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Georges Seurat（1859 - 1891）
Oil on canvas
79.5 x 95.5 cm
This painting is a striking demonstration of Seurat’s pointillist technique. The modulation of light and shadow on the wall is achieved with the use of small dots of pure colour juxtaposed in varying concentrations and intensity.
The young model depicted by Seurat was his mistress, Madeleine Knobloch, who bore him two sons. This painting thus takes on a very personal meaning.
Samuel Courtauld Trust : Courtauld Gift, 1932
The Courtauld Gallery, London
The Tektronix Type 191 Constant Amplitude Signal Generator. It's an RF signal generator but it does not have any modulation input.
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
Various outputs from a C++/OpenGL custom software i'm working on.
Demo here: vimeo.com/user18035206/sound-sculptures
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Microchip's latest 2.4 GHz 256-QAM RF high-power amplifier—the SST12CP21—offers ultra low EVM and current consumption for 256-QAM and IEEE 802.11n systems. The SST12CP21 delivers high linear output power of up to 23 dBm at 1.75% dynamic EVM, with MCS9 HT40 MHz bandwidth modulation at 5V and 320 mA current consumption. Additionally, the SST12CP21 delivers 25 dBm linear power at 3% EVM with only 350 mA current consumption for 802.11g/n applications. This performance significantly extends the range of 802.11b/g/n WLAN and MIMO systems, while consuming extremely low current at the maximum 256-QAM data rate. The SST12CP21 is also spectrum mask compliant up to 28 dBm for 802.11b/g communication. Board space is reduced by the small 3x3x0.55 mm, 16-pin QFN package that matches a popular pin-out. For more info, visit: www.microchip.com/get/L3PX
Filaments of the Cyanobacterium Anabaena, from a Vernal Pool in the Warm Springs area of the Don Edwards San Francisco Bay National Wildlife Refuge. Salinity was about 7-PPT.
This photomicrograph was taken with a Nikon Coolpix P5100 using Hoffman Modulation Contrast optics with oil immersion at 1,000x magnification.
Anabaena was the dominant organism in the floating microbial mat in the pond, exceeding other microorganisms by a factor of about 300-fold.
Anabaena is a nitrogen fixer. The large cells in the filament are the Heterocysts, which isolate the nitrogen-fixing process from oxygen [oxygen inhibits the nitrogenase enzymes].
The smaller, square-shaped cells carry out photosynthesis, fixing carbon and producing oxygen. This was readily evident by the masses of small bubbles in the floating mat.
Notice the fine "hairs" on the Heterocyst cells. These are some of the other bacilli that inhabit the mat and cluster around the Heterocyst cells, probably for nitrate.
Messier 3 (also known as M3 or NGC 5272) is a globular cluster of stars in the northern constellation of Canes Venatici. It was discovered by Charles Messier on May 3, 1764,[7] and resolved into stars by William Herschel around 1784. Since then, it has become one of the best-studied globular clusters. Identification of the cluster's unusually large variable star population was begun in 1913 by American astronomer Solon Irving Bailey and new variable members continue to be identified up through 2004.
Many amateur astronomers consider it one of the finest northern globular clusters, following only Messier 13.[1] M3 has an apparent magnitude of 6.2,[4] making it a difficult naked eye target even with dark conditions. With a moderate-sized telescope, the cluster is fully defined. It can be a challenge to locate through the technique of star hopping, but can be found by looking almost exactly halfway along an imaginary line connecting the bright star Arcturus to Cor Caroli. Using a telescope with a 25 cm (9.8 in) aperture, the cluster has a bright core with a diameter of about 6 arcminutes and spans a total of 12 arcminutes.[1]
This cluster is one of the largest and brightest, and is made up of around 500,000 stars. It is estimated to be 8 billion years old. It is located at a distance of about 33,900 light-years away from Earth.[citation needed]
Messier 3 is located 31.6 kly (9.7 kpc) above the Galactic plane and roughly 38.8 kly (11.9 kpc) from the center of the Milky Way. It contains 274 known variable stars; by far the highest number found in any globular cluster. These include 133 RR Lyrae variables, of which about a third display the Blazhko effect of long-period modulation. The overall abundance of elements other than hydrogen and helium, what astronomers term the metallicity, is in the range of –1.34 to –1.50 dex. This value gives the logarithm of the abundance relative to the Sun; the actual proportion is 3.2–4.6% of the solar abundance. Messier 3 is the prototype for the Oosterhoff type I cluster, which is considered "metal-rich". That is, for a globular cluster, Messier 3 has a relatively high abundance of heavier elements.
