional and psychosocial factors can trigger symptoms in the gut. This is especially true in cases when the gut is acting up and there’s no obvious physical cause.
The functional gastrointestinal disorders (FGIDs) are a group of more than 20 chronic and hard to treat medical conditions of the gastrointestinal tract that constitute a large proportion of the presenting problems seen in clinical gastroenterology.
While FGID’s were once thought to be partly “in one’s head,” a more precise conceptualization of these difficulties posits that psychosocial factors influence the actual physiology of the gut, as well as the modulation of symptoms. In other words, psychological factors can literally impact upon physical factors, like the movement and contractions of the GI tract, causing, inflammation, pain, and other bowel symptoms.
Mental health impacts gut wellness
In light of this new understanding, it might be impossible to heal FGID’s without considering the impact of stress and emotion. Studies have shown that patients who tried psychologically based approaches had greater improvement in their symptoms compared with patients who received conventional medical treatment.
Along those lines, a new pilot study from Harvard University affiliates Benson-Henry Institute for Mind Body Medicine at Massachusetts General Hospital and Beth Israel Deaconess Medical Center found that meditation could have a significant impact for those with irritable bowel syndrome and inflammatory bowel disease. Forty-eight patients with either IBS or IBD took a 9-week session that included meditation training, and the results showed reduced pain, improved symptoms, stress reduction, and the change in expression of genes that contribute to inflammation.
Poor gut health can lead to neurological and neuropsychiatric disorders
Vice-versa, poor gut health has been implicated in neurological and neuropsychiatric disorders. Disturbances in gut health have been linked to multiple sclerosis, autistic spectrum disorders, and Parkinson’s disease. This is potentially related to pro-inflammatory states elicited by gut dysbiosis-microbial imbalance on or inside the body. Additional connections between age-related gut changes and Alzheimer’s disease have also been made.
Further, there is now research that is dubbing depression as an inflammatory disorder mediated by poor gut health. In fact, multiple animal studies have shown that manipulating the gut microbiota in some way can produce behaviors related to anxiety and depression. (Maes, Kubera, Leunis, Berk, J. Affective Disorders, 2012 and Berk, Williams, Jacka, BMC Med, 2013).
Our brain’s health, which will be discussed in more depth in a later blog post, is dependent on many lifestyle choices that mediate gut health; including most notably diet (i.e., reduction of excess sugar and refined carbohydrates) and pre and probiotic intake.
The brain-gut connection has treatment implications
We are now faced with the possibility of both prevention and treatment of neurological/neuropsychiatric difficulties via proper gut health. On the flip side, stress-reduction and other psychological treatments can help prevent and treat gastrointestinal disorders. This discovery can potentially lead to reduced morbidity, impairment, and chronic dependency on health care resources.
The most empowering aspect to the gut-brain connection is the understanding that many of our daily lifestyle choices play a role in mediating our overall wellness. This whole-body approach to healthcare and wellness continues to show its value in our longevity, well-being, and quality of life: that both physical and mental health go hand-in-hand.
I went back and took another shot of the gears that ran the grinder/mixer at the brick factory in Black Lick.
For you Fuji fans, this was shot with the X-E2 and Fujinon10-24mm f/4 lens. I shot it at f/11 and did the HDR merges from JPG rather than RAW to take advantage of Fuji's "Lens Modulation Optimizer".
Some people don't understand that this is a mathematical model of the lens that allows blur due to diffraction at small apertures to be computed away so the full sharpness is restored.
It works using deconvolution and don't ask me to explain it as I barely understood it when I thought I understood it, and now I don't understand it at all, lol.
Regardless, using the built in JPG converter in the camera with deconvolution resulted in bitingly sharp images to feed to post processing.
Indexical Patterning/Painting : Affective Relational Intensities (Micropolitics of slowness and repetition)
Layered Drawings : Architectural Screens/Modulations of Translucency
Space Between People
How the virtual changes physical architecture
Stephan Doesinger
This book shows how the virtual has completely changed the physical world around us. If architecture is the construction of space between people, what happens when that space exists in a virtual world? That question is the starting point for this collection of revolutionary projects by a new generation of designers. The book begins by examining the important issues that have emerged as technology reshapes our idea of place and proceeds to present the four winning projects from the first architecture competition held within the explosively popular Internet community known as Second Life. Chosen for their inventiveness and aesthetic excellence, these structures - a cloud that can be inhabited; a meta-museum; an interactive sound scape; and a snow palace of discarded objects - illustrate the mindbending possibilities of digital design. In the books final section, media artists share their real-time experiences conceptualizing and creating projects for the virtual world.
