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Test Fischertechnik controller.
Finally, the hardware of the fischertechnik controller has been completed. A series of Neoled color LEDs, one engine and 5 servos are in the test setup. The hard and software for the IR operation is complete. I use an old DVD remote controller for this. The advantage is that many keys are available. Internal in the IR controller is a PT2222 chip, which uses a PPM protocol (Pulse Position Modulation). 64 codes are hereby available.
Writing the verilog code for this PPM was quite simple. This way I can now set and change all servos (32 now, but max 64) via the remote control. Each servo has a Neoled, which indicates the position. Blinking of the led if the servo is selected for position change. The Neoled colors: green, red and blue indicate the position (left, center, right). Through the front panel rotary knob, any position of the servo can be trimmed. This way you can control the Fischertechnik marble track through the IR controller. There are 128 neoleds possible into the hardware driver (but is not limited), of which I now have 120 leds in stock. Very nice for my grandchildren!
The next step is the construction of the Fischertechnik marble track. I have already built several prototypes of different modules. The following weeks / months these modules will be assembled. Then the real fun for the grandchildren can start. Next weekend, they are already watching Opa for a few days.
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Sansui Solid State Amplifier AU 888
www.youtube.com/user/sakamatra1
Specifications
Year 1971
Output power
Music power (IHF) : 140W (4ohm)
100W (8ohm)
Effective output : 50/50W (4ohm)
45/45W (8ohm)
THD 0.4% or less (Output power)
Cross modulation distortion (SMPTE, 60Hz:7kHz=4:1) 0.4% or less (Output power)
Power Band Width (IHF) 10Hz - 40,000Hz (8ohm)
Frequency characteristic 10Hz - 70,000Hz, ±1dB
Channel separation 50dB or more (1kHz, Output power)
A hum and a noise (IHF) 100dB or more
Input sensitivity/impedance (an Output power, 1kHz) 1V/50kohm
Dumping factor 20 (8-ohm load intensity)
Load impedance 4ohm-16ohm
Preamplifier part
Output voltage Maximum output voltage: 4V
Output-power voltage: 1V
THD 0.1% (Output-power voltage)
Frequency characteristic 15Hz - 50,000Hz, and +0.5 -1.5 dB
Channel separation Phono:50dB
AUX:50dB
A hum and a noise (IHF) Phono1, 2:80dB or more
MIC: 80dB or more
Tuner, AUX: 85dB or more
Input sensitivity/impedance
(An Output-power voltage, 1kHz) Phono1:2mV/50kohm
Phono2:2mV/30kohm, 50kohm, 100kohm
MIC: 2mV / 50kohm
Tuner: 180mV / 100kohm
AUX: 180mV / 100kohm
Tape Mon(Pin): 180mV / 100kohm
Tape Recorder(Din): 180mV / 50kohm
Sound-recording output Tape Rec(Pin):180mV
Tape Recorder(Din):30mV
Tone control Bass: 20Hz+12 -8 dB (2dB step)
Midrange: 1,000Hz, 2,000Hz±5dB (1dB step)
Treble: 20,000Hz+12 -8 dB (2dB step)
Tone selector Midrange:Defeat, 1,000Hz, 2,000Hz
Loudness: +8dB (50Hz), +3dB (10,000Hz)
Switchpoint A high filter: 10,000Hz-8dB (12 dB/oct, NF type)
A low filter: 50Hz-8dB (12 dB/oct, NF type)
Muting: -20dB
Synthesis
Supply voltage 100V, 50Hz/60Hz
Power consumption 400W (at the time of the maximum input)
Miscellaneous
Dimensions Width 460x height 140x depth of 305mm
Weight 12.6kg
November Pageant Training Course for Ponds Femina Miss India 2013, Ponds Femina Miss India Goa 2013, Ponds Femina Miss India Kolkata 2013, Femina Miss India Bangalore 2013, Femina Miss India Indore 2013, Ponds Femina Miss India Delhi 2013, Ponds Femina Miss India Chandigarh 2013, Ponds Femina Miss India Pune 2014, I am She 2013, Gladrags Megamodel 2012/2013 and Gladrags Mrs. India 2012/2013
Urvashi Rautela groomed and coached by The Tiara wins I am She Miss India Universe 2012 and ' I am Photogenic". Dipna Patel trained by The Tiara wins 3rd Runners up at IAM SHE Miss Universe India and the subtitle I am Fit. Gunjan Tyagi wins 2nd Runner Up at Gladrags South Mrs. India 2012. She will go on to participate in the Mrs. India All India in Mumbai later this year.