Oscillatoria drying slide with bubbles, 1000x Hoffman Modulation Contrast optics. From Heron's Head Salt Marsh.
This is the model R/C tank I am designing on a gearbox + Tracks & wheels from Tamiya. The radio is Hitec and two receiver servo outputs feed my microcontroller-based Pulse Position Modulation output into Pulse Width Modulated power output to the two motors.
Full details at www.5volt.eu
The MoofTronic is a miniature synthesiser.
It uses a stylus to play 8 different notes(one octave in the key of C). It also has a small antenna that when touched, controls the modulation span of the note being played. It creates a fast modulation type sound, it starts making the crazy noises when the antenna picks up interference created by the output of the speaker.
It measures about 3cm x 1cm and is based around a 24pin ic holder. The notes are generated by software programmed onto a Picaxe 08M microcontroller which also has a small speaker mounted on it. Its powered by a 9 volt battery.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
A fallback single transmit Tx coil option was left on the high acuity headset to offer a simple wireless power transfer where the coil is optimally placed directly in front of the eye. A Direct-Digital-Synthesizer running at 50MHz allows full control of Magnitude, Frequency and Phase with the added advantage of providing hard wired high speed modulation control. The DDS allows precision resonance tracking at resolutions below 1Hz allowing mutual inductance and eye movement compensation between the external and implant inductive coils similar to a DPLL. the output frequency is set to track the resonance of the series-parallel tank circuits notionally set at 6.8MHz. Small changes in mutual inductance resulting from eye movements can be easily tracked using VI phase shifts.
The thing that united scientists with rock n roll.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Image of the bottom of the HS02 headset showing a High-Q Tx Coil interface. Three (3) coil drivers were removed from HS01 requirements and subsequently replaced with a (fallback) single Tx transmit coil driver on HS02 to make room for a galvanically isolated percutaneous plug interface. The loan planar Tx coil is driven via a 50MHz DDS that includes programmable quadrature phase and dual frequency high-speed modulation control lines via feed directly from the Virtex6 FPGA. Also included in this power transfer block are voltage and current monitoring circuits including logarithmic impedance and phase converter IC providing precision monitoring of transformer load characteristics
Specification
Coach Model MAN 18.350 HOCL/R
Chassis Length 11,850 mm
Chassis Width 2,526 mm
GVW 18,200 kg
Engine Type
Vertical, Water Cooled 6-cylinder 4-stroke Diesel Engine
With Common Rail Injection,
Exhaust Turbocharger and Intercooler
ECR, Replaceable Cylinders Liners
Engine Model MAN D2066 LUH13 Euro 4
Displacement 10,518 c.c
Maximum Output 257 kW (350 hp) @ 1,700 rpm
Maximum Torque 1,750 Nm @ 1,000-1,400 rpm
Bore 120 mm
Stroke 155 mm
Fuel Capacity 300 dm³
Transmission ZF 6S 1900 BO 6-speed Synchromesh Manual Transmission
ZF 6 HP 504C 6-speed Automatic Transmission
Voith D864.5 4-speed Automatic Transmission
Drive Axle MAN HY-1336-B
Suspension Capacity 13,000 kg
Front Axle MAN V9-82 SL
Suspension Capacity 8,200 kg
Brake
Dual Circuit Air Brake System to ADR Directives by Wabco
Front and Rear Axle Disc Brakes
Electronic brake system EBS (ABS, TCS)
Auxiliary Brake Manual Transmission: Engine Brake Valve (EBV)
Automatic Transmission: Integrated Retarder and
Water Cooled with Electric Pressure Modulation
Suspension
Air suspension with 6 identical rolling seals
With Integrated Elastic Stroke Limiter
Electronically Controlled Constant Entrance Height
Suspension Characteristics Under All Load Conditions
Front Suspension 2 x Air Bellows
2 x Shock Absorbers
1 x Level Control Values
1 x Stabilizers
Rear Suspension 4 x Air Bellows
4 x Shock Absorbers
2 x Level Control Values
1 x Stabilizers
The easiest way to explain, Marshall JCM In a Box! We used best quality and matched FETs for -Tube to FET- conversion. The pedal also has switchable traditional bright cap on gain control. Finally, The English White is a push-pull clipping overdrive & cabinet simulator w/ advanced bias controls. Controls: Volume, Drive, Bias1, Bias2 Switches: Bright, Cabinet
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 ]
Finally! After months of round the clock work my first Light Removing Strobe prototype is working.
