View allAll Photos Tagged modulation
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
19th September 2013 at the 100 Club, London W1 (Jimmy LaFave gig).
Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.
The photo includes (left to right) Ekko 616 Analogue Delay (Malekko), SL Drive (Xotic USA), EP Booster (Xotic USA), SP Compressor (Xotic USA), and Poly tune (TC electronic).
+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
Sketchnote of a talk given by Dr. Markus Bleuel on obtaining dynamics information from neutron scattering experiments when the intensity is modulated.
Disclaimer: Occasional errors in the content of these notes are mine and may be due to an error I made when writing something down. Such errors do not reflect the intent of the speaker.
+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
Radium 49 Key M-Audio polyphonic Keyboard.
Features
USB connection with power - power it off your laptop.
Pitch and Modulation wheels
999 programmable options
Multi-octave presets
8 little sliders and 8 little dials
plugs for sustain switch, midi out to keyboard and USB, runs off battery, usb or power adapter.
Works great with GarageBand.
{[es]
FECHA DE CONCURSO: 2005 {br}
FECHA DE PROYECTO: 2006 {br}
FECHA DE OBRA: 2007/2009 {br}
PROMOTOR: AYUNTAMIENTO DE BILBAO {br}
SUP. CONSTRUIDA: 1.669 m² {br}
PRESUPUESTO DE LIQUIDACIÓN MATERIAL: 2.906.206 €{br}
{El edificio objeto de remodelación, que fue un antiguo lavadero público y que ha sido, hasta tiempos recientes, un Mercado de Abastos, requiere una nueva adaptación de uso, compatible con el valor patrimonial de la construcción en su estado actual. El valor histórico del edificio reside casi exclusivamente en sus fachadas modernistas ya que los usos anteriores han modificado la estructura física, espacial y funcional interna.
{br} La perspectiva urbana, visualizada desde el entorno urbano próximo (la Plaza del Funicular), y dirigida hacia el antiguo mercado, permite apreciar la diferencia de alturas entre las cornisas del edificio de Ricardo Bastida y de los edificios de viviendas colindantes. La evidencia se hace manifiesta por la presencia dos grandes medianeras ciegas que envuelven el edificio del mercado y dibujan el perfil edificatorio de la edificación más reciente, conformando un gran vacío urbano, a partir de la segunda planta, de escaso interés.{br}La remodelación contempla una ampliación en altura, condicionada por la premisa de respetar la imagen, la cornisa y el volumen del edificio existente. Se preserva de esta forma la memoria histórica del antiguo lavadero, cuyas fachadas han sido objeto de una restauración científica. El volumen añadido, retranqueado en sus dos fachadas, se basa en la idea de la ligereza y la neutralidad, tanto en la composición de los huecos de fachada, como en la textura de los materiales, en el orden constructivo e, incluso, en sutiles referencias hacia el edificio actual.{br}El orden constructivo se basa en una composición horizontal, a base de elementos lineales, que aligera la percepción en altura y conforma una difusa trama que enmascara la interpretación del volumen en relación con el de número de plantas. La pequeña escala o modulación de los elementos horizontales permite eludir cualquier competencia con lo existente.{br} La textura de los materiales, (celosía horizontal de elementos cerámicos sobre fachada de vidrio con ventanas de celosía de lamas horizontales practicables), establece una sutil referencia material y compositiva en relación a las franjas horizontales de ladrillo de la planta primera del edificio actual.{br} La traza de las fachadas, retranqueadas respecto a las alineaciones actuales, dibuja una envolvente poligonal quebrada, sin referencias de paralelismo respecto a las envolventes actuales, de modo que se preserva la identidad de las dos construcciones.{br} El espacio interior se reforma integralmente en todas las plantas, incluida la cimentación y la estructura de pilares, vigas y forjados.{br} El esquema de planta libre permite compartimentar el espacio disponible con total libertad.} {br}
{FOTOS: Nº1,Nº2,Nº3,Nº4,Nº5,Nº6{br}
IMB ARQUITECTOS}{br}
}
{[en]
COMPETITION DATE: 2005 {br}
PROJECT DATE:2006{br}
WOKS DATE: 2007/2009 {br}
CLIENT: BILBAO CITY COUNCIL{br}
SURFACE 1.669 m² {br}
MATERIAL BUDGET SETTLEMENT: 2.906.206 €{br}
{The building under renovation, which was a former public laundry which has been, until recently, a food market, requires a new adaptation of use, compatible with the heritage value of the building in its current state. The building's historic value lies almost exclusively in modernist facades as previous uses have changed the physical structure and internal functional space.{br}The urban perspective, viewed from the nearby urban environment (Cable Car Square), and directed towards the old market, to appreciate the difference in height between the eaves of the building of Ricardo Bastida and adjacent residential buildings. The evidence is made manifest by the presence of two blind medians surrounding the building market and draw the profile of the building edificatorio latest vacuum forming a large city, from the second floor, of little interest.{br} The refurbishment includes an extension in height, conditioned by the premise of respecting the image, the cornice and the volume of the existing building. Thus preserving the historical memory of the old laundry room, whose walls have been the subject of scientific restoration. The added volume, recessed in its two facades, based on the idea of lightness and neutrality, both in the composition of the voids of the facade, as in the texture of the materials in the order constructive and even in subtle references to the current building.{br} The constructive order is based on a horizontal composition, based on linear elements, which relieves the perception in height and forms a diffuse pattern which masks the interpretation of volume relative to the number of plants. The small scale or modulation of the horizontal members can avoid any competition with the existing.{br} The texture of materials (lattice horizontal façade elements on ceramic glass lattice windows horizontal slats practicable) provides a subtle reference material and composition in relation to the horizontal bands of brick on the first floor of the existing building.{br} The design of the facades, back in relation to the current alignment, draw a polygon envelope creek without parallel references regarding current envelopes, so preserving the identity of the two buildings.{br} The interior space is reformed comprehensively to all floors, including the foundations and structure of columns, beams and slabs.The open plan scheme allows partitioning the space freely.} {br}
{PHOTOS: Nº1,Nº2,Nº3,Nº4,Nº5,Nº6{br}
IMB ARQUITECTOS}{br}
}
{[eus]
LEHIAKETA DATA: 2005-ean {br}
PROIEKTU DATA: 2006-an {br}
LANAREN DATA: 2007/2009 {br}
SUSTATZAILEA: BILBOKO UDALA{br}
AZALERA: 1.669m² {br}
LIKIDAZIO MATERIALAREN AURREKONTUA: 2.906.206 €{br}
