View allAll Photos Tagged modulation
10th June 2013 at Red Lion, Isleworth, Middlesex (gig with Derek Nash).
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 shows (left to right) a Marshall Bluesbreaker (which emulates the sound of the combo amplifier of the same name), a DigiTech EX-7 Expression Factory, Line 6 DL-4 Delay Modeler Pedal, an Ernie Ball VP JR (volume pedal), TC Electronic PolyTune (tuner) and a Boss CH-1 Super Chorus (makes sounds of similar timbre and pitch converge as one)
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
www.news-medical.net/news/20220912/Mucosal-vaccination-tr...
Mucosal vaccination triggers superior T cell response against SARS-CoV-2 variants
In a recent study posted to the bioRxiv* server, researchers in Singapore and the United States demonstrated that intranasal (I.N.) delivery of a mucosal severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) vaccination triggered a superior T cell response compared to an equivalent dose of antigen delivered by the subcutaneous (S.C.) route. In addition, the I.N. vaccine-induced T cell phenotypes had polyfunctional interferon-gamma (IFN-γ) and tumor necrosis factor (TNF) expression and encompassed abundant T central memory (TCM) cells.
Background
The ongoing coronavirus disease 2019 (COVID-19) pandemic has necessitated unprecedented advances in vaccination technologies. However, the continuous emergence of new SARS-CoV-2 variants of concern (VOCs) poses a risk of frequent breakthrough infections and severe disease outcomes in multiple age groups, even in populations with high levels of vaccine coverage.
T cells are highly cross-reactive to multiple SARS-CoV-2 VOCs, SARS-CoV, and seasonal coronaviruses. Studies in non-human primates have pointed to a protective role of T cells in vaccine-induced protection. It is also noteworthy that SARS-CoV-2 infection begins at the mucosal surface of the nasal passages and lung airways. Therefore, there is an urgent need for alternative vaccine approaches for SARS-CoV-2, including subunit vaccines, which use adjuvants to promote immune activation.
Currently, there are no mucosal adjuvants approved for use in humans. Mastoparan-7 (M7), an analog of mastoparan, appears to work in vivo and has shown efficacy in enhancing the titer of antigen-specific antibodies in animal models when delivered via the S.C. route as well as application to the nasal mucosae. However, it is unknown if M7 influences T cell phenotypes and functions that are particularly important for combatting certain types of viral pathogens.
About the study
In the present study, researchers tested whether I.N. delivery of an adjuvanted subunit vaccine induced adequate SARS-CoV-2-specific T cell immune responses. They used eight to 10 weeks old C57BL/6 mice for all the vaccination experiments. The vaccine formulation comprised one μg of recombinant S-receptor-binding domain (RBD) protein with or without 20μg of M7.
They harvested spleens, popliteal LNs, or the nasal-associated lymphoid tissue (NALT), a rodent structure analogous to Waldeyer’s ring in humans, of all mice at necropsy on day 35 post-vaccination to prepare single-cell suspensions. They isolated red blood cells (RBCs) from the single-cell suspensions of the spleen and determined total cell numbers using a hemocytometer.
The team measured T cell responses five days post-vaccination by flow cytometry in the draining lymphoid organs for the respective tissues for S.C. or I.N. routes, respectively. They also assessed systemic T cell responses in the spleen following vaccination via both routes. Finally, the researchers visualized populations of T cells in the lymphoid organs using the UMAP algorithm, which they identified using the gating strategy.
Study findings
The currently used COVID-19 vaccines do not appear to induce robust airway-resident antigen-specific T cells, thus, necessitating the potential of next-generation COVID-19 vaccines to improve mucosal and systemic immune responses through modulation of T cells. Mucosal vaccination against the S-RBD antigen of SARS-CoV-2 promoted a T cell-intrinsic phenotype associated with superior systemic immune responses and antibody responses that improved antibody persistence in vivo and cross-protection against SARS-CoV-2 VOCs compared to S.C. vaccination with the same formulation.
The heightened systemic T cell responses in multiple T cell subsets in the spleen also persisted in the TMEM cell compartment for several weeks following the SARS-CoV-2 challenge. These TMEM cells exhibited an improved polyfunctional phenotype, characterized by dual expression of TNF and IFN-γ upon ex vivo stimulation and in vivo memory recall to antigen. An enhanced interleukin-17 (IL-17) production characterized the in vivo splenic T cell responses. Overall, the study results illustrated the polyfunctional nature of TMEM cells, independent of their peripheral tissue homing abilities. Indeed, T cells could help establish systemic mucosal vaccine-induced memory, of which TCM cells are a central component.
The increased numbers of L-selectin (CD62L)-expressing TCM cells within the TMEM compartment following mucosal vaccination is key for the homing of these cells to the spleen, which typified increased systemic immunity. During memory recall, TCM also likely served as a pool of T cells that replenished the TEM population.
The study results also pointed out that site-specific immune responses influence the long-term balance of T cell subpopulations. Therefore, during in vivo antigen challenge, the authors noted a marked increase in the numbers of CD8 TEM in the lung-draining brachial lymph nodes of recipients of I.N. route. Conversely, the ex vivo antigen restimulation of spleen T cells before adoptive transfer resulted in improved activation for CD8 TEM in S.C. vaccinated group.
Systemic T-cell responses also impact B cell-dependent antibody responses. Compared to S.C. vaccination, I.N. vaccination induced a relatively small but substantially higher level of neutralizing antibodies (nAbs) five weeks after the final vaccine boost and more nAbs with greater breadth against multiple SARS-CoV-2 VOCs. Most likely mucosal vaccination strategy preserved antibodies against more diverse epitopes within the polyclonal pool.
Conclusion
The current study is unique in using an M7 adjuvant, which could be injected into the skin and administered at mucosal surfaces, to directly compare the immune responses induced by the same dose of antigen administered via the two routes. The COVID-19 vaccines relying on high titer-specific nAbs with limited induction of mucosal responses need improvements. The mucosal vaccination strategy could prove helpful by helping improve the systemic immune responses and cross-reactive nAbs; thus, this strategy could potentially be used in the next-generation SARS-CoV-2 vaccines.
www.nature.com/articles/s42003-022-03841-8
Hydroxychloroquine blocks SARS-CoV-2 entry into the endocytic pathway in mammalian cell culture
Abstract
Hydroxychloroquine (HCQ), a drug used to treat lupus and malaria, was proposed as a treatment for SARS-coronavirus-2 (SARS-CoV-2) infection, albeit with controversy. In vitro, HCQ effectively inhibits viral entry, but its use in the clinic has been hampered by conflicting results. A better understanding of HCQ’s mechanism of actions in vitro is needed. Recently, anesthetics were shown to disrupt ordered clusters of monosialotetrahexosylganglioside1 (GM1) lipid. These same lipid clusters recruit the SARS-CoV-2 surface receptor angiotensin converting enzyme 2 (ACE2) to endocytic lipids, away from phosphatidylinositol 4,5 bisphosphate (PIP2) clusters. Here we employed super-resolution imaging of cultured mammalian cells (VeroE6, A549, H1793, and HEK293T) to show HCQ directly perturbs clustering of ACE2 receptor with both endocytic lipids and PIP2 clusters. In elevated (high) cholesterol, HCQ moves ACE2 nanoscopic distances away from endocytic lipids. In cells with resting (low) cholesterol, ACE2 primarily associates with PIP2 clusters, and HCQ moves ACE2 away from PIP2 clusters—erythromycin has a similar effect. We conclude HCQ inhibits viral entry through two distinct mechanisms in high and low tissue cholesterol and does so prior to inhibiting cathepsin-L. HCQ clinical trials and animal studies will need to account for tissue cholesterol levels when evaluating dosing and efficacy.
Introduction
Coronavirus disease 2019 (COVID-19), a viral infection caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), recently emerged as a serious public health problem. Currently, millions of people have been infected with SARS-CoV-2 worldwide. Proposed treatments for severe symptoms include a well-known FDA-approved antimalarial and anti-inflammatory agents chloroquine (CQ) and its derivative hydroxychloroquine (HCQ), but their mechanisms of action are poorly understood in human cells (and in particular in the presence of underlying conditions). A retrospective study claimed a benefit in particular with the macrolide antibiotic azithromycin. However, their use is not without controversy, and randomized control studies without an antibiotic appeared to have no benefit. In the treatment of malaria, CQ targets the replication cycle of the parasite; This mechanism of action is presumably unrelated to their actions in COVID-19, Lupus, and Niemann-Pick Syndrome. Understanding the underlying in vitro mechanism for these compounds in COVID-19 could help in understanding their mechanism of action in humans, in designing efficacious clinical trials, and in bettering the translation of their use in the clinic.
Previous research from the lab shows that a cholesterol-dependent mechanism for anesthetics regulates the movement of membrane proteins between monosialotetrahexosylganglioside1 (GM1) lipid clusters and PIP2 lipid clusters through perturbing the affinity of proteins for GM1 clusters. While the GM1 clusters are formed by cholesterol packing (Van der Waals interactions) with palmitates covalently attached to proteins (palmitoylation)15, the PIP2 clusters are formed from charged-protein clustering located near disordered lipids. We refer to the nonclustered region as the ‘disordered region’ of the cell since it is separate from GM1 clusters and contains unsaturated lipids that are disordered. PIP2 is thought to cluster near disordered lipids. In cellular membranes, both local and general anesthetics act as a chaotrope to disrupt the cholesterol-induced clustering of palmitoylated proteins. Within this process, cholesterol protects against the disruption of cells by sealing the air-water interface of the lipid membranes.