The prototype model is running at -400 effective WattSeconds, removing about 3 stops of light from ambient in this example. You can see the darkness flashed onto the chair seat and the wall through the holes in the back of the chair.
The development model is very temperamental so apologies for the uninteresting picture. And I need to do more work on the photonic modulation condensor to improve the brightness of the "shadows" this unit casts.
As soon as the patent filings complete I will be moving to commercialize this breakthrough.
Thanks to my astrophysicist friend for the idea for this.
Take a look at my other recent flickr work to see how seriously you should take this invention!
Dragon Skull
This hard rock guitar track features several constrasting sections and fiery lead Stratocasters.
Live lead Stratocaster guitars - Lee Fitzsimmons * Live Stratocaster rhythm guitars - Lee Fitzsimmons * Live Ibanez 5-string bass guitar - Lee Fitzsimmons * Drums and percussion - Lee Fitzsimmons
The track begins with the full instrumentation of the arrangement presenting the background for the first section. This section consists of a basic riff in B that takes advantage of several open strings. The twin leads then begin their dual lines over this first riff as they scream their overdriven melodies in perfect harmony. The second section incorporates a pseudo-modulation to D major as the twin leads switch from a tight harmony of thirds to a wide octave of descending melodic lines. The third and final section features the twin leads cascading down on the G string as the E string is alternately struck. The drum beat in this final section switches from a typical rock pattern to a more tribal rhythm that employs the tom toms in a very dominant manner.
The entire form is repeated and then the bridge is presented. The bridge continues with the tribal tom tom pattern of the final section and then suddenly stops. When the groove starts a few beats later, a fiery guitar solo begins that features some of the faster licks available in Lee's lead guitar tool kit. The piece ends by repeating the first three sections of the track.
This first part of this tune uses the flavor of twin electric leads that use microtones on the blue notes in harmony in order to bring about the intense harmonic flavors that really tickle the inner skull. The raw drum rhythms also express the tribal intensity invoked by this work. This piece is about elevating the primitive elements of rock into more educated realms that use more complex systems of harmonies, yet still retain their tribal essence.
My website is at LeeFitzsimmons.com
From left to right the controls are:
F = filter frequency
T = tuning / fine, continuous pitch control
G = glissando, stores voltage from the last note and releases it over 3 switch-selectable times
O = octave, selects range six increments spanning 6 octaves
M = modulation, how much LFO is modulating pitch
R = resonance, links filter to LFO softening the sound slightly
S = speed, the speed of the LFO indicated by the adjacent LED
The design for the keys was inspired by the valves of a trumpet...
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
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.
Equipped with sophisticated Enhanced Capture/Compare/PWM (ECCP) peripheral the Microchip PIC18F14K50 microcontroller could produce up to four PWM channel outputs. The enhanced PWM (Pulse Width Modulation) mode in ECCP peripheral is capable to drive the full bridge DC Motor circuit directly both in forward or reverse direction. It also could generate single PWM output on the selectable PIC18F14K50 pins when it configured in pulse steering mode. For more information you could visit www.ermicro.com/blog/?p=1461
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 ]
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
Manchester Cathedral.
St Mary Window, 1980.
By Antony Hollaway (1928-2000).
In 1963 the stained glass designer and craftsman Tony Hollaway was introduced to the Manchester architect, Harry Fairhurst. Eight years later, after they had worked together on commissions in Cheshire and Liverpool, Fairhurst sought Tony's advice about a plan for five large stained-glass windows in Manchester Cathedral.
Thus was Tony asked to design and make the first window, the St George in the inner south-west aisle. It was completed in 1973. Further windows followed in 1976 and 1980 and the final window, Revelation was installed in 1995.
Detail: The St Mary Window. Designed by Antony Hollaway, 1980. (This is in the Tower.)