{ Bilboko garbitegi publiko eta azkenalidan horidura azoka bezala erabili den eraikuntzaren eraberritzea da proiektuaren xedea. Eraikinaren balio handiena fatxada modernistan datza, zeren eta erabilera desberdinen ondorioz barneko konfigurazio espacial eta funtzionala anitz aldatu da. Funiko plaza ikuspuntu hartuta eta azokarantz begirada botaz gero, Ondoko etxebizitzen tarte hormak nabarmentzen dira, eta hauek indar handia dute hiriko perfilean, hutztura urbano bat eragiten.{br} Altura aldaketa eraikinean, teilatu-erlaitz, bolumen eta irudian baldintzatuta daude. Aintiznako garbitokiko aurreko fatxada mantendu eta lan arduratsu baten vides eraberritu da. Gehitutako bolumena, fatxadarekiko atzerantz egiten du, ahal den eta neutro eta arinena izanik.{br} Eraikitze porzesua kompozisio horizontalean oinarritzen da, elementu linealen bidez. Honek, alturaren hautematea arintzen du, trama lausoa sortuz, eta ondorioza eraikinaren bolumena ezkutatuz, eskalan egoteko. Horrela ez da eztabaidan sartzen dagoenarekin.{br} Materialen textrua ( zeramikako zur sare horizontala, beirazko fatxadaren aurretik) antzinako adreiluzko fatxadarekin harreman estuan jartzen da lehen solairurarte.{br} Gaur egungo fatxaden trazak aintzinekiko atzeraturik aurkitzen dira, gainera ez dute erreferentzi paralelo de formalik, horrela bi eraikine nortasuna are gehiago nabarmentzen da.{br} Barneko espazioa, guztiz erreformatzen da solairu guztietan, bai oinarri eta estruktura ere.{br} Solairu librearen egiturak askatasun guztia ematen du espazioen konfigurazioan eta banatzean.} {br}
{ARGAZKIAK: 1.zkia, 2. zkia, 3. zkia, 4. zkia, 5. zkia , 6. zkia {br}
IMB ARQUITECTOS}{br}
}
SPAM Scanning Photo-Acoustic Microscopy
SPAM Schools of the Pacific Atmospheric Monitoring
SPAM Search Pattern Assessment Model
SPAM Service Provisioning and Account Management
SPAM SGML Parser Add Markup
SPAM Shelter, Portable, Air Mobile
SPAM Shelter, Protective, Aircraft Maintenance
SPAM Shoulder of Pork & Ham (Hormel canned pork developed in 1937)
SPAM Slant Path Attenuation Model (antennas)
SPAM Society for Palmtop Advancement through Meetings (San Francisco, CA)
SPAM Society for the Preservation of Amplitude Modulation
SPAM Society of Properties Artisan Managers
SPAM Some Place Around Montana / Missouri / Massachusetts / Mississippi / Maine :-)
SPAM Space Planning and Management (University of Missouri - Columbia)
SPAM State Police Association of Massachusetts
SPAM Stop Pornography and Abusive Marketing Act
SPAM Strike Package and Associated Messages (Tomahawk weapon control system)
SPAM Systems Personnel Activity Meeting (Yale)
... or just very annoying!
+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
36x40 Acrylic
So many of my friends and I are going through a season of their lives (menopause and andropause). Redirection is what is happening, the adjustment is a bummer, but I know good things will come out this cycle.
Or is this about Corporate America. the little person working like a slave when corporate just gives you a little crumbs to live on. Everything is about the book and not human dignity and respect.
Tektro R538 dual pivot calipers replace the 1980 Weinmann model 605. Even with the traditional cable routing these offer powerful braking with minimal hand effort and smooth & easy modulation.
DSC02157
+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
2011, Jan. 14(Fri)
Nan-Hai Gallery
Entrance Time︱ 19:20 Starts Punctually At 19:30
Entrance Fee︱Free (Please arrive early as seating is limited)
Foretelling Revolutions
0xA(Chun Lee)
Chun Lee is a sound artist based in UK and Taiwan. With a background in classical music, he became increasingly drawn into contemporary music and electronic arts. This fascination with modern technologies brought him to study Sonic Arts at Middlesex University, where he gained his doctorate degree.
His current interests including developing sustainable pratices through free software, creating custommade electronic sound instruments and the studying of geometric patterns in various traditional cultures. He is also an active member of GOTO10 and Openlab, two international collectives devoted to free software and art.
Nirvāṇa（Chen Pei-Yuan）
Department of Communications Design, Shih Chien University. The winter trip to India in 2009, he visited the holy land and holy river in his mind. He was carried away by its philosophy, music, and art, so he has been studied Indian classical music and sitar. In these days, he also tried some electronic sound works to find a new body and appearance for ancient soul.
/ Performance Introduction
Nan-Hai . Appreciate sound
Both fascinated by traditional Indian culture, Pei and Chun started their art experimentations soon after they met in a circuit bending-workshop in 2010. The first of these results is a musical duet between them, mixing Indian Ragas and Pd Patches, sitar and noise circuits, sympathetic strings and pulse wave modulations.
LUPONEGRO YINGFAN PSALMANAZAR aka HUANG Dawang
Begins bedroom recordings since 1991, under influences of The Velvet Underground, Einstuerzende Neubauten, and Geinou-Yamashirogumi(i.e. OST"AKIRA"). Recordings broadcasted at Taipei's classic radio station in 1997. Live performance since 2002, he plays various instruments, electronics, laptop and junks in Taipei, Taichung and Kaoshiung.
During his abroad study years(2004~10), Yingfan get connected with Osaka's underground/noise scene, and performed with various artists and musicians in various fields. Yingfan's works appear on several compilations such as“LOBO 2”, “B!AS sound arts”, “C.U.E. COMPILATION 2”, “TAIWAN FREE SOUND”, etc.
/ Performance Introduction
LUPONEGRO YINGFAN PSALMANAZAR solo
When I was not on stage before, I had got so much wishful thinking, and there was no any result. Afterwards, I got on stage, and there was once my musical instruments were too many to be carried, so I thought of gathering topics and centralizing the table of organization. In the recent years, I don’t even think about presenting specific concept, instead, I think immediately how to continue after the first sound appears. Someone asked me if I am oppressive, I can only respond with a forced smile.
---------------------------------------------------------
Translate: Brenda Chan
Graphic Design:Nat, Niu
指導單位︱台北市文化局
主辦單位︱音瀑奧譜聲音藝術實驗室
協辦單位︱國立台北教育大學 南海藝廊
The primary difference between this version of my board and the last version is the Eventide ModFactor. After not very exhaustive non-scientific lab work, I determined it should go in the effects loop, rather than in front of the amp. Therefore, it needed to go on the top level, displacing the amp footswitch to the bottom level, where the Phase 90 used to be.
I'm about ready to sell every modulation pedal I own (and that is a good number of pedals). The ModFactor renders them obsolete. Sure, it's probably not a perfect clone of all of my old pedals, but it sounds great anyway. Man...I haven't heard flanging like this since the last time I hooked up my A/DA Flanger.
Next up (as soon as I can raise the funds by selling some of the aforementioned pedals), a PitchFactor!
Oscilloscope showing zero ddm* between the 90hz and 150hz signals immediately after an FAA Flight Check.