Non Spaces/Digital Still Image : Fire escape Winchester School of Art
Meshworks/Norwich, moving analogue source : Midway/Dante
Beginning as one always does in the middle, in mediis rebus, one experiences a sense of disorientation, a sort of cartographic anxiety or spatial perplexity that appears to be part of our fundamental being-in-the-world. It is an experience not unlike that of Dante, in the opening lines of his Commedia:
Midway along the journey of our life,
I woke to find myself in a dark wood,
for I had wandered off from the straight path.
( Dante 1984 : 67)
Introduction : Spatiality .
Robert T. Tally Jr.
the New Critical Idiom, Routledge 2013
Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"
"All that is solid melts into air"
Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)
Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013
Sensuality, Drawing and Astronomical Space.
Architectural Translucency (Tracing Layers)
DSC_8860 Pavilion : Borderlands
Andreas Horlitz : Simulacrum. 2006
Brian Clarke : Lamina. 2005
Testing out the fadeable cathode wrangled by Mr J Barkby. This device is the first step in trying to construct a more complex tool.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
bbb low-cost housing, kvistgård, elsinore, denmark.
architects: tegnestuen vandkunsten, 2004-2008.
before closing everything down for the summer, I thought I'd take a break from my palermo photos and show you a few snapshots from the completed first stage of the bbb housing project I have worked on for tegnestuen vandkunsten.
many of you commented on the prototype I uploaded last year, here is a chance to see the finished project. people started moving in about half a year ago if I remember correctly. the photos are from yesterday...
as I have written earlier, it is a courtyard project in which the houses are gathered nine by nine in clusters around a small, communal garden or square. the clusters are all identical but they are placed freely on a sloping site which centres naturally on a little lake.
I can't help feeling that the low-cost tag is not entirely fair. we did the original competition with a high degree of prefabrication in mind but the impact of repeated units is softened considerably by the quality of the site and the scale of the buildings...but most importantly, we never felt we were made to compromise for budget reasons. it remains a central tenet and experience of vandkunsten that key qualities of housing are independent of budget. that may be a provocative statement to all those struggling with budget restraints in social housing, but just think about how often the wrong decisions are forced on a project by thick-headed bureaucrats and ignorant clients rather than a lack of money.
what made me really happy yesterday was the way people are making the place their own. what I saw was only the beginning and as such both careful and hesitant, but it showed an impressive understanding of our intentions. I only fear there are too many restrictions on what residents are allowed to do. we love rules in denmark but the real sustainability of this project does not lie in the sturdiness of its materials but in the fundamental adaptability of its scale and method of construction. I hope changes will be allowed over time.
I also can't wait to see what people will make of their communal squares. they were finished simply with a lawn and a couple of young apple trees but the possibilities for making unique and personal spaces out of them are many and the process of doing so should generate a real sense of community...not that it seems to be lacking. from our client we have heard stories of how people are helping each other moving in - always a challenge, but particularly so in a project where you have to do part of the finishing work yourself.
when you arrive at a place as a stranger, the sense of community often proves itself as a kind of natural surveillance. this place is full of kids (as we had hoped) and people were discreetly keeping an eye on me and my camera as I toured the place, a sign of the individual responsibility they feel. you cannot force that on anyone but you can support it in the design: here, in the way all kitchens open onto the communal garden; in the way the covered access becomes a niche in that space while at the same time framing a view of the private garden and the landscape beyond.
all modest means, describing a modulation of social spaces from public to private.
our own discussion at home right now is whether we should move there ourselves. it would be so much better for our daughter but it would add 40 kilometers to our daily commute - both ways - a problem as old a suburbia itself.
grey with shades of slate-green and and raspberry-red ...
Grau und Weiß mit Schiefergrün und Rosa ...
