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This is a device that mixes radio waves (~1 GHz) with light waves (~1 million GHz).
By applying a radio-frequency signal to the connector, one varies the voltage applied to a thin strip of LiNbO3 embedded beneath the three gold "clips" in the very middle of the device. This voltage in turn modulates the effective index of refraction of the material. Therefore, by focusing light (from the side, in this photo) into the fiber-like waveguide one can introduce phase or frequency modulation on the light beam at the applied radio-frequnecy.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The PIC16F75X family of 8-bit microcontrollers (MCUs) featuring intelligent analog and core-independent peripherals, making them ideal for general-purpose applications, as well as power supplies, battery charging, LED lighting, power management and power control/smart energy applications. The new PIC16F753 MCU builds on the success of the popular PIC12F752. The PIC16F753 offers all the key features of the PIC12F752, such as the integrated Complementary Output Generator (COG) peripheral that provides non-overlapping, complementary waveforms for inputs such as comparators and Pulse Width Modulation (PWM) peripherals, while enabling dead-band control, auto shutdown, auto reset, phase control and blanking control. Additionally, the PIC16F753 offers an Op Amp with 3 MHz of Gain Bandwidth Product (GBWP), and a slope compensation circuit to help in Switch Mode Power Supply applications. For more info, visit: www.microchip.com/get/UUTR
Accession Number: 1990:1417
Display Title: Shiva and Parvati on Nandi carried in procession
Suite Name:
Media & Support: "Opaque watercolor, gesso and gold on paper"
Creation Date: ca. 1780
Creation Place/Subject: India
State-Province: Tamilnadu
Court: Tanjore
School: Company
Display Dimensions: 8 27/32 in. x 13 in. (22.5 cm x 33 cm)
Credit Line: Edwin Binney 3rd Collection
Label Copy:
November 2006
Paintings from South India
These two paintings are from the same series, which appears to have been commissioned by a British patron from the East India Company. Elements of European watercolor landscape painting are evident in the distant vegetation along the low horizon line and in the modulations of the grass and sky.
The top painting depicts one of South Indias renowned processions in which the movable image of divinitiesin this case Shiva and his wife, Parvati, on the bull Nandiare carried aloft by priests. On special festival days, the presence of the gods is ritually transferred from the icons in the temple sanctum to the movable images in order to provide opportunities for the masses to receive the blessings of darshan (seeing god and being seen by god) during the procession. Dark-skinned mendicant holy men are directly beneath the palanquin. A dancer and musicians are shown in front of a cluster of devotees at the far right. (For information on the use of South Indian music in the context of ritual processions, see the computer kiosk program.)
Marks:
Bibliography:
Repository: The San Diego Museum of Art
SMS303 Tantek Tanrak (8 module) Modular FX:
- Comp-Lim2
- Parametric Equaliser
- Enhancer
- Modulation Oscillator
- Multi Delay
- Fader-Panner
- Dynamic Noise Filter 2
- Pro-Gate 2
- Power
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
STEREO COMPRESSOR/LIMITER - A high quality stereo comp/limiter with variable input, slope, attack and release controls, and a switched 'key' input that can link both channels...handy for de-essing, ducking etc. It's pretty much 'invisible' when used as a limiter, only squeezing when the threshold is crossed (depending on the ratio setting). Great for laying vocal tracks, mix thickening, fattening up drums, percussions and bass. In fact, it can make anything sound 'phat' but still retains that important top-end clarity.
MULTI-DELAY - This exciting module opens the way to high quality time domain effects including ADT, chorus, echo, vibrato and reverb. It features a built-in limiter, auto-optimising bandwidth, true spatial stereo outputs and multi reflection reverberation.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-delay to create chorus, flanging etc.
DYNAMIC NOISE FILTER - An effective single ended, easy to use, stereo noise reducer which will be found invaluable in any home studio set up to enhance the signal to noise ratio of outboard effects including those which exhibit digital quantisation noise.