*ddm: Difference in Depth of Modulation
Monitoring a distant Belgian TV carrier on channel E3, this burst was received on Saturday 5th May at the time shown. See notes for more information.
The burst lasted about a minute.
I bet there aren't too many of these on FlickR!
Not actually a photograph of course, in the conventional sense, anyway!
The vertical axis represents frequency, the range shown is approximately 100Hz.
The vertical events (splodges) are all caused by reflection of the signal by the trails of meteors. It is a "Doppler Shift" phenomenon. Very brief events (thin splodges) are known as "Pings", the wider ones are known as "Bursts". Don't ask me at what point a ping becomes a burst, because I don't know!
During the biggest burst shown, the modulation on the TV carrier was plainly audible, probably strong enough to resolve into a locked TV picture, had I had a receiver connected.
Since I uploaded the above screen grab the 2009 Perseids have happened and produced spectacular results on my receiving equipment. If you are interested, look up my web page at www.g4fui.net/perseids_2009.html for more information ...
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
MITSUBISHI 50 INCH REAR PROJECTION TV
CLICK THIS LINK TO SEE ALL OUR INVENTORY www.flickr.com/photos/53089149@N02
YOU CAN USE THE SEARCH FILTER TO FIND WHAT YOUR LOOKING FOR EASILY BY ENTERING SIZE(50 inch), TYPE(plasma, dlp, lcd), OR ANY KEY WORD!
MODEL # VS-50705
WORKS GREAT AND IS READY FOR YOUR LIVING ROOM, HOME THEATER OR OFFICE.
PRICED FOR QUICK SALE!
FACTORY SPECS:
Features:
•Black Diamond Gray finish
•Active AV Network?
•1-event program timer
•5 AV memory presets
•AV memory by input
•120 minute sleep timer
•IRIS brightness/contrast control
•High/middle/low temperature control (6500?K)
•64 point digital convergence adjustment
•Parental control: V-Chip lock by time with TV lock by time
•2 language ViewPoint? on-screen operating system
•Languages: English/Spanish
•Menu Description: icon/half tone
•Time/channel display
•Presets for rename the input
•Name the channel
•Caption Types: CC 1-4, Text 1-4
•Closed captioning when muting
•2-tuner Picture-In-Picture (PIP) with TV still, moveable, and PIP exchange; Sizes: 5 (1/4, 1/6, 1/9, 1/12, 1/16); POP, split-screen, and channel preview; V-Chip controlled
•Video Type: NTSC
•3D Y/C comb filter
•Aperture control
•Dynamic beam forming
•Velocity scan modulation
•Wide band video amp
•Wide band VIF
•Dynamic gamma compensation
•Peak white ACL
•7" CRT
•4-element hybrid multi-coated lens system
•Electrostatic Dynamic focus system
•DiamondBright screen
•Thin Fresnel lens
•0.72mm fine pitch screen
•Front reflective surface mirror
•Mirror Type: Glass
•Multi-step focus
•Dynamic black level expansion
•110? horizontal viewing angle
•34? vertical viewing angle
•QuickView?
•Super QuickView?
•MTS/SAP reception
•181-channel FS tuner
•Automatic channel memory
•2 internal loudspeakers
•Surround (simulate/hall)
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•Bass/treble tone control
•2 antenna RF inputs
•1 front A/V input with S-Video
•2 rear A/V inputs with S-Video
•1 component video YCrCb input with stereo audio
•Cable loop (RF) output
•1 monitor A/V output (fixed/variable audio)
•1 Active A/V Network output
•Multibrand remote, Active A/V Network cable, "AAA" batteries, owner's guide with warranty, and product registration card included
Specifications:
•Output Power : 10W/channel
•Resolution : 850 lines horizontal
•Screen Size (diagonal) : 50 inches
•Accessories (included) : Diamond Shield remote
•Aspect Ratio : 4:3
•Contrast Ratio : 27:1 bright room - 250 lux
•Speaker : 5" round
WE ARE LOCATED IN THE CENTER OF THE VALLEY IN MIDVALE, JUST 1 BLOCK FROM I-15. PLEASE CALL OR TEXT IF YOU WOULD LIKE TO SEE TV AT 801-706-2918
+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
A Spanish Airforce McDonnell Douglas AV-8B Harrier II during a hover. First entered service in 1973, and still being used by the Spanish and Italian Air Forces.
Bluetooth Keyboard For iPad 2 with Black Aluminum Docking.The aluminum bluetooth keyboard case for the iPad 2 has a thin, eye-catching design.Made from aluminum with a high-grade finish, matching the design, look and feel of today's hottest tablets. A built-in physical keyboard allows for fast, responsive typing.
Sleek and stylish design with unique and useful features makes it an essential accessory to buy for your iPad2.Special function keys for music control, volume control, slideshow, home, search, etc.
Please note, this is an after-market item, it is not manufactured by Apple.
Feature:
Bluetooth standard: V2.0
Type: 82 keys
Operating distance: 10m
Modulation system: GFSK
Operation voltage: 3.0-5.0V
Working current: <5mA
Standby current: 2.5mA
Sleeping current: <200uA
Charging current: ≥100mA
Standby time: 60 days
Charging time: 4-5 hours
Charging input: DC 5V mini USB
Battery capacity: 1600mAh
Battery life: 3 years
Continuous working time: 55 hours
Key strength: 80 +/-10g
Key life: 5 million times
Operating temperature: -10-55℃
Size: 24.5cm (9.6") x 19cm (7.5") x 1.3cm (0.45")
Weight: 298g
Two colors to choose, Black and White ( Review White Bluetooth keyboard for iPad 2)
Package Content:
1 x Bluetooth iPad 2 keyboard
1 x Charging cable
1 x English manual
Note: Last 100pcs at this promotion price, pls confirm your order soon before it out of stock!
www.dealmelody.com/bluetooth-keyboard-for-ipad-2-with-bla...
Upper West Side, Manhattan, New York City, New York, United States
The 254 West 102nd Street House is one of an intact group of four residences designed by the architectural firm of Schneider & Herter and built by the firm of Schneider & Company as a speculative venture. The rowhouse group is the sole surviving exairple of a type of site planning used on several comer plots along West End Avenue in the early 1890s where a group of houses facing the Avenue featured a prominent comer house and an additional house which was built facing the side street behind the Avenue-facing houses, of which 254 West 102nd Street is one of the few remaining examples. The group of residences was built in 1892-93 during the first period of intense residential development for the comfortable professional class along the northern portion of West End Avenue where the suburban qualities of landscaped streets, the views of the Hudson River, and the amenities of nearby Riverside Park created a desirable residential area.
The quality and distinctiveness of the Queen Anne/Romanesque Revival style design of the house reflects the desire for individuality in the appearance of houses within rowhouse groups and is representative of the eclectical ly-styled residential architecture of West End Avenue dating from the 1890s. No. 254 West 102nd Street is distinguished by ornament characteristic of the mannerist aesthetic of the firm of Schneider & Herter, the juxtaposition of contrasting textures of rough, smooth-faced, and carved brcwnstone, and the emphasis on a lively roof line punctuated by a pedimented parapet and carved panel.