There is no sky here
only a surface pretending to extend
no extension
only a persistence of interruption
that imitates distance
you call it horizon
because the eye requires a boundary
to continue failing
but the line has already withdrawn
before being perceived
and what remains
is not space
but the memory of a direction
that never belonged to movement
-
a form insists
not as object
not as presence
but as a refusal to collapse into recognition
it elongates
not forward
not backward
but outside of sequence
trajectory without departure
arrival without event
you think it crosses
but crossing implies separation
here
nothing was ever divided
only layered
only displaced
only rehearsed as if it could be stabilized
-
identify the rule
gravity
origin
continuity
time
do not break it
do not invert it
do not even oppose it
simply proceed
as if it were no longer required
and observe
how the structure continues
without needing the law that once defined it
how the fall never occurs
yet descent remains
how direction persists
without vector
how the system continues
without center
-
the landscape does not exist
it is a residual interface
between two failures of perception
what you see
is not terrain
but a delay
what you feel
is not scale
but compression misinterpreted as depth
and what moves above it
does not move
it displaces the necessity
of movement itself
-
this is not an object
it is a correction
applied too late
a recalibration
of something that never stabilized
it narrows
not to become precise
but to escape the obligation
of having ever been wide
it sharpens
not to cut
but to refuse diffusion
-
identity attempts to attach
fails
attempts again
fails differently
each failure produces
a more accurate illusion
until the illusion
no longer requires belief
only repetition
-
time is introduced
not as duration
but as a formatting error
a misalignment
between sequence and occurrence
events do not follow
they accumulate
in the absence of order
and what you call before
is merely
a less dense configuration of after
-
the form continues
not because it exists
but because stopping
would imply conclusion
and conclusion implies structure
and structure implies agreement
which has already been withdrawn
-
there is no meaning here
only operation
no message
only modulation
no presence
only insistence
and yet
it holds
not as truth
not as illusion
but as something
that no longer requires either.
MODULATION OF THE BALANCE IN THE MATRIX / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT.
iSwarm is a swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns.
Camera Info:
Canon 5D Mk3 | Canon EF14 f/2.8L ii | ISO - Bracketing 100-400 | f 8.0 | focal length 14mm | 5 image | 7 exposures each tile - Magic Lantern
| HDR / DRI
| Nodal Ninja 4 Pano Head
Waving colour cycling LEDs and a pop of a white Lenser P7 with a plastic glass over the end of the lens. The glass has a hole cut through the end.
No post processing or anything like that.
[…] Den ganzen Nachmittag verbrachte ich in der Buchhandlung. Dort gab es nicht etwa Bücher. Seit fast einem halben Jahrhundert wurden keine mehr gedruckt. Und ich hatte mich so sehr darauf gefreut nach den Mikrofilmen, aus denen die Bibliothek des „Prometheus“ bestand. Pustekuchen. Keiner konnte mehr in Regalen stöbern, schwere Bände in der Hand wiegen, ihr Volumen richtig auskosten, das den Umfang des Lesevergnügens voraussagte. Die Buchhandlung erinnerte an ein elektronisches Labor. Bücher waren kleine Kristalle mit gespeichertem Inhalt. Lesen konnte man sie mit Hilfe eines Optons. Der sah einem Buch sogar ähnlich, allerdings mit nur einer einzigen Seite zwischen den Einbanddeckeln. Berührte man dieses eine Blatt, so erschienen hintereinander die Textseiten in ihrer Reihenfolge. Aber es wurde – wie mir der Roboterverkäufer sagte - von den Optonen wenig Gebrauch gemacht. Das Publikum zog die Lektonen vor – sie lasen laut vor, und man konnte sie auf eine beliebige Stimmart, Tempo und Modulation einstellen. […]
aus „Rückkehr von den Sternen“ (1961) von Stanislaw Lem
www.youtube.com/watch?v=KmzFDEu2RoA
________________________
[…]The whole afternoon I spent in the bookstore. There were no books at all. For almost half a century, none have been printed. Using the microfilms from which the library of "Prometheus" existed, I was looking forward to real books. Fiddlesticks. No one could rummage on shelves, weigh heavy volumes in his hand, properly appreciate their volume, which predicted the extent of the reading pleasure. The bookstore seemed to be an electronic laboratory. Books were small crystals with stored contents. One could read them with the help of an opton. It even looked like a book, but with only one page between the covers. When one touched this one page, the pages of the text appeared in sequence. But, as the robotic seller told me, the optons were little used. The people prefer to use lectons - they read aloud, and they could be adjusted to any kind of voice, tempo, and modulation.[…]
from „Return from the Stars“ (1961) by Stanislaw Lem
Jerusalem, Israel: Covered carelessly with an adhesive sheet of plastic, this poster was marred by a number of channel-shaped, air pockets, running randomly over its surface, but which provided the image with visually interesting modulations of the reflections of the warm, street lighting.
From the Future Ventures’ 🚀 Space Collection. Photos by technoarchaeologist Curious Marc, who is getting my heroic Apollo artifacts working again! Stay tuned, so to speak.