Cholesterol is critical to both viral entry and immune responses. The cholesterol-rich GM1 clusters facilitate endocytosis. SARS-CoV-2 surface receptor (angiotensinogen converting enzyme 2 (ACE2)) has recently been shown to move between GM1 clusters and PIP2 clusters in a cholesterol-dependent manner. As the cellular cholesterol level rises, both the number of endocytic lipids and their apparent cluster size increase. In an obese mouse model, cholesterol was high in lung tissue, and this correlated with ACE2 movement to the endocytic lipids, a condition that accelerated viral entry into the target cells in cell culture.
Cholesterol in blood appears to be low in multiple studies of COVID-19 patients with severe disease. However, the cellular cholesterol concentration measured in monocytes of the same patients was elevated, suggesting an opposite result in blood and tissue at the late stages of the disease. Importantly, cholesterol synthesis and uptake into immune cells is a key effector of inflammation. The cholesterol transport protein apolipoprotein E (apoE) both loads and unloads cholesterol to and from cellular membranes, allowing us to manipulate cholesterol levels both in vitro and in vivo.
Interestingly, CQ is an anesthetic—subcutaneous injections of CQ produce instant local anesthesia sufficient to perform a surgical procedure. Also, both CQ and tetracaine, a local anesthetic, are hydrophobic and contain a tertiary amine. Since CQ and local anesthetics (such as tetracaine) are weak bases, their uptake changes the acid-base balance within the membrane. Additionally, common local anesthetics (such as mepivacaine, bupivacaine, and tetracaine) and other GM1 cluster disrupting compounds (such as sterols and cyclodextrin) can exert antiviral or antimicrobial activity. Terpenoids can also disrupt viral entry; this process is cholesterol-dependent.
Both the cholesterol-dependent lipid disruption and antiviral properties of anesthetics, along with the anesthetic and antiviral properties of HCQ link the lipid disruption properties of HCQ with its viral-entry inhibiting effects. Further research into this link could help us understand both HCQ and anesthetics’ underlying molecular mechanism(s) in mammalian cells; in particular, mammalian cells in a high-cholesterol state—a state that is consistent with the chronic inflammation and the comorbidities of COVID-19, lupus, and Niemann pick. Prior models speculated that HCQ inhibited cathepsin-L by changing the endosomal pH. However, if HCQ disrupts ACE2 clustering, it would reverse the effects of cholesterol and inhibit the endocytic entry prior to the cathepsin-L cleavage. Here we use super-resolution imaging to show that HCQ disrupts the clustering of ACE2 with both endocytic lipids and PIP2.
Results
Inhibition of SARS-CoV-2 entry by anesthetic compounds
In order to test a membrane-disruptive mechanism for HCQ inhibition of SARS-CoV-2 viral entry, we compared HCQ to anesthetics (tetracaine and propofol) which are known to be membrane-disruptive. HEK293T cells overexpressing ACE2 were infected with a retrovirus pseudotyped with the SARS-CoV-2 spike protein (SARS2-PV). A segment of the spike protein binds to ACE2 and recapitulates viral entry. A luciferase encoded in the pseudotyped virus is then used to quantitate viral entry.
Treatments with HCQ, tetracaine, and propofol all robustly reduced SARS2-PV entry into HEK293T cells overexpressing ACE2. The cells were first treated with drugs (50 µM) for 1 h, then the drugs were removed. After the treatment and subsequent drug removal, SARS2-PV was applied such that the virus was never exposed to the drugs, thus avoiding potential direct effects of cholesterol on the viron. HCQ had the greatest effect on viral inhibition with almost a 90% reduction in SARS2-PV luciferase activity. We used 50 µM since that concentration was previously shown to be the minimum concentration that fully inhibited viral entry. The concentration is ~5-fold above the concentration found in lung epithelial lining fluid after 400 mg for 1 day making it an appropriate concentration to see a full effect by dSTORM. Like anesthetics, the actual concentration of HCQ in the membrane is dictated by a partition coefficient and the resultant mole fraction, not external concentration.
In Vero E6 cells, a cell line that endogenously expresses ACE2 receptor and robustly facilitates SARS-CoV-2 viral entry, HCQ, tetracaine, and propofol all significantly decreased viral entry. HCQ again showed the strongest effect decreasing viral entry by ~92%. Cell viability after HCQ treatment was assessed by Fixable Viability Dye (FVD) staining and MTT assay. The FVD staining labeled dead cells and found that HCQ treatment had no effect on Vero E6 cells, in agreement with a previous study, but did decrease live cell number by ~23.93 ± 5% in HEK293T cells. Similarly, the MTT assay showed HCQ treatment significantly decreased cell metabolism in HEK293T cells by ~36.05 ± 6%. However, the reduction in cell viability of HCQ did not account for the full reduction in viral entry. Tetracaine and propofol had no adverse effects on cell viability in vero E6 or HEK293T cells.
COVID-19 is often severe in obese patients and those with underlying conditions. We obtained lung samples from adult humans with chronic obstructive pulmonary disease (COPD). We found the lung tissue to have significantly higher free-cholesterol levels compared to cultured lung cell lines as measured by our fluorescent cholesterol assay. To recapitulate the physiological conditions observed in COVID-19 patients, we tested HCQ’s inhibition on viral entry in HEK293T loaded with cholesterol and overexpressing ACE2. To load cholesterol into cells, 4 µM apolipoprotein E (apoE, a cholesterol carrier protein linked to the severity of COVID-1951) was applied. ApoE binds to low-density lipoprotein (LDL) receptors in tissue and facilitates the loading of cholesterol into cells. To provide a source of cholesterol to the apoE, 10% fetal bovine serum (FBS, a common source of cholesterol) totaling ~310 µg/mL was added. Importantly, apoE is not present in FBS, allowing us to carefully control cholesterol loading. When apoE is in excess or in low-cholesterol conditions, it facilitates the efflux of cholesterol from the cell. Cells were treated acutely (1 h) for loading or unloading cholesterol prior to viral infection.
Loading cells with cholesterol into HEK293T cells overexpressing ACE2 increased viral entry by ~56 ± 38% l, which is consistent with observations with endogenously expressed ACE2 where cholesterol loading significantly increased viral entry by ~36 ± 7% (Supplementary Fig. 1g). As expected, treatment of cholesterol loaded cells with HCQ (~85 ± 12%) and tetracaine (~43 ± 12%) reduced SARS2-PV entry in a high-cholesterol state. The efficacy of HCQ was reduced in cholesterol loaded cells compared to non-cholesterol loaded cells, but only slightly.
To confirm that apoE loads and unloads cholesterol from cultured cells, we treated HEK293T, Vero E6, and A549 cells with apoE with and without 10% FBS and measured the relative change in membrane-free cholesterol. Cells that were incubated with and without a source of cholesterol contained small but significant increases and decreases in total cholesterol respectively. The loading and unloading of cholesterol were similar in H1793 cells, although the loading of cholesterol did not reach statistical significance.
HCQ’s disruption of ordered GM1 clusters
The ability of a virus to cluster is important for its infectivity and maturation. Previously, anesthetics were shown to perturb clustering in two ways. First, inhaled anesthetics tend to increase the apparent size and number of clusters, as observed using super-resolution imaging and cluster analysis, while local anesthetics tend to decrease the cluster size. Second, both inhaled and local anesthetics disassociate cholesterol-sensitive proteins from GM1 clusters. The dissociation of proteins from a GM1 cluster is recorded by two-color direct stochastic optical reconstruction microscopy (dSTORM) super-resolution imaging. The GM1 and PIP2 lipid, and ACE2 protein are fixed and labeled with cholera toxin B (CTxB, a pentadentate toxin binding GM1 lipids), PIP2 antibody, and ACE2 antibody, respectively, and then ACE2 association with the lipid is measured by pair correlation analysis. The antibodies in this study were previously validated for specificity (see methods). We previously used these techniques to monitor nanoscopic movement (<100 nm) of multiple proteins between both GM1 and PIP2 clusters.
(snip)
Reporting summary
Further information on research design is available in the
Nature Research Reporting Summary linked to this article.
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.
Here's something that's been sitting around for a while waiting to be finished. A few weeks ago I finally ordered a big ol' enclosure for it and the tracking came through for that yesterday, so it's time to finish this thing up. It's an extremely complicated little beastie and I don't actually even know if it will work when I fire it up.
It's a 1776 Effects Multiplex Echo Machine delay. Those two 16-pin ICs are a pair of independent delay lines. This thing has a mode where it functions like the old Binson Echorec. Those things recorded audio onto a disc that looked a little like a CD (but was nothing at all like a CD) and then had multiple playback heads so you could "listen" to the signal play back from different places on the timeline simultaneously to set up syncopated delays. It was the, "Secret Weapon" of a few big names.
This box also has a Roland RE-201 Space Echo mode and an Echoplex mode.
Anyway, hopefully this little monster will work. The tiny PCB in the foreground is an optical modulation daughterboard.
Well do we have news for you… (:-D
Resulting from my bro, Maxsimus, latest visit to Singapore this week and the photo shoot we set up during his stay, we decided jointly to look into PP.. issues and take matters seriously... (:D into our own hands “so to speak” and create our very own processing approach that we have named : “Hallucinogeneric”.