17 Winners in 14 Years! A Winner Every Year at The Tiara Pageant Training Studio
1. Winner of Young Turk 1998 Sandip Soparrkar , Ace Choreographer, Ballroom dance teacher,
2. Femina Miss India Earth 2002 Gauhar Khan,
3. Femina Miss India Universe 2005 Amrita Thapar
4. Femina Miss India World 2009 Pooja Chopra,
5.Gladrags Megamodel 2009 and Femina Miss India East 2011 and Bollywood Diva 2011 Ankita Mohapatra
6.Mr. India Earth 2009, Mann Sukhija
7.Miss India Intercontinental 2009 Sonia Jain
8. Femina Miss India International 2010 Neha Hinge
9.Gladrags Megamodel 2010 Arshina Trivedi
10.Femina Miss India South 2011 Shweta Dolli
11.Gladrags Manhunt 2011 First Runner Up Maitraya Kotecha
12.Miss Tourism Queen International of the year 2011 Urvashi Rautela
13.Miss India Worldwide 2011 1st Runner Up Anvita Sudarshan
14.Femina Style Diva 2011 Dipna Patel
15.Femina Miss India Earth 2012 Prachi
16.Mrs. India International 2012, 1st Runners Up Reet Sahu
17.Urvashi Rautela I am She Miss Universe India 2012.
ELIGIBILITY
If you are participating in:
Femina Miss India: Height 5.6” upwards, Age: 18 to 25
I am She: Height 5.6 upwards, Age: 18 to 27
Gladrags Mrs India Height 5.3 upwards, Age: 20 to 50
Gladrags Megamodel: 5.3” Upwards Age: 17 to 27
November 5th to December 10th 2012(Course Fee Rs 25,000)
Monday to Friday
To ensure that you have your seat please pay the booking amount of Rs 5000 which is an advance fee. This fee is non-refundable and non-transferable to another batch in another month. The remaining 20,000 has to be paid on the first day of class, For the hostel please call Mr. Anil Shinde 9822282817 .Meetings are only by appointment.
The Tiara is located only in Pune, we have no branches.
Course Details
• Filling up Forms and Registration Help
• Developing a Pageant Strategy
• Pageant & Ramp Walk
• Personality & Grooming
• Posture & Poise.
• Camera Facing Techniques & Portfolio Assistance ( Professional Portfolio Not Included)
• Public Speaking &Voice Modulation
• Modeling Technique & Body Language
• Making a Positive First Impression
• Wardrobe Analysis & Customized Wardrobe Assistance
• Diet, Nutrition & Fitness Assistance
. Confidence Building
• Mental Preparation
• Question Handling (Preliminary Round, Prejudging, On Stage and One-on-One)
• Personalize your answers so that you sound original
• Connecting with the Judges and Handling the Stage
• Platform Development
Don't be dismayed if you find that we are at Pune. You deserve the help of a Pageant professional; don't let location stand in the way of your dream. Assistance with accommodation provided. Limited seats. Reserve your spot now!
The Tiara,
Tel: +919823156193
ritika.ramtri@gmail.com
November Pageant Training Course for Ponds Femina Miss India 2013, Ponds Femina Miss India Goa 2013, Ponds Femina Miss India Kolkata 2013, Femina Miss India Bangalore 2013, Femina Miss India Indore 2013, Ponds Femina Miss India Delhi 2013, Ponds Femina Miss India Chandigarh 2013, Ponds Femina Miss India Pune 2014, I am She 2013, Gladrags Megamodel 2012/2013 and Gladrags Mrs. India 2012/2013
Urvashi Rautela groomed and coached by The Tiara wins I am She Miss India Universe 2012 and ' I am Photogenic". Dipna Patel trained by The Tiara wins 3rd Runners up at IAM SHE Miss Universe India and the subtitle I am Fit. Gunjan Tyagi wins 2nd Runner Up at Gladrags South Mrs. India 2012. She will go on to participate in the Mrs. India All India in Mumbai later this year.