This unit takes the phase-modulated signal and FM TV signal, combines them, modulates them, and amplifies them before sending them to the main amplifier. It also has the receiver circuitry. It also has interesting ranging circuitry: NASA sent a pseudo-random ranging sequence to the spacecraft and this box amplified and returned the signal. On the ground, they measured how long the signal took (by correlating the returned signal with the sent signal), which gave them an accurate distance to the spacecraft. Since this box includes amplification, it can be used without the main amplifier, and they could do that on Apollo if the main amplifier failed.
From Spaceaholic: "Apollo Command Module Unified S-Band Transponder (manufactured by Motorola, Inc., Military Electronics Division, Scottsdale, Ariz.). The Unified S-Band Transponder was the only method of exchanging voice communications, tracking, biomedical, and ranging, transmission of pulse code modulated (PCM) data and television, and reception of uplinked data from Mission Control once the Apollo Command Module was outside a range of 1500 nautical miles and line of sight from Manned Space Flight Network (MSFN) ground stations strung around the Earth (within that range, VHF was available). The term "Unified" is applicable because the communications system combined the functions of (signal) acquisition, telemetry, command, voice, television and tracking on one radio link. This design resulted in fewer antennas/electronics assemblies (and thus decreased complexity and weight) on both the spacecraft and the ground station segments of the MSFN. The Unified S-Band Equipment (USBE) onboard the Apollo Command Module, Lunar Module, Lunar Rover were absolutely critical to the successful execution of the Apollo program; and reliability was assured through the implementation of full redundant, heavily tested design.
The Electronic assembly hosts a redundant architecture consisting of two phase-locked transponders and one frequency modulated transmitter housed in single, gasket-sealed, machined aluminum case, 9.5 by 6 by 21 inches. The unit weighs 32 pounds, operated from 400 Hertz power, with RF output of 300 milliwatts, with a fixed transmit frequency of 2287.5 Megahertz (MHZ) / receive frequency 2106.4 MHZ.
The S-band transponder is a double-superheterodyne phase-lock loop receiver that accepted a phase-modulated radio frequency signal containing the updata and up-voice subcarriers, and a pseudo-random noise code when ranging was desired. This signal is supplied to the receiver via the triplexer integral to the S-band power amplifier equipment and presented to three separate detectors: the narrow- band loop phase detector, the narrow-band coherent amplitude detector, and the wide-band phase detector. In the wide-band phase detector, the intermediate frequency is detected, and the 70-kiloHertz up-data and kilohertz up-voice subcarriers are extracted, amplified, and routed to the up-data and up-voice discriminators in the premodulation processor.
When operating in a ranging mode, the pseudo-random noise ranging signal is detected, filtered, and routed to the S-band transmitter as a signal input to the phase modulator. In the loop- phase detector, the intermediate frequency signal is filtered and detected by comparing it with the loop reference frequency. The resulting dc output is used to control the frequency of the voltage-controlled oscillator. The output of the voltage controlled oscillator is used as the reference frequency for receiver circuits as well as for the transmitter. The coherent amplitude detector provided the automatic gain control for receiver sensitivity control. In addition, it detected the amplitude modulation of the carrier introduced by the high-gain antenna system. This detected output was returned to the antenna control system to point the high- gain antenna to the ground station. When the antenna pointed at the ground station, the amplitude modulation was minimized. An additional function of the detector was to select the auxiliary oscillator to provide a stable carrier for the transmitter, whenever the receiver lost lock. The S-band transponders could transmit a phase- modulated signal with the initial transmitter frequency obtained from one of two sources: the voltage controlled oscillator in the phase-locked disband receiver or the auxiliary oscillator in the transmitter. Selection of the excitation was controlled by a coherent amplitude detector.
The S-band equipment also contains a separate FM transmitter which permitted scientific, television, or playback data to be sent simultaneously to the ground while voice, real-time data, and ranging were being sent via the transponder."
Taken at "I Light Marina Bay" Light Festival
iSwarm is a swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns.
Germany, Hamburg, Harbour City, Magellan Terraces, a square covering about 5,000 square metres, similar to an amphitheatre & providing a fine view of the Traditional-Ship Harbour in the Harbour City. This square is an inviting place to linger & is also used for cultural events.
For almost one & a half century, since 1866, the Harbour at the “Sandtorwall” was used as a port for ships with all kinds of imports from around the world. With the increasing size of cargo ships & later the container giants, the ware house area was not able to handle the freighters any longer. The whole area started than to be changed, maintaining the historic structure & buildings, into today’s harbour city, housing offices, apartments, gastronomy, shops etc., the re-modulation of the harbour city will still go on for many years, including the never ending story of the philharmonic concert hall.