Based on the saturation of lens “Aperture Mode Locking” AML and the self-amplitude “Time modulation coefficient” or TMC, Our work deals with the saturation of the lens Aperture mode locking mechanism. A quantitative description of TMC and the self-amplitude modulation effect in a laser cavity can be derived. Considering both the nonlinear and geometrical (curvature vector or CV) differences between lenses and camera sensors (full frame or not) we concluded that the “CV” differential relationship between cameras and lenses results in nonlinear light modulation.
The loss of the “Light Pulse Conformation Strength” or (LPCS) in a cavity due to “bleaching or excess or lack of light” creates a “Fast Saturation Absorbency” or FSA behavior of any type of camera and lens combination all together. The “Intracavity Aperture Factor” or IAF specific to a given lens type produces the appearance of “FLICKERING” or image instabilities. Our goal was then to elaborate a formidable yet simple approach that allows the prediction of “FLICKERING” or image instabilities, and develop a post processing technique or method that can be as useful for short pulse laser cavity design in general than it is compared to a mouse pad - mouse relationship.
The obtained “Self-Amplitude Coefficient” or SAC is included within the TMC to which LPCS and FSA are added to give a ray-pulse matrix formalism, and a simple model for the temporal pulse parameters regarding only the self amplitude “Time Modulation Coefficient” or TMC can then be solve via a simple quadratic differential integration (Patent pending).
This new “Hallucinogeneric” model sets a limit for the maximum pulse light energy of a stable solution for a given nonlinear modulation and “Camera Lens Combination” or CLC.
Our “Hallucinogeneric” post processing technique we are certain will soon become the newest and most revolutionary PP faved method yet we are certain. We simply baptized “ this new processing technique Lens Setting Dynamics” or “L.S.D.” (:D allows us not only to take night shots in broad daylight, but also gives us a stunning doubled and colored vision extremely useful for reflective photography. Combined with “ Hallucinogeneric” TM you are bound to see all sorts of colors in all sorts of way.
The above is the first of a series relating to this amazing Field and post-processing breakthrough.
To know more, thank you for sending your questions and donations to Maxsie & I at Wetakecash@ourbankaccount.com or wtc@ourbankaccount.com
D. Maxsie – D. Phil
P.S.: "caution applies as D. may stand for delusional." A. Einstein
Best seen in Large. Thanks.
www.furtherfield.org/displayreview.php?review_id=369
sites.google.com/a/opensailing.net/www/press
Article by
Olga Panades Massanet (10/12/09)
About
project Open_Sailing 10/12/09 by Cesar Harada
Open_Sailing's biggest achievement is perhaps to have turned our future into an open source project. Led by a group of enthusiasts, gathered around the idea of "we don't know what will happen, but together we can invent our future and cope", the project puts forward a very ambitious, action-driven, experiment-led, way of thinking forward. After meeting with the founder of the project, Cesar Harada, Open_Sailing proved to be a much more complex enterprise than I thought.
Initially the project started by mapping threats, the idea being that threats can produce something else than fear. Indeed Cesar Harada, was decided to turn threats into design constraints. This constitutes an interesting methodology to deal with the current climate of fear. The exploitation of threat has become the standard procedure to stabilize a permanent state of emergency. Mobilising virtual threats, states acquire exceptional powers that facilitate the implementation of ever more pervasive measures of control. The current case of swine flu is the last of a long list of exercises of mass modulation of fear. War on terror is the paradigmatic one. On the other hand, and following the warnings of the Maya calendar, all sorts of popular tales for an apocalyptic 2012 have started to populate the planet.
The role of Open_Sailing is to function as a catalyst that channels all this energy into the production of a better future. In short, its role is to transform fear into hope. Certainly this functioned as a strong attractor for new collaborators and soon the team started to grow. After putting together large amounts of real-time data about all sorts of dangers such as tsunami, terrorist attacks, nuclear accidents or pandemics, it became clear that the potential safest spots on earth were mostly located at sea. That led to the idea of designing the infrastructure necessary to inhabit those spots based on the concept of 'Open Architecture'. Fear had been successfully turned into an active force unleashing the creative process. Inspired by this initial concept the Open_Sailing team started a very intense process of scientific, technological, architectural and artistic research that resulted in a first prototype awarded at Ars Electronica: Open_Sailing_01.
"A drifting village of solid and comfortable shelters surrounded by flexible ocean farming units: fluid, pre-broken, reconfigurable, sustainable, pluggable, organic and instinctive." [1]
This drifting village, which is about 50 metres in diameter and can host four people, is designed to respond to its environment, being able to become compact and endure severe weather conditions, and spreading out to harvest in calm situations. Open_Sailing_01 was supposed to set sail last May 2009 but mis-coordination in the production with Ars Electronica delayed the plan. In the meantime, small intermediary prototypes of different modules are being built and tested constantly, but the Open_Sailing team hopes to put together the main modules of the International_Ocean_Station for general testing by the summer 2010.
One other important thing that came across in the interview with Cesar Harada was how soon after Open_Sailing was set in motion, it became clear that the project was not only about escaping the problematics of our society. It was definitely not an idealistic utopia happening elsewhere and starting a world from scratch. Rather than an exercise of escapism, they realised that the idea of inhabiting those sites where there is no threat had become an experimental laboratory where to grasp the future. Indeed Open_Sailing is very much about finding ways to face and deal with the very problems of our world.
"Be it overpopulation, global warming or energy conflicts, we are living in a time where 'Apocalypse' beckons. We need to collectively invent and spread bootstrapping DIY technologies for the forthcoming challenges, not only to survive but to re-invent how we inhabit this planet." [2]
This became particularly obvious when the team flew to Morocco to try out some live-saving structures. Between the coast of Morocco and the Canary Islands in Spain hundreds of illegal immigrants die every year at sea. A high-seas permanent shelter would provide a low cost life-saving facility for the migrants.
This particular instance is also paradigmatic of the way in which experimentation is carried within the project. Future thinking is developed through material instantiations. This very characteristic process of design and engineering disciplines gives Open_Sailing an exciting palpability, a materiality, a commitment with actualisation that accounts for its potential to bring about real change. Commitment with results drives the project away from the artistic disciplines, but the poetics of the project undeniably brings them back together. A project that in a year of development has acquired such a level of complexity necessarily had to go through a very intense and accelerated process of conceptualisation and experimentation. And there comes the figure of the enthusiast, an experimental survivalist who is willing to take a plane the morning after an idea has come up to participate in a military training testing life-saving technologies.
Even more interesting is perhaps how this enthusiasm becomes contagious and the project starts to work as a truly open source venture. Open_Sailing becomes a powerful autonomous entity that keeps bringing people in a dividing itself into labs. Each new lab engages a whole new group of contributors, with a new set of preoccupations and hopes. The project proves to be definitely not about the implementation of a master plan or utopian blue print, but an example of how open source can literally be applied to the construction of alternative worlds. Within these labs we find different experimental research projects focusing for example on mesh networking; pollution, climate and natural reserve monitoring; sustainable aquaculture in high seas; or energy autonomous systems that generate electricity through wind, sun or wave power.
Now, there is of course the problem of co-option. The research being done is a very useful material with infinite commercial and even military applications. But perhaps this is not something that compromises the success of the project. Rather, its value lies in its capacity to encourage people to co-design their own futures. It is more about joining people that want to create than attracting those that want to buy. Surely, it is the process of creation of alternative that's been set in motion that is truly significant, even more than the technologies being produced. Furthermore, Open_Sailing manages to reverse the process of co-option, the same way it reverses the effects of threat. Collaborators turn to scientific institutions, corporations, military research, as a useful resource, and then open up the knowledge acquired. This is not a new 'green design' product for the consumerist society, it is a spark for a collaborative rethinking of the world.