The circle, which dominates the window, is the ancient Christian symbol of perfection. It is marred by the death of Jesus in the form of a shart of leight or the sword. This is a direct reference to the prohecy of Simeon to the Blessed Virgin at the time of the Presentation of Jesus in the Temple. (“A sword shall piee through your own Soul also”. Luke 2: 35).
This destoryed the perfection of the circle which is compensated for visually the the arcs of red and yellow. “And there appeared a great wonder in Heaven: a women clother with the sun, the moon under her feet …” (Revelation 12:1). These radii restore the symmetry required for formal and design purposes.
These are seven shades of blue within the circle, blue being a colour traditionally associated with St Mary the Virgin. The circle contains a serpent. This is a multiple image best understood under the following headings:
The circle placed upon these blocks of colour are letter forms both upper and lower case which are essentially to create a pattern. However, they may be re-assembled to read verses from the Magnificate: left to right. The act of re-assembling the letters is intended to concentrate the mine on the text which would not necessarily result from ‘easy reading’.
The above details are intended to present:
1. A suitable light modulation for this part of the building.
2. A relationship with the two adjoining windows.
3. A monumentality and dignity appropriate to the Architecture and to the special place of this window in the Scheme, and of the Virgin Mary among the Patron Saints of the Cathedral.
All the teaching elements of the window are subordinate to the formal design requirements expressed in (3).
preserving modulation while dividing carrier - bottom trace is drive, top trace is output.
This is a montage of two photographs of the spectrum analyser output. At the central peak in the lower trace the frequency is twice that of the central peak in the upper trace. Amplitude modulation is present on the drive, lower trace, and is preserved after the carrier is divided by 2. This is a useful way of dividing the frequency of a modulated carrier while preserving the modulating signal substantially unaltered.
via Tumblr lawrence9gold.tumblr.com/post/107993950082
A T T E N T I O N:
P S Y C H O A C T I V E
_____________________________The “Vajra” Self-Rectifying Process
A word in advance: This entry contains instructions for procedures that, due to their simplicity, are “advanced” practices. Known together as, The Vacuum Cleaner for Your Mind, they require sufficient control of your attention muscle to do them. Without that adequate control, some may find that their thinking-word mind is producing too much noise, noisier, even, than The Vacuum Cleaner for Your Mind — impossible for some, for now. The key, for such ones is practice of The Gold Key Release and the Middle-Way Memory Matrix Ritual.
In this entry I present two procedures, The Ka-Bong and Flashing the Unknown Unknown, that, when combined, provide a quick, even instant way to disarm and dissolve grips seemingly held upon us by unconscious habits of self-contraction and distress, so they can be sucked out of our mind. Right then.I present them, one at a time, for practice. Once you are practiced in them, you can follow one immediately with the other. In my experience, the immediate result is the recognition and release of self-contraction patterns felt, bodily, as a postural shift and relaxation into a new postural shape, accompanied by relief from the psychological tension you are addressing, and a new sense of presence. The Rationale for The “Ka-Bong”
The Ka-Bong is a “back-door” maneuver for dissolving hidden grips that keep us in the grip of our world-mind inheritance, confused, and stuck.
Those hidden grips show up as repetitious patterns of behavior that are recognizable and characteristic of the person, that have a feel to them that is part of the person’s sense of self, and part of the person’ way of harmonizing by which others recognize them. These grips are the chronic issues and ongoing complaints of a person’s existence, as well as the virtues to which they adhere. They are the programs of a person’s life.
Once recognized (generally, something we do or experience again, and again), the experience (as remembered) can be passed through The Ka-Bong, which dissolves the “part” or aspect of that behavior pattern that we still confuse with the basic reality of life. At that moment, the field of radiant awareness that underlies all can be intuited.
The reason The Ka-Bong works is that our habitual states are always forms of definition, or limited conditioning, whereas reality is inherently formless and, contrary to everything we are taught or have heard, is unknown by us (not a form of knowledge, at all, but ineffable experience). What we know is our conditioning, which we confuse with reality, “itself” (there is no “itself”, except in a manner of speaking). When we do the release step of The Ka-Bong, though we may think we are releasing the effort to intuit, identify or “locate” reality, what we are really doing is releasing an effort that keeps us stuck in our conditioning (which, as I said, we confuse with reality). Said another way, when we release the effort to intuit reality, the force of our conditioning releases along with it,
This way of saying it is a concession to our pre-conceived notions of reality as “the real conditions of our life.”