Development of the Upper West Side
Despite its long history beginning soon after the colonial Dutch settlement, the Upper West Side, known as Blocntingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (later renamed the Boulevard and finally Broadway in 1898) was opened through rural Bloomirtgdale and provided the northern route out of the city which was then concentrated in the southern tip of Manhattan.
The Upper West Side was included in the Randel Survey of 1811 (known as the Commissioners' Map) which established a uniform grid of avenues and cross streets in Manhattan as far north as 155th Street, although years elapsed before streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and the land was subdivided into building lots.
The city grew rapidly northward during the nineteenth century, but it was not until after Central Park (a designated New York City Scenic Landmark) was laid out in 1857 that development began around the perimeter of the Park, setting off the first wave of real estate speculation on the Upper West Side. Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side. By 1880 the horse car line on Eighth Avenue had been replaced by street rail service up to 125th Street and the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890) had been completed.
However, the biggest boost to the development of the West End (the area west of Broadway) was the creation, between 1876 and 1900, of Riverside Drive and Park (a designated New York City Scenic Landmark) located north of 72nd Street along the Hudson River. The presence of the park and drive, designed by Frederick Law Olmsted, was an important factor in making this area desirable for high-quality residential development.
Development of the West End began slowly, due, to a large degree, to the hesitation of would-be residents, but by 1885 it had emerged as the area in the city experiencing the most intense real estate speculation. The expectation that the blocks along Riverside Drive and West End Avenue would be lined with mansions kept the value of these lots, as well as adjacent land, consistently higher and developers were willing to wait to realize profits from the potentially valuable sites.
The real estate developers, including the West End Association, founded in 1884 by the prominent developer, W.E.D. Stokes, ultimately stimulated the demand for houses in the West End. Real estate brochures and the local press drew attention to the area, emphasizing the scenic quality of the setting, the nearness of parks, and the availability of public transportation.
West End Avenue (formerly Eleventh Avenue) was opened in 1880 from 72nd Street to 106th street and was paved with asphalt by 1893. West End Association members set twenty-year restrictive covenants governing West End Avenue which closed the avenue to commercial traffic and initially limited development to single-family houses, thus enhancing the desirability of the residential area.
By 1890 the character of the avenue had emerged as completely residential and was promoted as a suburban-like setting with such amenities as grass plots and trees along the sidewalks. The absence of flats and apartment houses on the avenue provided the opportunity for various treatments of the comers with rowhouses and larger attached residences.
In the mid-1880s the most attractive areas for development along West End Avenue were located near the El stations and along the higher elevations of the hilly avenue. Construction of mid-size rowhouses, rather than the more grand type of mansions originally projected for West End Avenue, began in 1885 near 104th Street which was convenient to a Ninth Avenue El station and by 1895 the high plateau between West 99th and 104th Streets had been built up with three- and four-story rcMhouses.
The architectural tone of these private residences was set by the presence of costly mansions such as the W.F. Foster residence at 102th Street and Riverside Drive and the Bacon residence at 104th Street and Riverside Drive.
The Schneider & Company's Houses
The site at the northeast comer of West 102nd Street and West End Avenue appears to have been first sold for development purposes in 1881 and at that time an open-ended restrictive covenant was initiated which prevented the construction of a variety of commercial and industrial buildings.
The property changed hands several times before Hannah O'Brien filed plans in 1890 to build five three-story limestone-fronted houses designed by Andrew Spence; within a year O'Brien lost control of the property and this project was abandoned.
Two New York architects, Ernest W. Schneider and Henry Herter, along with two partners — John Fish, a previous client, and Eugene Schultz — acquired the property and soon after filed plans for the construction of a group of four residences.
The centerpiece of the group of three-story houses with raised basements is the comer house which has a cylindrical tower with an additional story and an entrance near the center of its long West 102nd Street facade. Beside this house facing West End Avenue are two narrow houses, nearly identical in design. Situated across the rear of the three West End Avenue houses, the 254 West 102nd Street house features a freestanding side facade.
The houses, built between May, 1892, and April, 1893, were appropriately finished on the interior with decorative mantels, hardwood trim, and horseshoe openings ornamented with fretwork dividing the music rocms from the parlors, as well as up-to-date plumbing and utility areas. The placement of the stairhall in the center of each house permitted large full-width front rooms on the upper floors.
The first house to be sold of the Schneider & Company rowhouse group, in 1893, was No. 856 West End Avenue. In 1895 the remaining houses were divided among the investors and Eugene Schultz acquired title to No. 254 West 102nd Street. In 1896 Schultz sold the property to Jeanette Hilgers who owned it for three years.
The Schneider & Company development venture is the sole surviving example of a site development pattern that emerged on West End Avenue in which large comer parcels were purchased for the construction of rowhouse
groups. By decreasing the depth of the avenue-facing houses, an additional house could be built on the plot facing the side street; the plan worked to the advantage of the developer who sought a maximum return on the expensive West End Avenue lots.
Slightly larger and more prestigious comer houses, with highly visible design features such as comer tcwers, were characteristic of this site development plan. The side street-facing house was small but wider than the narrow avenue-facing rcwhouses, twenty-eight feet wide and fifty feet deep, and had several windows in the side facade, including a bay window near the rear of the house.
This scheme was particularly favored in the early 1890s when the area between 99th and 104th streets was developed. Rcwhouse groups facing West End Avenue, with a side street-facing house (or houses) across the rear of these lots, were built at the southeast comers of West End Avenue and 99th, 100th, 102nd, and 103rd Streets; all of the groups except the Schneider & Company group have been demolished. The rcwhouse group at the southeast comer of 103rd Street and West End Avenue, designed by M.V.B. Ferdon in 1891, included five houses facing West End Avenue and one facing 103rd Street; only the house facing West 103rd Street remains standing. Another group of houses designed by M.V.B. Ferdon and built by Increase Grenell in 1892 at the northwest comer of West End Avenue and 104th Street (demolished) included a comer house very similar to the Schneider & Company house, featuring the entrance near the center of the 104th Street facade.
Picturesque Architecture on West End Avenue
Riring the intense period of rcwhouse development on the Upper West Side, from 1885 to 1900, residential design was dominated by a reaction to the conformity and homogeneity of older Italianate style brownstone rcwhouses found elsewhere in the city. The first wave of development along West End Avenue in the period between 1885 and 1895 produced a number of individually-designed houses and speculatively-built, yet distinctive, rowhouse groups which, along with houses in the West End as a whole, represent the culmination of single-family house construction in Manhattan.
Many of the most prominent architects working in New York City designed these residences, often for speculative developers who invested in the area. The residences designed for West End Avenue were characteristic of the picturesque eclecticism of late-nineteenth-century architecture, drawing from a wide variety of stylistic sources and expressing the desire of architects and clients for originality, variety, and novelty in residential architecture.