GATECRASHER 9TH BIRTHDAY LIVE @ REPUBLIC 21-Sept-2003 , SHEFFIELD , ENGLAND , UK
Gatecrasher 9th B'day (2003-09-20) Play List PVD
01. Mark Norman - Overkill (Intro Mix)
02. Terry Bones & Fred Baker - Introspection (John Askew Remix) (Paul van Dyk Re-Edit)
03. Inzite - Spellbound
04. Agnelli & Nelson - Holding On To Nothing (Paul van Dyk Rework)
05. Modulation - Spirits (Cosmicman Remix)
06. R.B.A - Daywalker
07. Motorcycle - As The Rush Comes (Sweeping Strings Mix)
08. ID
09. 4 Strings - Revelation
10. Jaron Inc. - Overflow
11. Scott Bond Vs. Solar Stone - Naked Angel
12. James Holden & Thompson - Nothing (93 Returning Mix)
13. Donald & Giles - Weekend Wonder (Donald & Giles Remix)
14. Goldenscan - Sunrise (Pulser 6AM Vocal Mix)
15. Paul van Dyk feat. Second Sun - Crush (Album Mix)
16. Paul van Dyk Feat. Vega 4 - Time Of Our Lives (Paul van Dyk Club Mix)
17. David Forbes - Answers (Original Mix)
18. Masters & Nickson - 5th Dimension (Instrumental)
19. Lunatic Asylum - Cabal (Energy Flow) (Hiker & Dumondt's Gom Jabar Mix)
20. Nu-NRG - Connective
21. Three Drives - Carrera 2 (Nu-NRG Remix)
22. Modulation - Spirits (Slusnik Luna Remix)
23. ID
24. Extension 119 - The Zone (Original Mix)
25. Marcel Woods - Time's Running Out
26. ID
27. DJ Flex Pres. Digital Club - Dynamo [w/ DJ Tomcraft - Brainwashed (Club Mix Sampled]
28. Paul van Dyk vs Marco V - For A Revolt
29. Chris Liebing - Natural Selection
30. Tiesto - Traffic
31. Mat Silver Vs. Tony Burt - Ultimate Wave (Paul van Dyk Rework)
32. Project Magneta - Twisted Soul
33. Project Zero - Omega Six (Paul van Dyk Rework)
34. Nick Lunn & YOMC pres. Tecno Punx - Energize (Paul van Dyk Edit)
35. Paul van Dyk feat. Hemstock & Jennings - Nothing But You (Original Mix)
Northbound
5S95 Wembley Intercity Depot to London Euston pl 15
1S25 Euston to Inverness
dividing at Edinburgh to form
1A25 Edinburgh to Aberdeen
1Y11 Edinburgh to Fort William
5S96
1S26 Euston to Glasgow Central
dividing at Carstairs to form
1B26 Carstairs to Edinburgh
Southbound
1M11 Glasgow Central to Euston
5C11
1M16 Inverness to London Euston
joined at Edinburgh by
1B01 Aberdeen to Edinburgh
1B16 Fort William to Edinburgh
then
5M16 Euston to Wembley Intercity Depot
Peter Strachan managing director of the Caledonian Sleeper for Serco said "Getting people to their destination on time is a key part of our commitment to the Scottish Government. Even though the train runs overnight, even though in some cases its quite a leisurely journey when were going through the highlands looking at the scenery at that time in the morning, we want to be reliable and we want to have people having the confidence that we are going to run on time".
As the GBRf class 92 locomotives hauling the sleepers between Euston and Edinburgh and Euston and Glasgow have a lower top speed (87 mph) than the DB Schenker class 90 locomotives (110 mph) they replaced it has been pointed out that they are less able to make up lost time after delays.
With the warmer weather now here the ICMU (Interference Currents Modulation Unit) and DLF (Detection of Low Frequencies) monitor is unlikely to repeatedly cut the power but given a cold winter and ice on the overhead wires performance of the service may be significantly reduced.
The use of 92s by the new operator makes more sense considering their order for new coaches that if compatible with use through the Channel Tunnel could see the resurrection of plans for the Nightstar sleeper service to Continental Europe.
Clone of Chris Carter's legendary circuit.
Built with the kit from FuzzDogs Pedal Parts.
shop.pedalparts.co.uk/Gristleizer_Mad_Modulations/p847124...
The white thing is the vacuum modulator (not connected yet), two connection to measure the pressure inside the tranny. The black cable in the middle is an electric cable.
The modulator controls the modulation pressure: idle = high vacuum = low modulation pressure; full throttle = low vacuum = high modulation pressure. The modulation pressure controls the other pressures (working pressure, controlling pressure and regulating pressure).
New Oticon Delta 8000 Hearing Aid
Innovative Sound Features:
* Multiband Adaptive Directionality
* Clarity & Voice Aligned Compression
* VoiceFinder
* OpenEar Acoustics
Noise Reduction Features:
* Modulation-based or Tri-State Noise Management
* Dynamic Feedback Cancellation
User Friendly Features:
* 6 to 8 Channels, depending on ear piece, and amplification strategy
* Activity Analyzer
* Manual Adaptation Manager
Battery:
* Zinc Air Size 10A yellow (5-6 day battery life)
Options:
* Open Dome. Available in three sizes: 6mm, 8mm, and 10mm.
* SlimTip
* Choice of 17 Shell Colors, 3 Amplifier Colors
Shot in 80.6MP mode on pre-production Lumix G9. Cropped from original JPEG for better composition. Edited in Ps/ACR, added a ver subtle film grain for a nice "modulation" of the very smooth gradients. The JPEGs straight out of the high-resolution mode of the G9 are truly addictive to work with. Can't wait for Lr to support the 80.6MP RAW files! There's an insane amount of detail, and the mode is extremely simple to use...
Disclaimer: This image was shot with a pre-production model of the Lumix G9, hence image quality may not be representative for final production model.
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 ]
The Panzer II hit with Panzer grey and two modulation layers.
Have also started work on the diorama base. As this build will be done crossing a trench during a training exercise before the war.
"SRA" - Seamless Rate Adaptation, a protocol which, by decoupling the modulation and framing layer, can change the transmission data rate parameters (applied by the modulation layer) without changing any of the frame layer parameters, so there is no need for restarting or resynchronizing the two end systems. see www2.rad.com/networks/2005/adsl/adsl2.htm
GATECRASHER 9TH BIRTHDAY LIVE @ REPUBLIC 21-Sept-2003 , SHEFFIELD , ENGLAND , UK
Gatecrasher 9th B'day (2003-09-20)
01. Mark Norman - Overkill (Intro Mix)
02. Terry Bones & Fred Baker - Introspection (John Askew Remix) (Paul van Dyk Re-Edit)
03. Inzite - Spellbound
04. Agnelli & Nelson - Holding On To Nothing (Paul van Dyk Rework)
05. Modulation - Spirits (Cosmicman Remix)
06. R.B.A - Daywalker
07. Motorcycle - As The Rush Comes (Sweeping Strings Mix)
08. ID
09. 4 Strings - Revelation
10. Jaron Inc. - Overflow
11. Scott Bond Vs. Solar Stone - Naked Angel
12. James Holden & Thompson - Nothing (93 Returning Mix)
13. Donald & Giles - Weekend Wonder (Donald & Giles Remix)
14. Goldenscan - Sunrise (Pulser 6AM Vocal Mix)
15. Paul van Dyk feat. Second Sun - Crush (Album Mix)
16. Paul van Dyk Feat. Vega 4 - Time Of Our Lives (Paul van Dyk Club Mix)
17. David Forbes - Answers (Original Mix)
18. Masters & Nickson - 5th Dimension (Instrumental)
19. Lunatic Asylum - Cabal (Energy Flow) (Hiker & Dumondt's Gom Jabar Mix)
20. Nu-NRG - Connective
21. Three Drives - Carrera 2 (Nu-NRG Remix)
22. Modulation - Spirits (Slusnik Luna Remix)
23. ID
24. Extension 119 - The Zone (Original Mix)
25. Marcel Woods - Time's Running Out
26. ID
27. DJ Flex Pres. Digital Club - Dynamo [w/ DJ Tomcraft - Brainwashed (Club Mix Sampled]
28. Paul van Dyk vs Marco V - For A Revolt
29. Chris Liebing - Natural Selection
30. Tiesto - Traffic
31. Mat Silver Vs. Tony Burt - Ultimate Wave (Paul van Dyk Rework)
32. Project Magneta - Twisted Soul
33. Project Zero - Omega Six (Paul van Dyk Rework)
34. Nick Lunn & YOMC pres. Tecno Punx - Energize (Paul van Dyk Edit)
35. Paul van Dyk feat. Hemstock & Jennings - Nothing But You (Original Mix)
Close up view of the modulation patterns in a 16" transparent red vinyl disk. The disk was pressed in 1955 and used to promote the MGM movie, "Jupiter's Darling" on radio stations. I'm eager to hear the recording- but will likely need to modify a turntable to do so due to the extra large disk diameter.
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.
Predecessors
Kieran fashioned for himself a small pouch, which could hold more inside it that the volume of the bag would suggest. Into this he packed his dark, seeing stone, then he tucked the pouch into his pocket and began to walk carefully up the fern covered hillside toward the summit of what looked like a small mountain. Several hours later he came to the top of this mountain and was able to look at the forest around him. This was indeed the highest point that he could see within the confines of the horizon, and it afforded him a view that suggested the lay of the land. There was, not far from here, what looked like a curving black snake through the trees: a river, slowly winding its way through the forest. The river seemed to end at the foot of another hill, smaller that the one that Kieran was currently standing on.
Kieran decided to make his way down the hill, and follow the river to the second hill. But first he ate a magical meal of wild mushrooms and cranberries that appeared from the grass in a small wooden bowl that seemed to bubble up out of the ground. Sated, he stood and crossed over the peak of the hill and started down the other side. The path that opened before him was all down hill, and there were no obstacles, as if the forest itself was arranging for him swift passage. He was shortly at the river, its dark waters slowly moving away from the sun putting Kieran in mind of the back of a large black fish, its scales sometimes catching the sunshine and sending it back to him. He closed his eyes and thought of how he might transport himself down the river, and when he opened his eyes again, a white boat, clearly made of wood from a silvery tree, perhaps birch, was floating on the water nearby his feet. He stepped into the boat, which was surprisingly sturdy, and found there were paddles inside it, which he fit into the notches in the side of the boat and he began to paddle slowly out toward the strongest currents.
"You have done well." said a sudden, small voice behind him. Then he felt a small hand on his shoulder, and a small body passed his side in the boat coming around him to sit on the small seat at the bow of the boat. She was wearing leafy robes, and a longer green skirt, with perfectly formed bare feet which sometimes kicked enthusiastically. The smile on her face was a coy one, but her eyes betrayed how proud she seemed to be. Tess had a golden aura that was not simply from the late afternoon sun at Kieran's back which highlighted her shining blond hair. No, she seemed to be shimmering.