More strictly speaking, reality is always already the case and always already our present condition, so anything we may do to intuit reality is in addition to that — and can only obscure the intuition of reality as our already-condition. The release that occurs in The Ka-Bong simply clears the way for that intuition. The way to intuit reality is to let go of it and any efforts to intuit it. Then, something entirely unexpected flashes forward. Beyond these words, nothing useful may be said.
So, try The Ka-Bong a few times in a row. Notice the result. It gets interesting.The “Ka-bong!”The “Ka-bong!” is thus:Ka-
Fully feel your experience, whatever it is, whatever you have chosen —
whether some ideal or your sense of “Here-Now”.
Notice whatever you do to locate or identify it.
Stop doing that.Bong!
Do it repeatedly, releasing whatever comes up until the true, formless-ness of your ideal
becomes intuitively obvious.
It’s a form of “drilling down” until you reach the result.Now that’s know-how!Expounding on The “Ka-Bong”
The “Ka-Bong” is the simplest, most immediate maneuver,
for the effect it produces.
It consists of two phases:"Ka-": the set-up"Bong!": the follow-through.
The set-up sets the stage —
a direction of movement
locating or identifying a subject or object
that has a certain intensity —
an ideal outcome of some kind
or the intuition of “what about existence has been the same all your life”
or the sense of “Now-ness”
or the sense of “Here-ness”
— something generally binding upon us.
The follow-through action
is the recognition that whatever we are doing to locate that intuition or sense of reality
is unnecessary and does not represent or produce that which we seek,
and so we instantly desist from that effort of locating it.
The direction of movement is thus:
Identifying “Now-ness”
and then recognizing:
What I call, “Now-ness” is memory
and so I cease to regard it as “Now-ness”,
but regard it as memory.
Now-ness is unknown
and does not become known
until it is remembered.
“Now-ness” is not the so-called “present”.
“Now-ness” is unknown.
Our perception of everything delayed by the reaction time of our nervous system.
By the time we perceive it, it is past (short-term memory).
Everything emerges from “Now-ness”, into “Now-ness”, and exists in “Now-ness”
as the form of “Now-ness” —
but very “Now-ness” is unknown.
The direction of movement is thus:
Identify “Here-ness” for ourselves,
then recognize our two options:
We may mid-identify “Here-ness” as our surroundings.
or
we may identify “here-ness” as our own ever-presence.
In either case, we notice that we identify “Here-ness”
by means of some movement of attention or recollection
by which we refer to “hereness”.
It’s a gesture of intention.
AND THAT’S NOT IT, so LET IT GO, like throwing back a fish.
For “hereness” is the “self-hereness”,
the sense that always, wherever we are, no matter how we are moving,
before anything,
that sense of “here-ness” is unconditionally, always “here”
— omni-conditionally.The Rationale for “Flashing the Unknown Unknown”One of the fundamental predicaments of human beings is that we are involuntarily caught in experience — engaged in ways often not consciously of our own volition — ways that directly cause us pain and distress and lead to dysfunctional behavior and dysfunctional results, ways we have inherited from our parents, society, mass media, “educational” system, and the collective consciousness (“noosphere” or morphogenetic field). We are stuck in repetition of ourselves. Our attention is stuck in “the known” and our intention is stuck in our reactions to “the known”.So — how to get unstuck?The first step is to get a clear (or clearer) perception of the way in which we are stuck; we “surface” the sub-conscious material. Only with a sufficiently clear perception can we release (not repress or suppress) it.When surfacing sub-conscious material, it helps to contrast that material with something else.
There is one condition that stands in contrast to all other conditions: It is the condition of the Unknown Unknown (also known as “I-I”). It requires a release of attention from whatever attention is on to contemplate the Unknown Unknown.
But the Unknown Unknown cannot be known. Only its erroneous proxies (approximations) and our gestures or movements of attention toward it (internal representations) can be known — and they are not the Unknown Unknown — only representations of what we erroneously identify as the Unknown Unknown — the “Known Unknown”.