17 Winners in 14 Years! A Winner Every Year at The Tiara Pageant Training Studio
1. Winner of Young Turk 1998 Sandip Soparrkar , Ace Choreographer, Ballroom dance teacher,
2. Femina Miss India Earth 2002 Gauhar Khan,
3. Femina Miss India Universe 2005 Amrita Thapar
4. Femina Miss India World 2009 Pooja Chopra,
5.Gladrags Megamodel 2009 and Femina Miss India East 2011 and Bollywood Diva 2011 Ankita Mohapatra
6.Mr. India Earth 2009, Mann Sukhija
7.Miss India Intercontinental 2009 Sonia Jain
8. Femina Miss India International 2010 Neha Hinge
9.Gladrags Megamodel 2010 Arshina Trivedi
10.Femina Miss India South 2011 Shweta Dolli
11.Gladrags Manhunt 2011 First Runner Up Maitraya Kotecha
12.Miss Tourism Queen International of the year 2011 Urvashi Rautela
13.Miss India Worldwide 2011 1st Runner Up Anvita Sudarshan
14.Femina Style Diva 2011 Dipna Patel
15.Femina Miss India Earth 2012 Prachi
16.Mrs. India International 2012, 1st Runners Up Reet Sahu
17.Urvashi Rautela I am She Miss Universe India 2012.
ELIGIBILITY
If you are participating in:
Femina Miss India: Height 5.6” upwards, Age: 18 to 25
I am She: Height 5.6 upwards, Age: 18 to 27
Gladrags Mrs India Height 5.3 upwards, Age: 20 to 50
Gladrags Megamodel: 5.3” Upwards Age: 17 to 27
November 5th to December 10th 2012(Course Fee Rs 25,000)
Monday to Friday
To ensure that you have your seat please pay the booking amount of Rs 5000 which is an advance fee. This fee is non-refundable and non-transferable to another batch in another month. The remaining 20,000 has to be paid on the first day of class, For the hostel please call Mr. Anil Shinde 9822282817 .Meetings are only by appointment.
The Tiara is located only in Pune, we have no branches.
Course Details
• Filling up Forms and Registration Help
• Developing a Pageant Strategy
• Pageant & Ramp Walk
• Personality & Grooming
• Posture & Poise.
• Camera Facing Techniques & Portfolio Assistance ( Professional Portfolio Not Included)
• Public Speaking &Voice Modulation
• Modeling Technique & Body Language
• Making a Positive First Impression
• Wardrobe Analysis & Customized Wardrobe Assistance
• Diet, Nutrition & Fitness Assistance
. Confidence Building
• Mental Preparation
• Question Handling (Preliminary Round, Prejudging, On Stage and One-on-One)
• Personalize your answers so that you sound original
• Connecting with the Judges and Handling the Stage
• Platform Development
Don't be dismayed if you find that we are at Pune. You deserve the help of a Pageant professional; don't let location stand in the way of your dream. Assistance with accommodation provided. Limited seats. Reserve your spot now!
The Tiara,
Tel: +919823156193
ritika.ramtri@gmail.com
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
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.