"It is very good to see you again, Tess. I wondered when you might visit me again!" Kieran replied after a time. There seemed to be little urgency to speak since the river was carrying him where he needed to go, and all he needed to do was provide periodic, course correcting, modulations of the oars. "I have discovered that my needs in this place become reality, is that not wonderful?"
"It is indeed. But I must warn you that while your needs have been simple thus far, you must be aware that those who came before you were all destroyed by theirs.", Tess said gravely, her smile dimming to a mask of caution.
"I have not seen any evidence of people here.", Kieran said.
"It is true, but you will soon. But remember, their fate was not because of any external difficulties, but instead was caused from within.", Tess then smiled again, "You will not meet this end if you are careful to manifest only what you need."
"I will keep that in mind, thank you Tess. Oh, it looks like we are coming to the hillside I was paddling for." Kieran said as he made for the bank of the river nearest the gentle rise of the hill.
"Well, then, Kieran, I must take my leave. We will meet again, for I am what you might call your guardian in this place.", and as Tess finished talking, a pair of the most beautiful, gossamer, and gilded wings unfurled from behind her, and she began to fly off and was quickly out of sight.
Kieran brought the boat onto shore and thought about having dry feet, and suddenly they were. He passed though a small stand of shrubs, and was met suddenly by a frozen man in battle gear. It startled him so much, he crashed back through the shrubs and fell down onto his backside, his heart pounding in his chest. In order to make sure that it was safe to go forward, he took the seeing stone out of the bag in his pocket, and took a closer look at the frozen, statue like man on the other side of the shrubs. When he had determined that there was no immediate danger, he returned the stone back to its bag, and carefully stepped through the hedge again.
The man was dressed in armor, made of some sort of gilded metal, but instead of a gold shine, he was all white as if encased in a layer of ice. It was unclear how he had come to this demise. Perhaps, Kieran thought, he was overheated from his trek in armor, and hoped to cool himself, and had overdone it. But that would not explain his persistent state for he would have thawed eventually.
He did not linger long around the statue, but pressed on toward an opening in the side of the hill. Whatever had frozen the warrior was no longer nearby. Or at least that is what Kieran thought, for it was at that moment that something that guarded the doorway in the hill woke up from its long slumber and opened a single penetrating eye and waited as Kieran approached it.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Model for the origin of digits by temporal extension of distal Hoxd13 expression.Tree shows phylogenetic relationships of shark, paddlefish, zebrafish and mouse. Top row shows hypothetical timing for the transition of the apical ectodermal ridge (AER) to apical ectodermal fold (AEF); note that the mouse maintains an AER and does not form an AEF. Green shading represents proliferative period for endoskeletal progenitor cells. Middle rows show Hoxd13 expression domains (blue) at early and late stages of fin and limb bud outgrowth. AER and AEF are shaded orange. Bottom row shows pectoral appendicular skeleton for each taxon. Endoskeletal bones are shaded as follows: green, propterygium; red, mesopterygium, yellow, metapterygium. Dermal fin rays are shown as unshaded elements within fin blade. The model suggests that a second phase of distal Hoxd13 expression was present in the paired fins of the common ancestor of chondrichthyans and osteichthyans (at position 1), and that loss of the distal Hoxd13 domain in teleosts (position 2) and its spatial expansion in tetrapods (position 3) may have been associated with temporal modulation of endoskeletal progenitor cell proliferation. Early conversion of the AER to an AEF would be expected to truncate or eliminate phase II expression of Hoxd13 and reduce the fin endoskeleton, as seen in zebrafish, whereas prolonged signaling by the AER would be expected to extend Phase II and expand the Hoxd13 domain, giving rise to digits in the tetrapod lineage. Clock model after [25]; skeletal patterns after [15], [31], [40], [74].
Radio is the transmission of signals through free space by electromagnetic waves with frequencies significantly below visible light, in the radio frequency range, from about 3 kHz to 300 GHz.These waves are called radio waves. Electromagnetic radiation travels by means of oscillating electromagnetic fields that pass through the air and the vacuum of space.
Information, such as sound, is carried by systematically changing (modulating) some property of the radiated waves, such as their amplitude, frequency, phase, or pulse width. When radio waves strike an electrical conductor, the oscillating fields induce an alternating current in the conductor. The information in the waves can be extracted and transformed back into its original form.
An audio signal (top) may be carried by an AM or FM radio wave.
Antennas and propagation
Electromagnetic waves travel through space either directly, or have their path altered by reflection, refraction or diffraction. The intensity of the waves diminishes due to geometric dispersion (the inverse-square law); some energy may also be absorbed by the intervening medium in some cases. Noise will generally alter the desired signal; this electromagnetic interference comes from natural sources, as well as from artificial sources such as other transmitters and accidental radiators. Noise is also produced at every step due to the inherent properties of the devices used. If the magnitude of the noise is large enough, the desired signal will no longer be discernible; this is the fundamental limit to the range of radio communications.
Radio frequencies occupy the range from a few hertz to 300 GHz, although commercially important uses of radio use only a small part of this spectrum.Other types of electromagnetic radiation, with frequencies above the RF range, are microwave, infrared, visible light, ultraviolet, X-rays and gamma rays. Since the energy of an individual photon of radio frequency is too low to remove an electron from an atom, radio waves are classified as non-ionizing radiation.
The meaning and usage of the word "radio" has developed in parallel with developments within the field of communications and can be seen to have three distinct phases: electromagnetic waves and experimentation; wireless communication and technical development; and radio broadcasting and commercialization. Many individuals—inventors, engineers, developers, businessmen - contributed to produce the modern idea of radio and thus the origins and 'invention' are multiple and controversial. Early radio designs could not transmit sound or speech and were called the "wireless telegraph."
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.
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
One of an uncountable, beautiful, wooden bridges with an unbeatable view along the bike path
Frame: Norco Monterey (originally a hybrid)
Stem: Threaded to threadless adaptor with Tehet 100mm Stem
Handlebar: Bontrager 44cm "anatomic"
Brifters: (Used) Shimano Ultegra (9x2 - yeap that's right...)
Brakes: Tektro inline lever on the front brake
Pedals: Schimano M-551 SPD
Rims: Alexrims DA22 (with fairly big gage stainless spokes)
Tyres: Continental Contact 700x28C
Hubs: Shimano 105
Seat and post: Ritchey seat post with a crap saddle (needs to be replaced)
Derailleur: rear - (used) Ultegra, front - original low grade shimano
Cassette: 8 speeds 13x29
Planet bike freddy fenders
Fun fact: I left for an 800km solo tour about a week after having built the bike as it is now with around (urban) 100km on the odo. That may have been madness, but the bike handled perfectly with not a single issue. I was very happy as this proved the reliability of my build :) (I was also very well prepared on the repair side)
Fun fact #2: The front shifter is a double and the bike sports a triple chainring. The derailleur is adjusted so it's low gear is the middle ring and to shift to the granny gear I go in big/big combo (yes that's bad, but I don't actually ride that) and then "kick" the chain to the granny by shifting down twice (the shifters have a low gear setting). It takes some practice, but it works nicely. It's also fun to see it throw off all the mechanics that work on my bike (when for some reason I don't do a repair myself).
Func fact #3: The brakes are "inverted", the right side brakes in the front. Allows me to hand signal with a hand on a front brake and gives me better modulation (I'm right handed)
Not so fun fact #1: I don't think the Ultegra RD is liking the 8 spd chain. When summer comes and I switch back to the road kit again, I may very well switch to a 9 spd cassette and chain.
Road config: when in roadie/commuter config, I switch the stem around for a lower profile and sport Continental Gatorskin's in 700x23C
Winter config: I put back the hybrid (stock) parts for winter riding. (Frame is Ai so it doesn't suffer much)
To be honest it's far from the best touring bike around, but it did a nice job to get me there. I also toured a 500km and a S240 in the hybrid config. I am, however, very inclined to get myself a LHT at some point. And learn to MiG weld. Boast it with heavy duty rims, Phil wood hubs, DT Swiss reinforced spokes, custom water reservoir. And steal front and rear racks. At some point I may also look into building a custom single 700c wheel "bob" for longer runs and possible errands to the hardware store.
Bedford-Stuyvesant, Brooklyn
The Antioch (formerly Greene Avenue) Baptist Church was designed in the Queen Anne style with Romanesque Revival elements by Lansing C. Holden and built in 1887-92. While it clearly reads as a religious building, its striking design harmonizes with the adjacent residential streetscape by reproducing the scale, texture, and overall character of the neighboring rowhouses. Among these is the adjacent Antioch Baptist Church House, which in its exterior materials and details is a well composed architectural complement to the church. Designed as part of a row of seven houses by the Brooklyn firm of Langston & Dahlander, this structure was built in circa 1892-93 as a single-family residence; it was purchased by the Antioch Baptist Church in 1961 for use as a church house.