There was a movement away from smooth brownstone as a facing material and a new emphasis on the sculptural and textural qualities of surfaces, as well as on the mixture of colors and materials.
Unusual, picturesque house design on West End Avenue had been initiated by the construction of two groups of houses with a "Dutch" flavor in 1885-86, designed by Frederick B. White and McKim, Mead & White. Clarence True and other architects continued to design residences for West End Avenue in unusual and picturesque revival styles which were executed with a high-degree of artistic experimentation.
Strong rhythmic patterns, asymmetrical massing, and a lively streetscape were created by the profusion of bowfronts, bay and oriel windows, gables, turrets, chimneys, dormers, cornices, stoops, and ornamentation associated with the popular Queen Anne and Romanesque Revival styles as well as more exotic revival styles.
These rowhouses on West End Avenue, and throughout the Upper West Side, unlike their Italianate brownstone predecessors frcm earlier in the nineteenth century, were purposely designed to be distinguished from one another, while together forming visually coherent ensembles. Along West End Avenue in particular, there emerged a characteristic treatment in the design of rowhouse groups. A larger comer house served to terminate a row of houses or became the focal point in a rowhouse group that turned a comer; the design of these comer houses frequently included an entrance in the longer, street-facing facade, a curved comer bay and tcwer, and a lively roofline.
The houses designed by Schneider & Herter are representative of this picturesque design movement, and although based on the common hybrid of the Queen Anne ami Romanesque Revival styles they are enlivened by unusual carved ornament.
The treatment of each of the four houses individually within the easily recognizable group provided the architects with the opportunity to create variations on a theme. The high degree of modulation in the plane of the facades through the use of recessed entrances as well as projecting bay windows and balconies (which afforded views of the river and park) adds depth and grandeur to the rowhouse designs. Schneider & Herter explored the range of surface effects achievable frcm smooth-faced and rough-cut brownstone, and incorporated both geometric and figural carving of the material.
The repetition of several ornamental elements unites the houses, including paired stringcourses, gridded panels of rough-faced stone, chamfered window surrounds in the smooth-faced facades, sheet-metal panels at the roofline, and elements of the carved stone program. The two smaller West End Avenue houses are identical except for the shape and detailing of the window openings while the design of the 254 West 102nd Street house repeats elements of the entrance to the comer house, also on West 102nd Street.
The design of picturesque rcwhouses in New York was influenced by trends in the design of architectural ornament in the later nineteenth century, a time when ornament was treated by many architects as an opportunity for creative experimentation. European theorists such as Owen Jones, James K. Collings, and Christopher Dresser encouraged an abstract interpretation of vegetation executed with an emphasis on geometric!zed form and their publications influenced designers in the United States.
At the same time, technological change also influenced the design of ornament. The availability of steam-powered tools encouraged the use of bold, machine-cut ornament while the growing use of terra cotta prompted the design of intricate ornament that could be easily reproduced.
The popularity of several revival styles, and the inventive blending of these styles, encouraged the architect/designer to adopt an individualized aesthetic in the design or architectural ornament. This trend can be seen in the abstracted naturalistic ornament developed by such recognized American innovators as Frank Fumess and Louis H. Sullivan, as well as in the pioneering work of architects like Henry Hobson Richardson, who developed a highly personal style drawing on Romanesque sources. Many architects working in New York City also developed identifiable personal styles, such as Clarence True with his interpretation of the "Elizabethan Renaissance Revival" style.
Schneider & Herter developed a somewhat idiosyncratic and mannerist aesthetic characterized by a lack of reverence for the traditional placement of ornament, an unexpected combining of architectural styles, and asymmetry in the composition of facades and their detailing; these characteristics appear in the firm's early designs for tenements, rcwhouses and synagogues.
In the ornamental programs of several buildings, including the 254 West 102nd Street House, Schneider & Herter combined incised, machine-cut ornament with both abstracted naturalistic designs of the column capitals and romantic figurative carving which includes lion newel posts at the stoop (identical to those which once fronted the 854 and 856 West End Avenue houses) and a carved panel featuring a human head and wings that is framed by classically-inspired pediment above the roofline entablature.
An uncommon approach to the composition and placement of ornament appears in the design of the columns framing the entrance where balusters, with incised horizontal bands and necks at the bottom, are topped with capitals of unmatched abstracted designs.
The placement of the capitals at the height of the windcw transoms requires the insertion of a scored block above the capitals and the resulting compound vertical forms support an entablature suggested by a section of molding cut into the lintel above the columns; this door surround and the balcony above create an unconventional entrance portico.
Schneider & Herter
Ernest w. Schneider and Henry Herter began an architectural partnership in New York city around 1887; within a very short time they had a thriving business designing tenements, flats, and industrial buildings, primarily on the Lower East Side. Schneider & Herter worked repeatedly for a group of German-Jewish clients with ethnic backgrounds similar to theirs, the most prominent of whom were the real estate developers Jonas Weil and Bernard Mayer for whom the architects designed a number of multiple dwellings.
This association led to the firm's commission for the Park East Synagogue, 163 East 67th Street (1889-90, a designated New York City Landmark), which Weil financed and led as president of the congregation. Schneider & Herter also designed Congregation Kol Israel Arshi at 20-22 Forsyth Street (1892, now owned by the Hellenic Orthodox Community).
The firm of Schneider & Herter had acted as architect-developers prior to its venture on the Upper West Side, designing and building a pair of French flats at 731-735 East 5th Street in 1890-91 and a French flat at 233-35 Delancey Street in 1891-92; the firm began a warehouse project at 141 West Broadway in 1893. Schneider & Herter later erected a five-story apartment building at 79-81 Perry Street in 1895 (in addition to designing several other buildings now within the Greenwich Village Historic District) and a pair of flats buildings at 309 and 317 West 93rd Street in 1901-02 (within the Riverside-West End Historic District).
The West End Avenue-102nd Street project was a departure from Schneider & Herter's usual work designing multiple dwellings, and was among the firm's first projects on the Upper West Side. Many of the firm's more than 100 multiple dwellings in Manhattan no longer stand, but those remaining exhibit the firm's individualistic approach to the use of ornament and facade compositions often featuring round-arched windows characteristic of the Romanesque Revival style.
Description
This brownstone-fronted house with three stories above a raised basement completes the group built at the comer of West End Avenue and 102nd Street by Schneider & Company by enclosing the rear yards of the avenue-facing houses. The two-bay house has a projecting two-story angled bay at the west with a balcony above; stringcourses mark the horizontal divisions of the smooth brownstone facade.
A rock-faced brownstone stoop with carved newel posts with lion heads and an ornate cast-iron balustrade leads to the recessed parlor-story entry flanked by a pair of compound columns composed of incised cylindrical balusters and unmatched carved capitals topped by scored blocks; there is a small balustraded balcony above.