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Sansui Solid State Amplifier AU 888
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Specifications
Year 1971
Output power
Music power (IHF) : 140W (4ohm)
100W (8ohm)
Effective output : 50/50W (4ohm)
45/45W (8ohm)
THD 0.4% or less (Output power)
Cross modulation distortion (SMPTE, 60Hz:7kHz=4:1) 0.4% or less (Output power)
Power Band Width (IHF) 10Hz - 40,000Hz (8ohm)
Frequency characteristic 10Hz - 70,000Hz, ±1dB
Channel separation 50dB or more (1kHz, Output power)
A hum and a noise (IHF) 100dB or more
Input sensitivity/impedance (an Output power, 1kHz) 1V/50kohm
Dumping factor 20 (8-ohm load intensity)
Load impedance 4ohm-16ohm
Preamplifier part
Output voltage Maximum output voltage: 4V
Output-power voltage: 1V
THD 0.1% (Output-power voltage)
Frequency characteristic 15Hz - 50,000Hz, and +0.5 -1.5 dB
Channel separation Phono:50dB
AUX:50dB
A hum and a noise (IHF) Phono1, 2:80dB or more
MIC: 80dB or more
Tuner, AUX: 85dB or more
Input sensitivity/impedance
(An Output-power voltage, 1kHz) Phono1:2mV/50kohm
Phono2:2mV/30kohm, 50kohm, 100kohm
MIC: 2mV / 50kohm
Tuner: 180mV / 100kohm
AUX: 180mV / 100kohm
Tape Mon(Pin): 180mV / 100kohm
Tape Recorder(Din): 180mV / 50kohm
Sound-recording output Tape Rec(Pin):180mV
Tape Recorder(Din):30mV
Tone control Bass: 20Hz+12 -8 dB (2dB step)
Midrange: 1,000Hz, 2,000Hz±5dB (1dB step)
Treble: 20,000Hz+12 -8 dB (2dB step)
Tone selector Midrange:Defeat, 1,000Hz, 2,000Hz
Loudness: +8dB (50Hz), +3dB (10,000Hz)
Switchpoint A high filter: 10,000Hz-8dB (12 dB/oct, NF type)
A low filter: 50Hz-8dB (12 dB/oct, NF type)
Muting: -20dB
Synthesis
Supply voltage 100V, 50Hz/60Hz
Power consumption 400W (at the time of the maximum input)
Miscellaneous
Dimensions Width 460x height 140x depth of 305mm
Weight 12.6kg
Citroen C2 VTS (2003=09) Engine 1587cc TU5 S4
Registration Number J 7 WWY (Leeds, cherished number)
CITROEN SET
www.flickr.com/photos/45676495@N05/sets/72157623776731490...
Designed by Donato Coco as a replacment for the Citroen Saxo in the supermini category. Whereas its stablemate the C3 was aimed as a larger "family friendly vehicle", with its five doors the C2 was aimed at younger drivers with two doors and flatter styling. April 2007 saw Citroën Europe announcing a facelift for its C2 model, which had received a minor update in November 2006. The 2009 C2 featured a larger front bumper and restyled grille with a chrome surround.
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Available with 1.1, 1.4 and 1.6 litre petrol engines along with a 1.4 litre Diesel, the entry trim level the LX was strictly a no frills version, the L available 2003-05 came with black lower bumper and door handles, CD player, rear seat modulation and no fog lamps. The Design included body coloured bumpers and electric windows. The SX was the luxury spec.
There were three sports models the Furio, VTR and the VTS. The Furio has the same sports body kit as the more expensive VTR and VTS models but lacks their alloy wheels. except the pre-2003 cars which came with 15" Coyote alloys, The VTR also has a 110 bhp (82 kW; 112 PS) engine, whereas the VTS, the premium sports model, has a 125 bhp (93 kW; 127 PS) engine capable of accelerating from 0 to 60 mph (97 km/h) in 8.0 seconds, it was intended that these cars attracted lower insurance premiums than some of their hot hatch rivals and the VTS came with security based additions including deadlocks and a Thatcham Category 1 alarm system which includes perimeter and volumetric detection as well as an engine immobiliser.
Many thanks for a fantabulous 39,707,000 views
Shot at the Cars in the Park Show Lichfield 5th July 2015 Ref 107-419
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.
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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.
The effects of modulation and under-highlighing are very subtle, but very much worth the effort
It adds an extra dimension of tonality that a miniature inevitably will lack due to its size. Carefully considered modulation can make a miniature feel more dynamic, and closer to how we would imagine 'the real thing' to be.