The Antioch Baptist Church has played a prominent role in Brooklyn's religious history. It was built by the Greene Avenue Baptist congregation, which was a white group originally founded in Bushwick in 1854 and is remembered for its many philanthropic programs. As economic and demographic changes transformed the Bedford-Stuyvesant area surrounding the Greene Avenue church from a mixed-income white neighborhood to an economically diverse black community, this church remained a visual and social anchor. The building was sold in 1950 to the Antioch Baptist congregation, which had been established in downtown Brooklyn by Rev. Moses P. Paylor in 1918. Upon relocating to Greene Avenue, the Antioch congregation continued its dedication to social justice and spiritual enlightenment, receiving as guests nationally renowned civil rights leaders, politicians, performing artists, authors, and many other influential people, particularly black Americans. Today, Antioch persists as a prominent institution in New York's most populous black community, whose cultural roots stem from the communities of Weeksville and Carrsville which were founded by blacks and flourished nearby in the mid-nineteenth century.
2
In the spring of 1854 the white Baptists of Bushwick met for the purpose of organizing a Baptist church in that vicinity. A Board of Trustees was elected and the group was incorporated as "The First Baptist Society of the Town of Bushwick, long Island. "5 Soon recognized by the Baptist Council of Churches, it purchased its first house of worship, a structure on Bushwick Avenue opposite Wall Street which the Ascension Episcopal Church had recently erected but could not afford to keep. Having outgrown this building after twelve years, the society — renamed the Gethsemane Baptist Church of Brooklyn — moved temporarily to member J. Whittlesey's Omnibus House on Broadway near Sumner Avenue. The church members purchased property on Willoughby Avenue near Broadway and erected a new church, dedicated in 1868.
The future of the congregation would be linked to today's Bedford-Stuyvesant. A theological disagreement divided the group, and about thirty members withdrew and organized the Trinity Baptist Church in 1875; two years later they built a wooden chapel on Greene Avenue between Patchen Avenue and Broadway (within the borders of what is today considered Bedford-Stuyvesant, and now demolished).6 The church members remaining on Willoughby Avenue adopted the name Willoughby Avenue Baptist Church in 1879 and two years later they chose the Rev. Robert B. Montgomery (1839-1893) as their new pastor. A native of Scotland, Montgomery moved to Canada where he eventually studied for the ministry at the Baptist College of Ontario (later renamed McMaster University of Toronto) and served in various pastorates; he was pastor of a church at Seneca Falls, New York, when he was invited to the Willoughby Avenue church. It was Rev. Montgomery who led the congregation in 1884-85 as it sold the church and began worshipping in the hall of the Warner Institute, where it remained for several years. Meanwhile it purchased land on Greene Avenue, in the heart of the developing area which would eventually be called Bedford-Stuyvesant; in 1885 a building committee was chosen to solicit designs for the new church and to oversee the project.^ plans submitted by Lansing C. Holden were selected,8 but before construction was completed, the plans were probably altered by Paul F. Higgs (see "Design and Construction of the Church," below).
The exterior of the Antioch Baptist Church is a striking example of Queen Anne design that incorporates Romanesque Revival elements. The horizontal expanse of its rusticated base, bowed central mass, and garland-embellished bands is balanced by the verticality of the stacked windows and of the four towers, particularly the turreted comers and arched narrow openings of the end towers. The steeple .of the western tower accentuates the vertical, or medieval, ambience while serving as a counterpoint to an otherwise symmetrical design. Other Romanesque-inspired details are round-arched window openings, serpentine door straps and carved stone bases on the bartizans (overhanging comer towers). The contrasting colors and textures of the brick, stone, pressed metal, slate shingles, and roof tiles adds to the design's Queen Anne character.
The modulation of the church's facade into several projecting and recessed masses, its set-back behind a small garden, its simple stoop-like staircases, and its varied silhouette allow the large volume of the building to harmonize with the adjacent residential streetscape. Several groups of rowhouses were already standing in the vicinity when the church was designed and the remaining rows were built during the construction of the church and slightly later; therefore, it would seem that this contextual approach to the design of the church was a conscious one on the part of the architect.
The estimated cost of architect Holden's proposed church was $55,000 or $60,000,which was more than the congregation could afford; therefore, it was decided to build only the basement at first. The ceremonious laying of the cornerstone took place in August, 1887; the following April the newly christened "Greene Avenue Baptist Church" held services in the roofed-over basement, which had been built by F. Mapes and accommodated 570 people. At this time the almost 700-member church also resumed its Sunday school and missionary activity. The total cost of land and basement was $35,000; when the $10,000 mortgage was paid off late in 1890, the members decided to complete the church.
The intention to finish the building according to Holden's plans was not carried through, primarily due to financial restraints. New plans were solicited, but none were accepted. Instead, New York City architect Paul F. Higgs, who had been a competitor, was asked to revise Holden's original design^; the resulting scheme, published in the Brooklyn Eagle [see fig. 2], was estimated to cost $27,000. The church took out a new $25,000 mortgage and construction resumed in 1891. The opening of the auditorium was hailed by week-long dedication services, directed by Rev. Montgomery, in April, 1892.
The church exterior reveals the overall organization of the interior (not included in this designation), particularly that of the auditorium. The expansive auditorium takes on the traditional shape of a Greek cross. Surrounding the central space, which has a coved ceiling supported by broad arches on slender columns, are four vaulted "arms," one containing the bowed bay visible on the facade and another sheltering the raised sanctuary.
Contemporaneous with the completion of the church, the architectural firm of Langston & Dahlander designed a row of seven dwellings for the lots directly to the west of the church. Commissioned by Louis C. Schliep, a financial broker on Wall Street, 14 the plans were submitted for a building permit in December, 1891, with an estimated cost of $5,000 per building. 15 Faced in brick and brownstone, these Queen Anne style houses with Romanesgue Revival details have three stories and raised basements. Number 826 (now the church house) was designed and built^^ as the easternmost of this group of rowhouses. Their alternating rhythm of pitched roofs and gabled facades and the sophisticated variation of details within the row support the theory that Nos. 814 (recently demolished)^ and 826 were designed with the same overall composition. Unlike the other five facades, each of the end houses at Nos. 814 and 826 were designed with a second story pierced by a single window and a pair of windows as well as paired third-story dormers. Apparently the architects were extremely sensitive to the design of the adjacent church, then just being completed, as they introduced at No. 826 corbeled lintels over the first-story openings, arched second-story openings with brick voussoirs that contrast' with the color of the facade in an identical fashion as those on the church, slate roof shingles, and uneven dormer sizes in order to complement the church facade. 18 Presumably, the seven rowhouses were executed between 1892 and 1893.
The Greene Avenue congregation continued to prosper in its new location, which was occasionally called the "Baptist fort." Soon after Rev. Montgomery's death in 1893, the church elected Rev. Cornelius Woelfkin (1859-1928) as pastor. Bom on Manhattan's West Side to German parents, Woelfkin was ordained to the ministry in 1886 and served as pastor of churches in New York and New Jersey before arriving at the Greene Avenue church in 1894. During his pastorate, the continued increase in membership (surpassing 1000 faithful by 1904) necessitated the building of a gallery in the auditorium and the church celebrated its Golden Jubilee in 1904. The following year, Woelfkin's abiding friendship with oil executive and philanthropist John D. Rockefeller, Jr., led to the clergyman's transfer to Rockefeller's Fifth Avenue (later Park Avenue) Baptist Church in Manhattan; in that location Woelfkin solidified his reputation as a well-respected anti-Fundamentalist. Curing the early twentieth century, the Greene Avenue congregation's continued vitality permitted the dispatch of members as missionaries to China, Cuba, and throughout the United States. Those remaining in Brooklyn supported philanthropic work, renovated the church interior (including the installation of new stained-glass windows in 1901
and 191025), and in 1922 hosted former Secretary of State and popular orator William Jennings Bryan for a speech against Darwinism.
After several decades of dwindling jnembership, the church sold its largely intact^ house of worship to the Antioch Baptist Church in 1950. The remaining members of the Greene Avenue church moved to other Baptist churches and the funds from the sale were distributed to various charities.
8
Antioch's prominence within the black church^ and the city's religious community is attested to by the enormous number of famous and influential guests it has hosted. 33 Among them are:., civil rights leaders Rev. Dr. Martin Luther King, Jr., Rev. Ralph Abemathy, Rev. Dr. Adam Clayton Powell, Jr., Hazel Cukes (New York's head of the NAACP), and Rosa Parks; politicians including Governor Nelson Rockefeller and Mayors John V. Lindsay and David N. Dinkins; and African-American celebrities in many fields such as Aretha Franklin, Dick Gregory, Ossie Davis, Ruby Dee, Jackie Robinson, Spike Lee, and Langston Hughes. Many of these visits are memorialized in a large photo montage now located in a room adjacent to the church balcony.
Subsequent History of 826 Greene Avenue^
The building that now functions as the church house was sold in 1894 by Thaddeus Halsted Myers to Frederick H. Norwood (aka Frederic H. Narwood) , a manufacturer, for $7,500. Norwood, in turn, sold the house to Elias Reiss in 1920. Seventeen years later it was purchased by Anna Perlman, whose family owned the house until 1948. In that year Mildred Lewis and Sentry Scarborough bought the property; they and their heirs owned the building, which was converted to a multiple dwelling, until 1961 when it was sold to the Antioch Baptist Church. Rev. Lawrence had the structure altered into a one-family parsonage in 1963-65. It currently serves as a non-residential church house.
Description of the Church^ [see figs. 4, 6-7]
The church's nearly-symmetrical facade is composed of five sections, covered largely in rock-faced white and red-brown brick of elongated proportions, russet slate shingles, and white Indiana limestone.