Chamfered surrounds enrich the top portions of the one-over-one double-hung wood windows which on the parlor story are topped with stained-glass transoms. The rock-faced brownstone gridded panels on the upper half of the third story and the voussoirs of the semi-elliptical-arched tripartite window with carved wood mullions add to the picturesque quality of the roofline which has a pedimented parapet with a carved panel depicting a head with wings extending from a low sheet-metal parapet with sunflower motifs immediately above the cornice.
A rock-faced pier, which supports the west end of the parlor story in front of the recessed basement facade that has similar piers between the windows, supports one end of the arched gateway (with a wrought-iron gate) leading to the rear yards of the rowhouse group. The western elevation, which faces the yard, is brick with simple window openings. A cast-iron angled bay window projects at the parlor story.
The entrance door is a modem replacement, and grilles have been added to the window adjacent to the door and the one above at the second story which opens onto the balcony; grilles identical to those on the adjacent comer house are found at the basement windows and under the stoop door. Cast-iron railings have been placed above the brownstone balcony balustrades.
- From the 1990 NYCLPC Landmark Designation Report
The 3.6-liter V6 is the base engine in the 2016 Ram 1500. Rated at 305 horsepower and 269 pound-feet of torque, it has sufficient power for hauling and is EPA-rated 17/25 mpg, or 18 mpg city on HFE models, making it the most effective pickup in its class. The 8-speed automatic works well with this engine. To boost fuel efficiency, the Ram has a lightweight frame that utilizes high-strength steel, aerodynamic grille shutters, low rolling resistance tires, pulse width modulation for the alternator and power accessories, and thermal management system. Its tow rankings are a few hundred pounds less than that of the V6 types of the Ford F-150, Chevy Silverado and GMC Sierra, but if you are doing a lot of hauling you are likely looking at the 5.7-liter V8. thecarspecs.com/2016-ram-1500-review/
+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
Shown here is an image from the exhibit "Open Minds: An Exhibit of Psychology Department Faculty Publications," on display in the Bright Gallery on the second floor of Swem Library at the College of William and Mary. The exhibit features publications from faculty in the College of William and Mary's Department of Psychology. The exhibit is on display from March 26, 2012-January 18, 2013.
The following is a transcription of the label text presented on this label:
Selected Publications
Professor Burk
Fadel, James and Joshua A. Burk. (2010). Orexin/hypocretin
modulation of the basal forebrain cholinergic system: Role in
attention. Brain Research 1314, 112-123.
Burk, Joshua A., Matthew W. Lowder, and Kathleen E. Altemose.
(2008). Attentional demands for demonstrating deficits
following intrabasalis infusions of 192 IgG-Saporin. Behavioural
Brain Research 195(2), 231-238.
Professor Galano
Galano, Joseph and Lee Huntington. (2011). Healthy families
Virginia FY 2007-2011: Statewide evaluation executive report.
Richmond: Prevent Child Abuse Virginia.
Galano, Joseph. (2007). The healthy families America initiative:
Integrating research, theory and practice. New York: Haworth
Press.
Galano, Joseph. (1989). Poetry. Journal of Primary Prevention 10(1),
63-65.
Professor Barnet
Spaeth, Andrea M., Robert C. Barnet, Pamela S. Hunt, and Joshua A.
Burk. (2010). Adolescent nicotine exposure disrupts context
conditioning in adulthood in rats. Pharmacology, Biochemistry
and Behavior 96(4), 501-506.
Barnet, Robert C. and Pamela S. Hunt. (2006). The expression of
fear-potentiated startle during development: Integration of learning and response systems. Behavioral Neuroscience
120(4), 861-872.
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.
+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
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the outdoor shower and spa area by the beachfront pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Plants
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0281 Concha.JPG
Record ID: WB2010-0281
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Home: amok.ix-o.com/poorcat
[Scroll down for english text]
Musikvideo 01:30 min. [1982–2008]
POOR CAT – Die erstaunliche Verlagerung einer künstlerischen Perspektive
Die Flash-Animation »Poor Cat« (1982–2008) synthetisiert unterschiedlichste künstlerische Ansätze der digitalen Produktion zum audiovisuellen, siteübergreifenden Webclip.
Zur Mechanik des Clips:
Eine Lead Story – die »Lyrix« des Songs – wird grafisch comixartig und textbasierend rhythmisch dargestellt. Neben der Musik erhält der Clip durch Wiederholung und Modulation der reduzierten Zeichen– und Schriftsymbolik seine eigenständige visuelle Grundstruktur. Die primäre, lineare Erzählerebene – durchaus poetisch – wird durch das Anlegen einer zweiten, kontroversiellen Kommunikationsebene inhaltlich und emotional gebrochen. Die Kombination von Zeichen/Körper/Schrift/Text/Bild/Zeichnung/Symbol/Stimme des audiovisuellen Primärstreams – die persönliche Zeichensetzung – wird einer distanziert geführten (medien)theoretischen Auseinandersetzung gegenübergestellt. Auf dieser Ebene werden Aussage, formale Gestaltung und Anordnung des audiovisuellen Hauptstrings subversiv kritisiert, persifliert und mittels dynamisierter bildlicher und interaktiver Versprechung wird zum Verlassen des aktuellen Geschehens aufgefordert und auf andere, interessantere Themen und Sites (auf ein ganzes Universum) verwiesen.
Texte und Anweisungen im Clip:
POOR CAT – die erstaunliche verlagerung einer künstlerischen perspektive
der weg zur kunst
variation über selbstreferenzielle systeme
keine philosophische theorie?
nur leere und abstraktheit
keine politische wahrheit?
nur mathematische struktur
sozial nicht relevant?
nur ein synästhetisches kontinuum
nur eine visuelle erfahrung?
elegant
charmant
präzise
erregend – spektakulär
nicht korrupt?
nicht elitär?
ein kleines lied
zu einfach?
zu wenig action?
ein kurzer film
ein blauer himmel
less action?
analogie : kontrast
nur die erinnerung
an freundschaft
fast wie im richtigen leben
tricky world
eine metapher für den träumenden sozialen geist
zu wenig visionär?
dann
wählen sie amok
die geschichte über eine reise in die anonymität des leeren raums
tableau [1] japan eins
tableau [2] cluster der panik
tableau [3] museum of private arts
tableau [4] der schlaefer
tableau [5] translokation
ein ganzes universum?
wähle amok
oder bleib!
amok – schnelle server leben im geist der dekonstruktion
poor cat
1982-2008
interested in another space?
if it?
do it
now!
click!
verpasst!
Text, Grafik, Animation, Video, Performance, Komposition, Instrumente, Stimmen, Programmierung, Produktion und © GRAF+ZYX – Wien : all rights reserved.
POOR CAT : WEBCLIP
Home: amok.ix-o.com/poorcat
video clip 01:30 min. [1982–2008]
POOR CAT – the prodigious shift of an artistic perspective
Different artistic approaches to digital production are synthesised in the Flash animation “Poor Cat” (1982–2008), an audiovisual and interlinked webclip.