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.
Agnolo Bronzino (Agnolo di Cosimo di Maiano), Monticelli bei Florenz 1503 - Florenz 1572
Dame in Grün - Lady in green - Dama in verde (1530 - 32)
The Royal Collection, Windsor
William Hazlitt, writing in 1823, described the colours of the costume worn by the sitter in this memorable portrait as resembling 'the leaves and flower of the water-lily, and so clear'. The drawing and modelling are equally assured in the firm delineation of the features and the gentle modulation of light. The tilt of the head and the angle of the shoulders provide a distinctive characterisation for this unknown figure. Similar attention has been given to the costume with its slashed sleeves, puff shoulders, embroidered chemise and elegant headgear. The artist has combined the simplicity of form, attention to detail and high degree of finish often associated with his work. However, it lacks the abstract qualities of Bronzino's mature portraits which transcend a feeling of reality in favour of the metaphysical.
An attribution to Bronzino has not been universally accepted and some scholars have favoured an artist from north Italy, specifically from Emilia or Lombardy. The mitigating factor in such an argument lies in the costume which is not Central Italian in style. If the portrait is by Bronzino, then it must be early in date, between the Portrait of a Lady with a Lap-dog (Frankfurt, Städelsches Kunstinstitut) or the Portrait of a Boy with a Book, dating from the early 1530s (Milan, Castello Sforzesca, Trivulzio collection), and the Portrait of a Young Man with a Lute (Florence, Uffizi) or the Portrait of Ugolino Martelli, dating from the mid-1530s (Berlin, Staatliche Museen). It was at the beginning of this decade that Bronzino worked in Pesaro for the court of Urbino (1530-2) and it is possible that he took the opportunity to travel in Emilia, to places like Bologna, Ferrara or Modena. Alternatively, north Italian fashions could have been seen in the Marches, either at Urbino itself or in Pesaro, owing to the strong dynastic connections between Italian courts.
Source: Web Gallery of Art
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Agnolo Bronzino (Agnolo di Cosimo di Maiano), wurde in Monticelli bei Florenz 1503 geboren und starb in Florenz 1572. Bronzino, ein sehr gebildeter und belesener Mann, gilt als einer der berühmtesten Vertreter des Florentiner Manierismus und als hervorragender Porträtmaler. Er war Schüler von Raffaellino del Garbo und Jacopo Pontormo und während einer Rom-Reise lernt er die Werke Michelangelos kennen und schätzen. Ab 1540 war er Hofmaler der Medici. Seinen Gemälden ist durch die eigenwillige Verwendung der Farben ein kühler Charakter eigen, aber zugleich auch eine körperlich-plastische Darstellung.
via Cancer Mesothelioma Lawyer - Attorneys, Stages and treatments ift.tt/2CuOI2o
In medicine, "mesothelioma" is a rare tumor that represents less than 1% of all oncological diseases and affects the "mesothelium", the thin tissue that covers most of the internal organs.
The most frequent form (almost 80% of cases) is pleural mesothelioma, i.e. that which affects the pleura, while the peritoneal mesotheliomas and the testicles' mesotheliomas are rarer.
The pleura is a membrane that covers the lung, composed of two sheets: the visceral one (that covers the lung) and the parietal one (that covers the inside of the thoracic cavity), divided by a space called "pleural cavity", which contains pleural fluid.
The pleura is especially important to allow the expansion and flow of the lung during inhalation.
Pleural tumors can be of four types:
malignant pleural mesothelioma;
solitary fibrous tumor;
lymphomas;
metastasis
Mesothelioma and pleural cancer
Commonly the terms "mesothelioma" and "pleural cancer" are used as synonyms, but in reality, this is a mistake for at least two reasons.
First, because, as we have seen, a mesothelioma can affect other organs and not just the pleura so it would be more correct to speak of "pleural mesothelioma" when referring specifically to pleural mesothelioma. Secondly, using "pleural mesothelioma" as a synonym for "pleural cancer" is also a mistake because, as we have seen, not all pleural cancers are necessarily mesotheliomas.