The central section features a bay, sheathed in fish-scale and plain slate shingles, which projects from a limestone base and is flanked by a pair of brick towers. Resting on iron brackets, the bay is adorned by three pressed-metal bands, one decorated with swags, and a swag-embellished cornice. Each of the three round-arched openings, crowned by a projecting keystone, contains stained glass in its arched top section and flat-headed lower sections. The lower portion of the bay bears a long, narrow sign with the words "ANTIOCH BAPTIST CHURCH." The base, buttressed at its sides, is pierced by five double-hung wood-sash windows to which wrought-iron grilles have been added. This section's half-conical roof is now covered with asphalt shingles (originally Roman tile). The flanking red-brick towers terminate the buttresses and are surmounted by cornices and bell-shaped roofs with finials. The western tower bears the cornerstone inserted upon Antioch's arrival in 1950.
Adjacent to the central section are two identical, recessed sections. Their stone bases align with that of- the central section;- their red-brown
brick upper portions contain round-arched openings beneath contrasting white brick arches with stone keystones. Each opening contains stained glass and is divided by a swag-encrusted pressed metal spandrel into an arched upper portion and rectangular lower portion.. Stained-glass windows, filling openings on three sides of the building, depict religious scenes, abstracted foliage, and geometric patterns.
The end pavilions take the form of . matching towers with strikingly different crowns. Each red-brick tower has a long flight of stone steps flanked by original cast-iron pipe railings, some of which retain their intermediate cast-iron infill. Each pair of oak doors, their five-paneled surfaces painted red and embellished with serpentine iron strap hinges, is surrounded by a stone frame and capped by a prominent, hipped hood, now covered in asphalt shingles. At the mid-section, each tower is pierced by an arched opening with a double-hung wood-sash window, a brick arch, and a stone sill. The upper portion of each tower is bracketed between dentiled stone bands, reinforced by bartizans, and pierced by trebled double-hung wood-sash windows with intersecting white brick arches and a continuous stone sill. The western tower culminates in a tall steeple, now surfaced in asphalt shingles; in contrast, the eastern tower has a low pyramidal roof with a carved stone finial. The exposed sides of the end towers are articulated identically to the front of these towers.
At the bottom of each staircase now stands a cast-iron base of what must have been an early streetlight. While not original, these elements must have been added around the turn of the century. Between the staircases, a granite curb supports an original iron fence that protects a small garden. Within the garden is a modestly-sized announcement board with a glass front. Two narrow wings, deeply recessed behind iron gates, span the alleys between the church and the adjacent buildings. Sided in wood and painted dark brown, each of the wings has an arched opening with double-hung wood-sash window and rests on a ground-story arch; in the eastern wing, this arch is filled by a door leading to the Fellowship Hall, while its western counterpart remains open to the alley beyond it.
From the rear of the building, the main roof is visible: its hipped central section is intersected by pitched-roofs covering the arms, which terminate in gables. The rear elevation, partially obscured by an adjoining structure, is stuccoed and pierced by window openings. The brick side walls of the main body of the church, one painted white and the other stuccoed, are pierced by arched openings which contain historic stained glass windows at the auditorium level and recent wrought-iron gates at the basement.
Description of the Church House [see fig. 5]
To the west side of the church is the three-story rowhouse with a raised basement; it now serves as the church house. The box-shaped stone stoop, now painted, has a rock-faced front wall and smooth side walls. A non-original wrought-iron fence with a gate separates the sidewalk from the areaway, now filled in. Original iron gates remain at the basement entrance under the stoop and over the basement window. The parlor story is also -fronted in rock-faced limestone. A projecting lintel, on end corbels,
10
shields the doorway. (The door is not original.) The window opening to the west of the door contains a pair of windows separated by a turned mull ion and capped by leaded glass transoms that are bracketed by rounded corbels. A rectangular sign surmounts the parlor Story and a flower box has been installed beneath the windows. The second story is fronted in rock-faced red-brown brick. Above the door, a small arched opening with a stone sill rests on a stone plaque carved with oak leaves and a shield. To the west are two arched openings. All three second-story openings are united by a stone springing course and have rock-faced white brick arches. A modillioned cornice is surmounted by the slightly pitched slate roof from which two dormers, of unequal size, protrude. Both have smooth surrounds, modillioned cornices, and slate-tiled hipped roofs, one with a ball finial. All windows have one-over-one double-hung wood sash. The house's gabled end walls project slightly above the roof. The eastern wall is of rough brick, and is stuccoed. The western wall is a party wall with the adjacent rowhouse.
- From the 1990 NYCLPC Landmark Designation Report
PRICED FOR QUICK SALE!
MITSUBISHI HDILA REAR PROJECTION TV 1080P
CLICK THIS LINK TO SEE ALL OUR INVENTORY www.flickr.com/photos/53089149@N02
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MODEL # WS-55511
FACTORY SPECS:
Key Features
Screen Size 55 inch
Aspect Ratio 16:9 • 4:3 Enhanced • 14:9
Weight 250 lb.
Remote Control
Remote Control Multibrand
Image Quality
Comb Filter 3DYC / 3D Digital
Velocity Scan Modulation With VSM
Adjustable Color Temp. With Adjustable Color Temperature
Audio Features
Audio Type Virtual Surround
Audio Output Fixed
Technical Features
Picture in Picture With PIP
Sleep Timer With Sleep Timer
Connectors
Headphone Jack Without Headphone Jack
Screen Text
Channel Labels With Channel Labels
Closed Caption on Mute With Closed Caption On Mute
Dimensions
Width 50.75 in.
Depth 28.13 in.
Height 50.38 in.
Weight 250 lb.
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Brakes
Already famous, the new sedan combines style and comfort with a dynamic and reliable road behavior. Part of this captivating feeling stems from an innovative Continental braking system, which we will closely examine in the following article
Nicodemo Angì
The new D-segment Alfa sedan has a respectable and sophisticated technical outfit which stems from the fact that the car was designed starting from a blank sheet, or almost. The technical features borrowed from the Group's other brands are prestigious indeed, such as the Quadrifoglio V6 engine created through a collaboration with Ferrari and the front end which greatly resembles that of a Maserati. Not to mention the carbon fiber transmission shaft and, in fact, the integrated MK C1 braking system by Continental. The German group, as we well know, has recently started to add to its traditional activity as a tire manufacturer, a well-diversified portfolio of sophisticated components, such as advanced driver assistance systems (ADAS) and sophisticated braking systems.
Simulating the system
The MK C1 appears truly innovative and was designed to perfectly equip hybrid traction systems fulfilling the requirements for a regenerative braking system without any additional measures, likely to become more and more necessary to meet the already stringent – but more so in the future - emissions regulations.
This integrated component allows in fact to implement, with relative ease, a drive-by-wire braking system where the pedal is decoupled from the hydraulic circuit, which allows other interesting advantages, such as actuation speed and pedal feeling adjustable via software.
The MK C1 braking system from Continental combines the brake actuation, booster, and control systems into a single braking unit; connections are therefore limited to the vehicle's wiring system, its data network and the pipes that carry the brake fluid to the brake calipers.
Gone, as already anticipated, the vacuum brake booster and its vacuum pump, replaced by an electric pump driven by a brushless DC motor (BLDC). The traditional tandem pump connected to the pedal is still present but, under normal conditions, will intervene only to transfer to the pedal - and therefore to the driver - the load simulator which reproduces the sensations of a more traditional system. The movement of the piston is read by sensors, and the signals are used to drive the working cylinder, operated by the above mentioned brushless DC motor. The conversion of the motor’s rotation into the linear movement of the piston takes place via a ball-and-screw system, a screw-nut screw system perfected by placing steel balls between the two threads: the rolling friction thus obtained guarantees a smooth and fluid movement with reduced resistance.
Failure free
The load on the nut comes from a single direction - from the piston side of the working pump - making it possible to calculate with great precision the relative piston position.
This ball-and-screw actuator is designed to be maintenance-free, but in case of failure (however unlikely) braking is guaranteed by the pump connected to the pedal and the same would happen even in the event of a complete power supply failure. The size of the pump connected to the tandem brake pedal ensures in any event the minimum braking efficiency prescribed by law (6.43 m/s2 with a pedal pressure of 500 N) even if the vehicle should weigh 2 tons or more.
Furthermore, the absence of the bulky shell of a conventional brake booster makes it possible to gain a further 10 cm in the front end of the vehicle, which can be used to increase the depth of the crumple zone in front of the occupant compartment. The system’s compatibility with ABS and ESC systems, which have a flow and return valve for each wheel, is guaranteed and, as far as the MK C1 is concerned, the valve system has been perfected further, just as its sensors.
Tailor-made braking
Decoupling the pressure on the pedal from the wheels has several advantages, such as no reaction to the pedal when the ABS or ESC systems are activated, or the type of braking intervention set by software and therefore easily adaptable to different brands and models. The sensors can even perceive the load the driver puts on the pedal: if it corresponds to a slight braking, which statistically represents about 80% of all braking, the modulation of the force occurs through the pedal stroke. If the driver, on the other hand, suddenly needs much more braking power, direct pressure on the pedal will provide what is needed.