On the mechanics of the clip:
A comix-like graphic design and text-adapted rhythms make up the storyline – the “lyrix” of the song: Next to music it is the composition and repetition of a minimised symbolism of signs and characters which constitute the clip's individual visual structure. The primary – rather poetical – narrative level is emotionally broken and disrupted in content by a second controversial communication level. The audiovisual storyline – the personal message – a combination of sign/body/text/image/drawing/symbol/voice is confronted with a conceptional media-theoretical examination. Statement, formal design, and composition of the audiovisual narrative are subversively criticised and satirised. It is the clip's dynamic visual and interactive assurance which prompts the viewer to leave the actual storyline, and refers to more interesting issues and sites (a whole universe).
The clip's script and directives:
POOR CAT – the prodigious shift of an artistic perspective
a path to art
variations on self-referential systems
no philosophical theory?
only emptiness and abstractness
no political truth?
only mathematical structure
not socially relevant?
only a synaesthetic continuum
a visual experience only?
elegant
charming
precise
exciting – spectacular
not corrupt?
not élitist?
a little song
too simple?
too few action?
a short movie
a blue sky
less action?
analogy : contrast
only a memory of friendship
almost like real life
tricky world
a metaphor for the dreaming social mind
not visionary enough?
then
they choose amok
the story of a voyage into the anonymity of empty space
tableau [1] Japan one
tableau [2] cluster of panic
tableau [3] museum of private arts
tableau [4] the sleeper
tableau [5] translocation
a whole universe?
choose amok
or stay!
amok – fast server live in the spirit of deconstruction
poor cat
1982–2008
interested in another space?
if it?
do it
now!
click!
missed!
Script, graphic design, animation, video, performance, composition, instruments, voices, programming, production © GRAF+ZYX, Vienna : all rights reserved
(translation: Simone von der Geest)
Crown XLS2000 DriveCore Series 2100W Amplifier Description:
Crown's XLS 2000 power amplifier is a premiere portable PA system with unmatched performance, technology and affordability. It includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 12 pounds, the Crown XLS2000 power amp is much easier to set up and move from show to show.
A Power Amp with Integrated DriveCore Technology
Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into developing this technology resulting in truly remarkable benefits. The DriveCore Technology in this Crown power amp provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the XLS2000 power amplifier will not compromise your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc. In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low frequencies at high-power levels for maximum subwoofer output.
Advanced Switched-Mode Power Supply
This advanced power supply in the Crown XLS2000 power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies.
PureBand Crossover System
The PureBand Crossover System in the Crown XLS Series adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provide steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.
Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher SPL will less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Crown power amp's Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
The XLS is a leader in portable amps, with DriveCore Technology, PureBand Crossover System, and Peakx limiters
XLS High Performance, Lightweight Class D power amp weighs less than 11 lbs.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
Minimum Guaranteed Power per channel, both channels driven: 1050W, Stereo, 2 Ohms (per ch.); 650W, Stereo, 4 Ohms (per ch.); 375W, Stereo, 8 Ohms (per ch.); 1300W, Bridge-Mono, 8 Ohms; 2100W, Bridge-Mono, 4 Ohms
Sensitivity (for full rated power at 4 ohms): 1.4 Vrms
Frequency Response (at 1 watt, 20 Hz - 20 kHz): +0 dB, -1 dB
Signal-to-Noise Ratio Rated as dBr to full rated 8Ohm power output (A-Weighted): XLS2000 > 103 dB
Damping Factor (8 Ohm): 10 Hz to 400 Hz: > 200
Crosstalk (below rated 8Ohm power): At 1kHz: > 85dB; At 20kHz: >55dB
Input Impedance (nominal): 20 kOhm balanced, 10 kOhm unbalanced
Load Impedance: 2 to 8 Ohm per channel in Stereo; 4 to 8 Ohm in Bridge Mono
AC Line Voltage and Frequency Configurations Available (± 10%):120 VAC 60 Hz; 100 VAC 50/60 Hz; 220 and 240 VAC 50 Hz
Ventilation: Flow-through ventilation from front to back
Cooling: Internal heat sinks with forced-air cooling for rapid, uniform heat dissipation
Air Volume Requirements (per minute per unit): 80.15 ft (2.27 m )
Integrated Processing: PureBand Crossover System; Crossover Filter: Linkwitz-Riley 24dB per Octave; Crossover Frequency Range: 50 HZ - 3 kHz: Crossover Mode: Crossover (CH1=LPF, CH2=HPF), LowPass (both channels LPF), HighPass (both channels HPF), Bridge (LPF or HPF); Peakx limiters: Channel independent clip limiter designed to provide maximum output while protecting your loudspeakers
Input/Output: Input Connectors: XLR (one per channel), 1/4-Inch (one per channel), and RCA (one per channel). 1/4-Inch connectors can be used as loop-thrus to distribute signal to additional amplifiers. Output Connectors: Two 4-Pole Speakon Output Connectors accept 2-pole or 4-pole Speakon connectors. The top Speakon connector is wired for both channels so it can be used for bridgemono wiring or for stereo wiring of two speakers to a single Speakon connector. One pair of back-panel binding posts per channel; accepts banana plugs or bare wire. (European models do not accept banana plugs.)
Dimensions: 19"W x 3-1/2"H x 10-3/4"D
Weight: XLS2000: 10-3/4 lb.
+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
modulations
a history of electronic music - throbbing words on sound
edited by peter shapiro
published by: caipirinha productions inc. (2000)
Book courtesy of: GMA
Domenichino (eigentlich/aka Domenico Zampieri) , Bologna 1581 - Neapel 1641)
Sibylle, Ausschnitt / Sibyl, Detail / Sibilla, dettaglio (1616 - 17)
Galleria Borghese, Rom
Chromatic modulations characterize the Sibyl by Domenichino, who was also an expert in music. The figure is depicted with a viola da gamba and a music book, because traditionally in antiquity sibyls sang their prophecies to the accompaniment of musical instruments.
Source: Web Gallery of Art
Grant Petersen once waxed poetic about these brakes for their smooth modulation and ever since I had to have 'em. I must say that mated to the Tektro RX4 Inverse Levers, this is some of the most pleasant and intuitive braking I have ever felt on any bike. Superior to the Shimano Ultegra 9-speed STI brake levers and V-brakes on my Cannondale T1000 touring bike; superior to the Cane Creek SCR-5 levers and Ultegra caliper brakes (BR-R600) with Kool-Stop brakepads on my Rivendell Rambouillet. Seen here on a Velo Orange Campeur singlespeed commuter. Complete build specs are available at this image in the album. Image made at W 19th and 9th Ave, NYC on a rainy summer afternoon.
Virtually pristine condition. This is my second 405 line set. It's a 1956 model.
It was bought in an antique shop in Windsor, London and sent to Australia in a tea chest.
Tuner is 13 channel and superhet receiver is used. Line oscillator has AFC. AGC is mean level from sync separator grid. It's a very 'text book' circuit for a 405 line set.