Actually, that’s not a problem, but actually the very stuff we need to successfully unstick ourselves. We can’t go wrong in this procedure, because any approximation of it gets released in the procedure, itself, leaving us freed to some degree. Repetitions free us more.
An observation by Buckminster Fuller makes it simple: There is only one way into (or toward) something, but infinite ways out of (or away from) it. Ponder that for a moment until it’s obvious. It is obvious, isn’t it?
Since what we’re doing in Flashing the Unknown Unknown is moving out of conditioning, even if we do it wrongly (doing the steps as given), we get the right result.Flashing the Unknown Unknown means intuitively to recall the sense of, Unknown Unknown. This is an act of intention and of faith, of sorts.In general, we first feel fully into the grip we are in — into the dense conditioning — and secondly, while feeling it, we intend to feel beyond it — the Unknown Unknown. It’s a movement outward. So, it’s first into the conditioning, then outward, beyond, toward the Unknown Unknown.
The fact is, we can’t do it. Anything we identify as the Unknown Unknown is, the Known Unknown.
In fact, the Unknown Unknown is always already present and as known as it’s ever going to get — which is to say, NOT! If you can know it, it ain’t the Unknown Unknown.
So, it’s a safe bet that whatever we are doing to intuit the Unknown Unknown is not it and obscures that intuition with effort; and a safe bet that any effort we are making to “Flash the Unknown Unknown”(after making the full-effort) is right-effort. We can’t go wrong. The effort to feel the Unknown Unknown takes us away from our habitual conditioning, both weakening our grip on it and providing a contrast to it, so we can apperceive it (perceive it within) in a new, more complete way that makes it more vulnerable to release. To touch base with (or to intend) the Unknown Unknown changes our experience of the known, reducing its solidity (memory-grip).The Unknown Unknown may be intuited as open-mind-space, an indefinable field of openness, which cannot be remembered, only intended (that’s not a typo or error; I mean intended). Even if we do that step poorly and feel only the effort to locate the Unknown Unknown still confused with the known, we get the intended result — as long as we put our best effort into it.Why do this? Because as we release the effort to intuit the Unknown Unknown, the effort of wrangling with experience also releases. A few repetitions may be necessary.Flashing the Unknown Unknown, alternating with the Ka-Bong, gets verrry interesting. One useful preparation for Flashing the Unknown Unknown is to refresh our sense of attending to something, intending, remembering, and imagining (the TetraSeed). For that preparation, we do The Spell-Maker/Breaker. (to be discussed)Helpful Preparation (click and do)"Flashing the Unknown-Unknown" is thus:
Fully feel your experience, whatever it is, whatever you have chosen.
Feel its location in you, size, shape and intensity.Intend your attention beyond or “larger than” it, toward the Unknown-Unknown.Clearly notice the effort it takes to do that.
Return to your limited experience.
Relax all efforts of attention.
Feel the release."Wash, rinse, repeat."Don’t bother trying to understand this. Just do it. You can’t do it wrongly.Relevant Perspective
What we look for, beyond seeing,
and call the unseen,
Listen for beyond hearing,
and call the unheard,
Grasp for beyond reaching,
and call the withheld,
merge beyond understanding
in a oneness
that does not merely rise and give light,
does not merely set and leave darkness,
but forever sends for a succession of living things
as mysterious as the unbegotten existence
to which they return.
That is why men have called them empty phenomena,
meaningless images in a mirage
with no face to meet, no back to follow.
Yet one who is anciently aware of existence
is master of every moment,
feels no break since time beyond time
in the way life flows.
~~ The Way of Life According to Lao Tzu, The Tao Teh Ching, verse 14
Witter Bynner translation
Integration
Having practiced both procedures, follow one immediately with the other.Reason: Subconscious vestiges of dissolved identity structures may remain even after thoroughgoing practice of some TetraSeed Modulations; procedures that set a new direction flush up what may remain, to which you may then apply one or more of the other TetraSeed Modulations
The “proof” of the “pudding” is in the “eating”.
other TetraSeed Modulations
The Gold Key Release
The Middle-Way Memory Matrix Ritual
The Wish-Fulfilling Gem
Esoteric Somatics and Tibetan BuddhismSEARCH KEYWORDS:(to return to this entry again, later.
caring | | 42
harmony | 85 | 94
memory | | 89
identification | 7 | 148
perpetuation | 78 | 162
copyright 2014 Lawrence Gold
This writing may be reproduced only in its entirety
with accurate attribution of authorship.