Pleural mesothelioma, life expectancy
Causes
Generally, the tumor develops due to genetic alterations in the mesothelial cells, which lead to uncontrolled growth of the cells themselves. The cause of this process has not yet been clarified, but there are known risk factors that increase the risk of mesothelioma.
Risk factors
The most important risk factor for mesothelioma is exposure to asbestos: most of these cancers affect people who have come into contact with this substance, at home or at work, or who live with people who work with it.
Asbestos is a mineral that, due to its particular resistance to heat, has in the past been widely used for covering and insulating roofs (in a material known as Eternit), ships and trains; in construction (tiles, floors, paints...); in firefighters' suits; in cars (mechanical components and paints) and in other sectors.
When this mineral is fragmented, for example during the process of mining or removal of the insulating material, a dust is produced which, if inhaled, can damage mesothelial cells, in some cases causing cancer, even decades after exposure. Other risk factors for mesothelioma are:
a monkey virus, SV40, used in polio vaccinations between 1955 and 1963;
a radioactive substance, thorium dioxide, used between the 1920s and 1950s;
radiation to the chest and abdomen;
cases of mesothelioma in the family.
Diagnosis
Mesothelioma is often difficult to diagnose because its symptoms are similar to those of many other diseases. It often begins with the appearance of breathing difficulties associated with the presence of a spill, which in some cases may be accompanied by chest pain. The diagnostic approach should include the collection of information about possible exposure to asbestos in previous years and then instrumental examinations such as chest x-ray, CT and thoracentesis.
Thoracentesis
If a liquid is present in the thoracic cavity, it is possible to take a sample by introducing a thin needle into the intercostal space: a cytological examination thus determines the possible presence of neoplastic cells. If there is an abundance of liquid present, this procedure can also be used to remove sufficient liquid to improve the patient's breathing.
Histological diagnosis
In order to obtain a certain histological diagnosis of mesothelioma, it is necessary to take tissue samples using different methods and depending on the extent of the disease:
Video-assisted thoracoscopy (VATS): Under general anesthesia, a micro-camera is introduced through a small incision in the thorax to visualize the pleural surface and take tissue samples. In case of pleural effusion, it is possible to carry out the total aspiration of the liquid in order to induce the adhesion of the mesothelium (pleurodesis or talcage), thus preventing the formation of new fluid.
Guided CT biopsy: In case of advanced disease or in patients with anesthetic contraindications a sample for histological examination can be obtained using the TAC guide, under local anesthesia.
Once the material for histological diagnosis has been obtained, the anatomopathological ascertains the type of tumor, its extent, and biological aggression.
Staging
Once the diagnosis is made, the physician determines the extent (staging) of the tumor using CT and PET with FDG in order to locate the site and activity of the tumor within the body and to select the most effective treatment.
Read also:
Cable, liquid and pleural effusion: physiology and pathology
Pleura: anatomy, functions, and pathologies at a glance
Inflamed pleura: symptoms, contagion, and pain in pleurisy Therapies
The treatment of mesothelioma depends on the location of the tumor, the stage of the disease, the age and the overall health of the patient. Standard treatment options include surgery, radiotherapy, and chemotherapy. In selected cases, these treatments can be combined to increase therapeutic efficacy (trimodal treatment).
Surgery
Mesothelioma surgery is complex and should, therefore, be performed in highly specialized centers. Surgery with curative intent should be performed as part of multimodal treatments (chemotherapy, surgery, radiotherapy). The techniques used are:
total pleurectomy: total removal of the pleura (both parietal and visceral pleural leaflets); extrapleural pneumonectomy: removal not only of the pleura but also of the lung, pericardium, and diaphragm.
Extrapleural pneumonectomy is an extremely demolishing operation and is reserved for the most advanced cases of the disease.
Radiotherapy
Radiotherapy for mesothelioma is administered by means of external beams, with volumetric intensity modulation technique (IMRT), as part of trimodal treatment (chemotherapy, surgery, radiotherapy) after surgery with curative intent. Radiotherapy can also be used for palliative purposes, in advanced forms, on areas that cause pain.