Additionally, this system is ideal also on hybrid vehicles (so probably we will soon see a hybrid versions of the Giulia and the SUV Stelvio), where braking energy recovery is possible only at a certain speed range. The MK C1 system can effectively manage this function, producing the desired deceleration even when the energy recovery system "hands over" things to the more traditional brakes. The system efficiently works on principles of power on demand and, even if the maximum absorption is almost 100 A, it is only for short moments and then falls; if the system is not activated at all, then it will all be reduced to a slight consumption of the electronic part.
The system has shown remarkable readiness, which is essential if the automatic emergency braking system is to function properly and avoid possible collisions and pedestrians suddenly appearing in front of the car. Tests performed at a speed of 66 km / h saw a car equipped with the MK C1 stop after 18 meters while a more "traditional" car stopped after 23 meters and after 18 meters was still moving at 36 km/h.
“Future and complication proof”
This system so compact and efficient has proved so interesting that we wanted to learn more; therefore, taking advantage of Continental’s efficient press office, we forwarded a few questions to the specialists who deal with it.
Asked if the MK C1 was compatible without further modification with existing driver assistance systems (Adaptive Cruise Control, Emergency Brake and the like) we were given an affirmative answer. Not only no modifications are required, but the dynamic pressure is 3 times higher compared to current ESC systems; meaning that the system is also ready for autonomous driving!
Power absorption is not a problem too, since other onboard systems absorb more than the peak 80 amps of this system; Alfa Romeo came up with an electrical system that easily meets the needs with minimal voltage fluctuation.
The last question revolved around the necessary data for the system to function: are changes to bus on-board systems (CAN, Flexray and the like) required to manage the MK C1? The answer was that the system works with commonly available data on both cars and busses and not only; the system is in fact simplified, since the vacuum pump, the switch on the brake pedal and the various piping and assorted ESC support systems have been eliminated.
Describes the specification of the modulation reactor, which is between the 11kV HT DC supply and the feed-points for the modulation transformer secondary and the final RF stage valves.
A centre-tap feeds the penultimate RF stage valves. Note the possessive apostrophe which the Marconi Company were using at the time!
Madrid (Spain).
ENGLISH
DVB-S is the original Digital Video Broadcasting forward error coding and modulation standard for satellite television and dates from 1994, in its first release, while development lasted from 1993, to 1997. The first application was commercially available in France via Canal+, enabling digitally broadcast, satellite-delivered television to the public.
It is used via satellites serving every continent of the world. DVB-S is used in both MCPC and SCPC modes for broadcast network feeds, as well as for direct broadcast satellite services like Sky Digital (UK) via Astra in Europe, Dish Network and Globecast in the U.S. and Bell TV in Canada.
While the actual DVB-S standard only specifies physical link characteristics and framing, the overlaid transport stream delivered by DVB-S is mandated as MPEG-2, known as MPEG-TS.
This technology uses the 11/12 GHz Frequency band, qpsk modulation, error correcting codes, interleaving scramblers and reed-solomon coding to transmit the digital data from a gateway to a receiver.
More info: en.wikipedia.org/wiki/DVB-S
-----------------------
CASTELLANO
Digital Video Broadcasting by Satellite (DVB-S) es un sistema que permite incrementar la capacidad de transmisión de datos y televisión digital a través de un satélite UH11 usando el formato MPEG2. La estructura permite mezclar en una misma trama un gran número de servicios de video, audio y datos.
Más info: es.wikipedia.org/wiki/DVB-S
GATECRASHER 9TH BIRTHDAY LIVE @ REPUBLIC 21-Sept-2003 , SHEFFIELD , ENGLAND , UK
Gatecrasher 9th B'day (2003-09-20) Play List PVD
01. Mark Norman - Overkill (Intro Mix)
02. Terry Bones & Fred Baker - Introspection (John Askew Remix) (Paul van Dyk Re-Edit)
03. Inzite - Spellbound
04. Agnelli & Nelson - Holding On To Nothing (Paul van Dyk Rework)
05. Modulation - Spirits (Cosmicman Remix)
06. R.B.A - Daywalker
07. Motorcycle - As The Rush Comes (Sweeping Strings Mix)
08. ID
09. 4 Strings - Revelation
10. Jaron Inc. - Overflow
11. Scott Bond Vs. Solar Stone - Naked Angel
12. James Holden & Thompson - Nothing (93 Returning Mix)
13. Donald & Giles - Weekend Wonder (Donald & Giles Remix)
14. Goldenscan - Sunrise (Pulser 6AM Vocal Mix)
15. Paul van Dyk feat. Second Sun - Crush (Album Mix)
16. Paul van Dyk Feat. Vega 4 - Time Of Our Lives (Paul van Dyk Club Mix)
17. David Forbes - Answers (Original Mix)
18. Masters & Nickson - 5th Dimension (Instrumental)
19. Lunatic Asylum - Cabal (Energy Flow) (Hiker & Dumondt's Gom Jabar Mix)
20. Nu-NRG - Connective
21. Three Drives - Carrera 2 (Nu-NRG Remix)
22. Modulation - Spirits (Slusnik Luna Remix)
23. ID
24. Extension 119 - The Zone (Original Mix)
25. Marcel Woods - Time's Running Out
26. ID
27. DJ Flex Pres. Digital Club - Dynamo [w/ DJ Tomcraft - Brainwashed (Club Mix Sampled]
28. Paul van Dyk vs Marco V - For A Revolt
29. Chris Liebing - Natural Selection
30. Tiesto - Traffic
31. Mat Silver Vs. Tony Burt - Ultimate Wave (Paul van Dyk Rework)
32. Project Magneta - Twisted Soul
33. Project Zero - Omega Six (Paul van Dyk Rework)
34. Nick Lunn & YOMC pres. Tecno Punx - Energize (Paul van Dyk Edit)
35. Paul van Dyk feat. Hemstock & Jennings - Nothing But You (Original Mix)
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
The sharp looking nib pictured is known as a "G pen". I don't know what the G stands for, but I'm guessing "graphic"? Anyone?
Anyway, so far I've drawn three sketches with the new pen, and this was the best of the lot, so I decided to take a picture to commemorate! I've wanted a pen like this for longer than I can remember, but it never occurred to me that eBay would be a good place to get one until a couple of weeks ago. *facepalm*
The G pen is a weird thing... it sort of handles like an ink brush, only with greater precision. It's a joy to draw with.
That said, it might take me a little while to get proficient with it, though. This is still a bit messy.
N.B. White ink ---> WORTH EVERY PENNY.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Exploring micro-controllers with the Arduino NG development system. Seen here running in standalone mode with a 9v battery. Arduino makes embedded programming fun and easy by bringing together a clean and simple hardware and software development environment.
Here, I'm messing with reading analog input from a 10k potentiometer and PWM (pulse width modulation) of leds to produce variable brightness.
Link to my RFID tagged blog entries, with video of the setup above in action: stevenandsarah.com/category/rfid/
www.arduino.cc/ - "Arduino is an open-source physical computing platform based on a simple i/o board, and a development environment for writing Arduino software. The Arduino programming language is an implementation of Wiring, itself built on Processing."
Garland Fielder 'Untitled' (white contortion 02), 2007, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Three heliographs apparent, and a possible 4th at centre rear. Also, square shutters on tripods - the signal manual mentioned these as an alternative modulation means for the heliographs. Begbie "BB" lamps, other signal lamps, signal flags and telescopes visible. Given the locale and the double straps on the case under one heliograph, I suspect some of these heliographs were patterns other than the English Mance pattern, such as the Indian Army pattern.
I personally scanned this image from my personal copy of the original, which appeared in "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581, with this text above:
" From far-off Sialkot, in the Punjab, comes word of the success of Tommy Atkins at work, for the 2nd Battalion Royal Scots Fusiliers were first in signalling in India last year, with the phenomenal score of 491•46, thus beating the second regiment on the list by nearly seven points in the figure of merit."
A lower resolution may be found online at [1]
Another signalling distinction for the Royal Scots Fusiliers signallers - a few years later one was mentioned
in dispatches: The Relief of Chakdara 2nd August, 1897, From the Despatch of Major-General Sir Bindon Blood, K.C.B."... and E. Christian, Royal Scots Fusiliers, Signalling Officer, carried out their duties most satisfactorily. "
( The above is quoted from[2])
Sialkot is now in Pakistan, GPS coordinates roughly 32.49, 74.53: see:
For more about the Royal Scots Fusiliers, see: en.wikipedia.org/wiki/Royal_Scots_Fusiliers
This is a high resolution scan ( 4,474 × 2,666 pixels) - if you want to look at details, you can view the full-resolution scan (and many other sizes) here:
www.flickr.com/photos/signalmirror/52632242189/sizes/l/
I believe this photograph is in the public domain in the United States (and most other places) as a photograph published before 1928. Any rights I may have inadvertently acquired by scanning it, I donate to the public domain under a CC0 license.
However, copyright and other intellectual property rights are copyright and vary worldwide and with time - rights determination is your responsibility.
[1] "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581
books.google.com/books?id=lnw4AQAAMAAJ&pg=PA581&d...
[2] THE STORY OF THE MALAKAND FIELD FORCE, AN EPISODE OF FRONTIER WAR, pp. 367-368
(preface dated Cavalry Barracks, Bangalore, 30th December, 1897)
archive.org/details/storyofmalakandf00chur/page/368/mode/...
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
amorphica.com/networked.html
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 ]
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Untitled
2009
Mica acrylic
Rosana Castrillo Díaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo Díaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.