Do it for yourself - somatics.com/page7-htm
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Milton's Modal Compass is a complex map of the regularities within the field of musical modes.
A sketch of the diagram appeared on Milton Mermikides' blog Miltonline.com on the 5th of March 2015. Milton has generously approved of my attempts to visually compile his ideas.
For the sake of indexing there are different types of markers:
A: The outer ring, contraction-expansion.
B: The seven rings of modal interval sequences. Intervallic sequence inversions.
C: Modulations
D: Rotations (next/preceeding degree)
Blue colour indicates contraction.
Orange colour indicates expansion.
Minor and diminished intervals tend to dissolve inwardly, i.e. to smaller, more consonant intervals.
Major and augmented intervals tend to dissolve outwardly, i.e. to larger, more consonant intervals.
The blue-orange continuum reflects the level of contraction (minor) versus expansion (major) for each mode.
Locrian mode consist of a maximum of minor and diminished steps (m2, m3, P4, dim5, m6, m7).
Lydian mode consist of a maximum of Major and Augmented steps (M2, M3, A4, P5, M6, M7).
From Dorian mode which takes the balancing position with two minor, two major and two perfect functions the directions indicate:
Down left: Contraction
Down right: Expansion
Each modal scale is illustrated with its composition of major (orange) and minor (blue) steps in a circular form.
12 o'clock is the starting point - the prime/root - and the direction is clockwise.
Nomenclature: The names apply to the modern use of modes. The modes of the ancient Greek music were named differently.
Inversions:
The modes reflect each other in pairs: Across the vertical axis the interval sequences of the following pairs are each other's inversions:
Aeolian-Mixolydian
Phrygian-Ionian
Locrian-Lydian
The interval sequence of Dorian mode is symmetrical, so it is its own inversion.
During WW2 Tibenham Airfield was the home to the 445th Bombardment Group. The Hollywood actor James Stewart was stationed here. Today the place seems to be the epitome of tranquillity. (Inside the pub there is memorabilia about the airfield and they regularly hold WW2 re-enactment days.)
The runways are now used by the Norfolk Gliding Club and sitting outside the pub (with a glass of Adnam's Ghost Ship in your hand) you can watch the white gliders being pulled up into the air. Close you eyes and you can almost imagine the quiet modulation of the tow planes change into the thundering roar of a Liberator bomber.
© Angela M. Lobefaro
ALL RIGHTS RESERVED
My Interviews with some of my Flick Friends!
Peony Paeony
Peony or paeony is a name for plants in the genus Paeonia, the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America. Boundaries between species are not clear and estimates of the number of species range from 25 [1] to 40.[2]
Most are herbaceous perennial plants 1.5 - 5 feet (0.5 - 1.5 metres) tall, but some resemble trees up to 5 - 10 feet (1.5 – 3 metres) tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer.
The peony is named after Paeon (also spelled Paean), a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower.[3]
The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year.[1] The family had been given other names a few years earlier.[4] The composition of the family has varied, but it has always consisted of Paeonia and one or more genera that are now placed in Ranunculales.[2] It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works.[1][5] Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in Ranunculaceae,[6] but that Paeonia belongs in the unrelated order Saxifragales.[7]
[edit]Classification
A cultivated hybrid peony
Peonies can be classified by both plant growth habit and flower type. Plant growth types are Herbaceous (Bush), Tree, and Intersectional (Itoh).
Each flower type becomes more complex in its arrangement of petals. The flower types include Single (e.g., Athena, Dad, Krinkled White, Scarlet O’Hara, Sea Shell), Japanese (Nippon Beauty, Madame Butterfly), Anemone, Semi-Double (Paula Fay, Coral Charm, Miss America, Buckeye Belle), Double (Ann Cousins, Gardenia, Kansas, Paul M. Wild, Tourangelle) and Bomb-Double (Red Charm, Raspberry Sundae, Mons Jules Elie). Herbaceous peonies die back in winter and regrow in spring, while tree peonies lose their leaves in winter, but leave woody stems.