👉 One World one Dream,
...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
10 million visits in my photostream with countless motivating comments
Aircraft no 343-A-15 of 301st Hikotai, 343rd Kokutai, Kanoya airbase, Kyushu, April 1945. Flown by Lt. Naoshi Kanno (1921-1945).
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1/72 Hasegawa OoB build.
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After around 6 months of on and off work, this one can finally be called done. The photo does not make it justice since it does not show the color modulation on the fuselage but oh well. Painted using Tamiya acrylics and Alclad II varnishes. Rigging made using E Z Line.
Lmk if y'all want me to post more pictures of it once I have time to take better ones.
90 Mins. of Techno selected and mixed live @ Music For The Soul Halloween Party
ENJOY ♥
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▼ Tracklist:
[0:00]Violent - Rage For Order
[5:00]Basis Change - Cease
[9:00]Basis Change - Taygeta
[12:00]Marton Project - Planet Of Hope
[15:00]Anders Hellberg - Concomitant Modulation
[16:18]The Alchemical Theory - Esoteric
[22:56]One Release - Hela's Mjolnir
[27:00]T78 - Fisto
[31:07]ROBPM - Blue Mystic
[36:00]RobJanssen - Interface (T78 Remix)
[38:40]ROBPM - Take Control
[42:30]T78 - Nezquik
[46:00]Balthazar & JackRock - Rave Story
[49:00]MOTVS - Awakened
[53:48]Mac N Dan - Belmont Stomp
[56:00]MOTVS - Cannon In G#
[1:00:00]MOTVS - Boww Woww
[1:03:00]RobJanssen - Voodoo
[1:09:00]Dok & Martin - Feeling of Glory (T78 Remix)
[1:13:16]The-Prophecy - Jam Master
[1:16:20]Bruce Zalcer - Are We Dreaming
[1:22:53]T78 - Child of the Universe
#DIRTYANGEL #Techno
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
The Lake Of Eurybios by Daniel Arrhakis (2024 / 2025)
Eurybius, one of the commanders of horned Lamian Centaurs ...
With the music : Ulthar: DEEP Ambient Sci-Fi Music by Ethereal Realms
"Lands Beyond the Stone Wall" Series
In the past i study Geology in University, i decided to create, through the help of Artificial Intelligence, some breathtaking landscapes resulting from the erosive action of water throughout geological cycles.
By changing certain parameters such as lithology, oxidation of minerals, different types of algae and the type of karstic modulation as well as local environmental conditions, these series of landscapes are the result of these attempts...
I have been doing calligraphy since the end of inktober.
This famous sentence is one I remember having to write when I took drafting in the 7th grade. It is probably the most famous pangram in the English language and perfect for this exercise.
Most of the calligraphy resources I have found online are doing something different, with different kinds of materials, so I have been having to guess my way through this. Here is a diagram where I tried to visually represent my strokes and their order.
I was not following any actual ductus here (most of those are not that consistent with each other anyway.) but just feeling my way through this alphabet (Edward Johnston's foundational hand, 1909.) based on what felt comfortable with the brush.
Maybe by posting here, someone who is familiar with lettering can make suggestions.
paper: hp printer paper multipurpose 20lbs.
ink: Dr. Martin's ("synchromatic transparent water color") light grey.
brush: Creative Inspirations watercol brush #4 round.
(notations made with .5 pentel mechanical pencil.)
All sounds and visuals are generated and spatialised (3d for sound, 2d for visuals) according to the position and other modulation parameters of people inside the installation. Sorry, sound and video a bit crappy as it was taken with my picture camera.
"Darkened not completely dark let us walk in the darkened field
trees in the field outlined against that which is less dark
under the trees are bushes with orange berries dark green leaves
not poetry’s mixing of yellow light blue sky darker than that
darkness of the leaves a modulation of the accumulated darkness
orange of the berries another modulation spreading out toward us
it is like the reverberation of a bell rung three times
like the call of a voice the call of a voice that is not there.
We will not look up how they got their name in a book of names
we will not trace the name’s root conjecture its first murmuring
the root of the berries their leaves is succoured by darkness
darkness like a large block of stone hauled on a wooden sled
like stone formed and reformed by a dark sea rolling in turmoil."
--John Taggart
“Orange Berries Dark Green Leaves” from Is Music: Selected Poems. Copyright © 2010 by John Taggart. Reprinted by permission of Copper Canyon Press.
Source: Is Music: Selected Poems (Copper Canyon Press, 2010)