Normal 300mA heater 7 and 9 pin Philips/Mullard valves are used.
Some of my guitar pedals. Top row is for fuzzes, second row is for distortions and overdrives, third row is for modulation effects (chorus, flanger etc.) and bottom row is for tonal effects.
1950-1970
Naamseingever
morsecode keyer.
indien veelvuldige gespreksdicipline overtredingen zijn geconstateerd
werd deze naamseingever geplaatst in de radiotelefonie zenders van Nederlandse (visserij)schepen
hier met het naamsein " IM " ( .. __ __ ) in morse code.
wanneer de zender in de lucht komt (wordt gesleuteld)
gaat het twee-letter naamsein altijd mee in de uitzending of er gesproken wordt of niet..
identificatie van de zender is daarmee gemakkelijker voor de toezichthouder, de luisterdienst
van de inspectie Kust en Scheepsradio. (PTT/KSR)
fabrikaat:
Centrale Werkplaats PTT te Den Haag
type 3-65 nr. 40
primaire 24V=
output naamsein "I M" in morse code
modulatie toon 2000Hz
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.
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 ]
SST12CP12 Combines High Linear Output Power With Low EVM in Small Package for Longer Range at Maximum Data Rate; Supports MCS8, HT40, Spectrum Mask and OFDM.
Microchip today announced its latest 2.4 GHz RF high-power amplifier—the SST12CP12—which adds support for the 256-QAM ultra-high data rate modulation. With its high linear output power of up to 23 dBm at a dynamic EVM as low as 1.8% and MCS8 40 MHz bandwidth modulation, along with 25 dBm linear power at 3% EVM, this amplifier significantly extends the range of IEEE 802.11b/g/n WLAN systems while providing excellent power at the maximum 256-QAM data rate. It is also spectrum mask compliant up to 28.5 dBm for 802.11b/g communication, and utilizes Orthogonal Frequency-Division Multiplexing (OFDM) to correct severe channel conditions without the need for complex equalization filters. Additionally, the SST12CP12 reduces board space with its small 3x3x0.55 mm, 16-pin QFN package. For more info, visit: www.microchip.com/get/NCPD
Microchip announced its new SST11CP22 5 GHz power amplifier module (PAM) for the IEEE 802.11ac ultra high data rate Wi-Fi® standard. This PAM delivers 19 dBm linear output power at 1.8% dynamic EVM (Error Vector Magnitude) with MCS9 80 MHz bandwidth modulation. Additionally, the SST11CP22 delivers 20 dBm linear power at 3% EVM for 802.11a/n applications, is spectrum mask compliant up to 24 dBm for 802.11a communication, and has less than - 45 dBm/MHz RF harmonic output at this output power, making it easier for the system board to meet FCC regulations. To learn more about Microchip’s RF power amplifiers visit: www.microchip.com/Power-Amps-031715a
A Place to Bury Strangers graces us with their presence once again. I'm still surprised this avant garde experimental band comes to St. Louis. The crowd, though not large, understands and appreciates this unique band. You have to see them to understand their artistry and power.
The subtitle of this series is the "madness of photographing in stobe lights". I asked Oliver Ackermann before they played if they were going to have strobes likes the first time I saw them. I just wanted to be ready for them. He laughed and, "Maybe." Oh yes there were strobes and they were even more intense than last time. It was a smaller more independent venue this time and maybe that made it easier to put on the show they REALLY wanted to. Though 60% of my shots were black, I managed to get a few.
#amy buxton
#Fall
#St. Louis
#A Place to Bury Strangers
#band
#music
#noise manipulation
#Off Broadway
#wave modulation
#Death By Audio
#Dion Lunadon
#Oliver Ackermann
#experimental rock
#space rock
#strobe light
#strobe
#concert
+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
March 7 - April 9, 2010
Opening reception: March 7, 4-7pm
It is with great pleasure that devening projects + editions announces The Lodger, an exhibition of new work by Peter Otto. The show will feature new paintings, works on paper and editions.
In this exhibition, as throughout most of his career, Otto makes the task of facing untenable cultural truths only slightly easier by persuading us with a system of delivery almost impossible to ignore. Otto’s work reports on the constituent factors of a human condition continually shifting between beguiling and highly disturbing. He reveals the state to which humanity—ever tested by social, cultural and political forces—bends, breaks and at times collapses. These paintings and sculptures show a reality emerging from the darkest moments. Evidence of the ways culture and society impose will and exert power is revealed on the surfaces of his verdant canvases and in the sculptures made from clay, plaster and bronze.
The themes are somber; the work though is delicately formed and teeming with graceful facture. It’s a difficult balance to strike, but Otto is able to bring forth stories of how cultural ruptures created by wars, famine, natural and man-made disasters form the basis from which that same culture is ultimately shaped. His paintings and drawings express a highly personal relationship with historical and contemporary events but always leaves the narrative open to evoke sensations interpretable from varied positions.
One thinks of Philip Guston when looking at Otto’s work. An acknowledged influence for the artist, Guston is a model for how to bridge the political and the formal. An example in Otto’s work is a regular use of stacked or hanging objects. Macabre associations are unavoidable, but one can never be sure. These “things” might also suggest built structures raised from a destroyed place or re-presented from an emergent culture. One might consider Guston’s piles of shoes and find a strong link to Otto. The concerns addressed in Otto’s most well-known paintings can also be seen in occasional large-scale public works in Holland such as Twisted Totem in Den Haag. This monumental work is a aggressively fragmented totem made from disparate parts. The sculpture, like the paintings, asks us to face difficult and challenging revelations about our culture and brings awareness to the ways in which we process trauma.
In one of several essays in Votive/Totem, the 2006 book on Otto, Rob Smolders writes: “Peter Otto juxtaposes his own malicious imagination with the imagination of society. He tightens pieces of string, erects crosses and gallows, puts up doors and fences, has a ball with junk he finds in his way: swastikas and Christmas trees, feet and heads, flowers and walking sticks. No dances in this world for it is inhabited by monsters and crutches.”
Of his painting and process, Smolders writes: “… Meanwhile, Peter Otto remained the painter he was. Magician when glazing, alchemist when patinating. The pictorial language of the paintings dating from the past five years is often acrid yet playful. Colors that are sometimes reminiscent of blood, tar or flesh, suddenly give way to the ripe color modulations of overblown flowers in an exuberant representation. References to war and violence that are too literal have been forced back. The tenor of the work is more general, even if the prevailing mood remains somber.”
Otto, who lives in Arnhem, has been featured in solo and group exhibitions throughout Europe including projects at Museum Beelden aan Zee in Scheveningen, the Kröller-Müller Museum, Boÿmans van Beuningen in Rotterdam, Galerie Reuten and Galerie Swart in Amsterdam, the Museum Kurhaus Kleve and the Pushkin Museum in Moscow.
Devening Projects & Editions
3039 West Carroll
Chicago, IL 60612
Tel.: 312-420-4720
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.