Intersectional (Itoh) peonies are hybrid crosses between tree and herbaceous types. They have the large flowers of a tree peony, but die back to the ground each year like herbaceous peonies. [8]
[edit]Chemistry and biological activities
Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids and steroids, paeonols, and phenols.
Biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.[9]
The herb known as Paeonia (Bai Shao, Radix Paeoniae Lactiflorae), in particular the root of Paeonia lactiflora has been used frequently in traditional medicines of Korea, China and Japan. Research suggests that constituents in Paeonia lactiflora - paeoniflorin and paeonol - can modulate IgE-induced scratching behaviors and mast cell degranulation. [10]
[edit]Propagation
Paeonia caucasica
Tree peony
Herbaceous and Itoh peonies are propagated by root division, and sometimes by seed. Tree peonies can be propagated by grafting, division, seed, and from cuttings, although root grafting is most common commercially. [11]
Courtesy of Wikipedia
"Estrogen". Author: Amakasu Ririko
47 year old woman. Love that might last visited suddenly.
Hero three classmates University. And strive to part of the cafe to give up a fertility treatment become housewife "Yukino". The work in the securities company have entrusted the two children living with mother-in-law even become divorced "fountain". Foster two children as a full-time housewife and married entrepreneurs "Mako". The girls reunion in the summer of 47-year-old. I suffer on the relationship between the children and menopause. On the other hand, a new love. While fall in love that can not see ahead. I draw a figure to think about the rest of his life as a woman.
Whether the woman can remain until a number of woman, from how many of the middle-aged. Four years was called ripples between R40 readers suffering from modulation of body or mind "middle-aged eve" from (Shogakukan). It is the one work that Amakasu Mr. ask anew women R40,50 generation. It is a romance of adult words and beautiful impressive trappings.
The young fellow’s room, on the fifth floor, looked into a kind of abyss, the huge passage of the Western Railway just beyond the tunnel exit near the Batignolles station. Duroy opened his window and leaned against the rusty iron crossbar. Below him, at the bottom of the dark hole, three motionless red lights resembled the eyes of huge wild animals, and farther on a glimpse could be caught of others, and others again still farther. Every moment whistles, prolonged or brief pierced the silence of the night, some near at hand, others scarcely discernible, coming from a distance in the direction of Asnieres. Their modulations were akin to those of the human voice. One of them came nearer and nearer, with its plaintive appeal growing louder and louder every moment, and soon a big yellow light appeared advancing with a loud noise, and Duroy watched the string of railway carriages swallowed up by the tunnel.
Juvenal Sansó (b. 1929)
Golden Passage
signed (lower right)
ca. 1970
acrylic on paper
20 1/4" x 30 1/2" (51 cm x 77 cm)
From the Leila Benitez Collection
Opening bid: P 200,000
Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot.
Juvenal Sansó’s palette, as described by art critic Rod. Paras-Perez, is “as austere but rich in its modulation” where blue or orange are the predominant colors. Paras-Perez also noted his handling of lines, specifically of calligraphic gestures, writing that it “is of such density and intensity, so pervasively part of the visual structure that it could be generated only by sustained passion.” Moreover, John Ashberty writes in the New York Herald Tribune: “Sansó shows attractively wishful landscapes and sea-coast scenes.”
Metaphorically, Sansó is a visual poet with an intense passion for musing. As written in the French daily morning newspaper Le Figaro, “Sansó is a contemplative poet; his landscapes that seem fantastic are authentic, seen in the Far-East… his flowers, masses of rocks, the fishing traps… his tropical plants are all remembered so clearly that he can recreate them in his works… in this silent world no human figure seems to penetrate.” Usually depicted in his paintings are strips of rock formations juxtaposed with a backdrop of an orange or blue sky. In this piece, Sansó encapsulates the essence of what he absorbed and comprehended. The intricate details of the rock formations pressed against a seemingly nostalgic sky that complements the calm ocean give us a glimpse of how Sansó gives prominence to memory as a fundamental facet in his works, which in turn leaves an enthralling atmosphere.
Lot 65 of the Leon Gallery auction on September 11, 2021. Please see leonexchange.com and leon-gallery.com for more details.
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
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: Detail view of hotel and lounge area looking east.
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: WB2010-0235 Concha.JPG
Record ID: WB2010-0235
Sub collection: resorts
waterfront
Copyright holder: Copyright Henry Pisciotta
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.