Chemotherapy
Chemotherapy is a form of pharmacological therapy that can be administered by intravenous infusion (IV). It can be used, in selected cases, to reduce the disease, favoring the radical surgical approach (trimodal treatment); alternatively, to block the growth of the disease and promote the improvement of symptoms related to it.
Prevention
There are no specific ways to prevent the disease from occurring, but the risk of developing it can be reduced by avoiding the main risk factor, namely exposure to asbestos.
Pleural cancer: can it be cured?
Although it is a very serious type of cancer, it is possible to heal from pleural mesothelioma, but the chances of recovery are strongly conditioned by various subjective parameters:
age of the patient;
the general condition of the patient;
possible pathologies (arterial hypertension, diabetes, heart disease...);
staging at diagnosis (diffusion, lymph node involvement, the presence of metastases);
timeliness of the diagnosis;
response to therapies;
surgeon's skill set.
Prognosis, survival, life expectancy by stage
The survival time and life expectancy after mesothelioma diagnosis (which usually occurs about 15-30 years after exposure to asbestos) is unfortunately on average 12-18 months or less in the absence of therapy or in the case of late diagnosis at an advanced stage. One of the main factors influencing life expectancy, beyond the parameters listed above, is the staging of the disease:
Stage I: In the initial phase, the mesothelioma is located on a layer of the pleura and the tumor may have spread to the pericardium or diaphragm.
The life expectancy of the patient with first stage mesothelioma is about 2 years (21 months). Studies show that 50% of patients diagnosed with mesothelioma can live another 5 years with aggressive treatment.
Stage II: In the second stage, the involvement of both layers of the pleura is observed, only on one side of the body. Life expectancy at this stage may be about 1-2 years after diagnosis.
Stage III: In the third stage, cancer spreads to the chest wall, esophagus and lymph nodes on one side of the body. The life expectancy for this phase can be about 16 months.
Stage IV (last stage, terminal tumor): In the fourth stage of pleural mesothelioma, there is spread to other organs of the body and bone metastases are formed, to the liver, lymph nodes, brain or other areas of the body. At the fourth stage of mesothelioma, life expectancy is less than 12 months.
The project *modell zur visualisierung sound* enables a visualization of sound based on the impact of magnetic fields on an electron beam. the precisely crafted soundtrack created for this project comprises of a constellation of sine wave tones. a coil within the cathode ray tube receives these frequencies converting them into a magnetic field whose impact becomes visible in the form of the modulation of a blue electronic beam.
Courtesy Galerie EIGEN + ART Leipzig/Berlin and The Pace Gallery, VG Bild-Kunst, Bonn, Germany
credit: Carsten Nicolai
Oil on canvas; 100 x 120 cm.
Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.
Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.
The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.
+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.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.
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.
The MT-68 and MT-100 are very similar. The MT-100 has a graphic equalizer, the 68 does not. The MT-68 has a 3 options that the 100 does not, including modulation and appregio controls. Otherwise, aside from the physical differences in knobs, sliders, and buttons, the sounds are identical
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)
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
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)
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 ]
This is a performance module designed to be used in a skiff. The module has four gate generators (The arcade buttons) which can be used to trigger oscillators and modulation. The gate generators can then be combined with the 6 attenuators or the 2 waveshapers for great performance controls.
For the latest info on Minimal System Instruments Eurorack Modular Synth Modules please visit our Facebook page and hit the 'Like' button.
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.
My little Boss pedalboard, even though it doesn't have a single Boss pedal on it.
Back in the 80's I used to see a lot of guys at GIT carrying these around, but I was at an age where I had to make everything harder than it needed to be and kept lugging rack gear around until I got old and tired.
So I finally decided to give one of these a try. I feel guilty about spending the money to set up this little board, but my Rat clone and Lunar Module clone didn't cost me a fortune to build and the other three pedals weren't horribly expensive. I've had the Heptode for a while. I've built several clones of the Demeter over the last couple of years, but finally decided to buy a, "real" one.
I can get pretty much anything I ever want to hear out of this little board, though. I mean, my vocabulary isn't huge in terms of sounds I use, anyway. So this totally does the trick for me. I was on the fence about the Zero Point until I tried it and then I was all, "Oh, I will not live without that."
Heh...anyway, now I need to stop spending money and earn money for a while so I don't have to keep beating myself up about spending money.
Anyway, that's mah board. It's simple, but I'm not all that complicated my own dang self.
OK, so right to left, there's a Demeter Opto Compulator optical compressor. Very transparent. None of the strangeness in the attack that's typical of a lot of compressors.
Next there's a clone I built of a Skreddy Lunar Module. That's Skreddy's shot at the David Gilmour fuzz sounds from 'Dark Side of the Moon.' It's an amazing circuit, IMO.
Next is what I call my, "Swiss Army Rat." It's a Rat built on the BYOC board, but I built this one with am LM301, which is a little lower-gain that the LM308 that production Rats had. Vintage LM301 op-amps sound really good in this circuit.
There are the six clipping options on this board.
The first three are standard Rat-style clip-to-ground:
#1 Standard symmetric Rat clipping from 2 x 1N4148 diodes.
#2 Turbo Rat clipping from 2 x red LEDs.
#3 Asymmetric (Boss-style) clipping from 1 x 1N4148 on one side and 2 x 1N4001 on the other side.
The second three are in the feedback loop like a Tube Screamer or a Boss OD-1. These give you a kind of Rat-Overdrive that's unique among Rat pedals, as far as I know.
#4 Symmetric clipping from 2 x 1N4148 diodes.
#5 Asymmetric (Boss-style) clipping from 1 x 1N4148 on one side and 2 x 1N4001 on the other side.
#6 MOSFET clipping from 2 x BS1`70 MOSFETs.
If all these options weren't enough, the LM308 depends on a compensation capacitor for its performance. The recommended capacitor is 30-33 pF in the original Rat circuit. The smaller the value, the wider the bandwidth of the op-amp. The higher the value, the more the bandwidth is compressed.
So I put a 33 pF monolithic ceramic capacitor in Position 1. Position 2 is a 56 pF ceramic capacitor. Position 3 is a 100 pF WIMA poly capacitor. Finally in Position 4, I used a 220 pF WIMA poly capacitor.
The effect as you run through them is that the sound is a tiny bit more squashed as you go up. Not a lot, but a little. It actually sounds a little bigger as it gets more squashed, or it seemed to. There's also some change in the midrange at the higher settings. You may never move it from its factory setting, but depending on the amp, the higher settings can sound pretty cool.
So yeah, then there's the Catalinbread Zero Point flanger. The concept is that there are two parallel audio lines going and you slow one down when you step on the switch. So real flanging, like slowing down one tape deck. No regeneration, no LFO...just real flanging. When you release the switch the second line slowly regains sync with the direct signal.
What's super-dope about this is that it's got a fairly bad sync when you aren't stepping on the button. The two lines drift a little relative to each other, giving you a really kind of groovy comb filter effect even when you aren't stomping on the switch.
So you could use this like a chorus-style pedal (doesn't really sound like a chorus, though) and bring in a whoosh of grooviness when you really wanted it. Very hip.
Finally there's the Heptode Virtuoso phaser, which is a slightly updated (buffered) version of the old Maestro Phaser, which is my very favorite modulation effect of all time.
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
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)
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.
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 ]
Had a bit test of the WS8021 controlled LED strip in adverse conditions. It coped well enough with the ambient light, and there are about 6 streetlights at this spot.
Got questioned by the constabulary, as often happens at this spot.
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.
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).
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
"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
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.
Aaron + Betty from or(g)A + SPAU
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
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.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Radio 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."
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 ]
+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
Tiziano Vecelli or Tiziano Vecellio,better known as Titian, was the leading painter of the 16th-century Venetian school of the Italian Renaissance. Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically[ but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.