STEREO NOISE GATE – This is a pro noise gate. Variable threshold, attack, release controls, with a 'hold' timer control to keep the gate open for a predetermined time after triggering from the switched 'key' input on the back panel. Good sensitive threshold control, it really enables you to home in on that elusive area between the sounds you want and the sounds you don't, with the threshold setting staying put and not 'drifting'.
POWER SUPPLY MODULE – Supplies regulated 12v DC power to all of the above modules via the 240v mains lead. It's got an on/off switch and an LED. It sits at the end of the rack.
This article is a bit light on detail, but 1966 is intriguingly early to be talking about an electronic medium for still pictures.
The text seems to say that the normal sound signal is low-pass filtered; and all the higher groove frequencies hold screeching audio-frequency modulation of television scan lines—basically slow-scan television. (Soon to be taken up in the ham radio community.)
It seems maybe this system doesn't use separate left and right groove channels? Odd. Anyway six seconds of audio is enough to transmit one frame, of what was almost certainly a very mushy image. It's not clear to me that this system actually reached production—although a similar idea was used for the Voyager golden record.
This same concept did eventually come around to the camera market in the late 1980s in the form of pre-digital still-video cameras.
One of my facebook friends posted a status update observing that, if you go to Mitt Romney's facebook page, note the number of "likes", and then re-load, you can see the number of "likes" drop in real time!
This was a complete shock to me, that disappointed voters might express themselves by "unliking" their erstwhile favorite candidate after the election, and at a remarkably steady rate.
I wrote a stupid little shell script to periodically poll Facebook for the number of "likes" on Romney's page. The data from the last several days is plotted above. As you can see, Facebook users—presumably disappointed Republicans— are de-friending Mitt Romney at a consistent rate of around 10,000 defriendings per day.
There is also a clear daily modulation to the dislikification rate. I conclude that these fairweather friends do not defriend Mitt while they are sleeping, but once they wake up again in the morning, they get right back to pressing "unlike".
Three heliographs apparent, and a possible 4th at centre rear. Also, square shutters on tripods - the signal manual mentioned these as an alternative modulation means for the heliographs. Begbie "BB" lamps, other signal lamps, signal flags and telescopes visible. Given the locale and the double straps on the case under one heliograph, I suspect some of these heliographs were patterns other than the English Mance pattern, such as the Indian Army pattern.
I personally scanned this image from my personal copy of the original, which appeared in "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581, with this text above:
" From far-off Sialkot, in the Punjab, comes word of the success of Tommy Atkins at work, for the 2nd Battalion Royal Scots Fusiliers were first in signalling in India last year, with the phenomenal score of 491•46, thus beating the second regiment on the list by nearly seven points in the figure of merit."
A lower resolution may be found online at [1]
Another signalling distinction for the Royal Scots Fusiliers signallers - a few years later one was mentioned
in dispatches: The Relief of Chakdara 2nd August, 1897, From the Despatch of Major-General Sir Bindon Blood, K.C.B."... and E. Christian, Royal Scots Fusiliers, Signalling Officer, carried out their duties most satisfactorily. "
( The above is quoted from[2])
Sialkot is now in Pakistan, GPS coordinates roughly 32.49, 74.53: see:
For more about the Royal Scots Fusiliers, see: en.wikipedia.org/wiki/Royal_Scots_Fusiliers
This is a high resolution scan ( 4,474 × 2,666 pixels) - if you want to look at details, you can view the full-resolution scan (and many other sizes) here:
www.flickr.com/photos/signalmirror/52632242189/sizes/l/
I believe this photograph is in the public domain in the United States (and most other places) as a photograph published before 1928. Any rights I may have inadvertently acquired by scanning it, I donate to the public domain under a CC0 license.
However, copyright and other intellectual property rights are copyright and vary worldwide and with time - rights determination is your responsibility.
[1] "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581
books.google.com/books?id=lnw4AQAAMAAJ&pg=PA581&d...
[2] THE STORY OF THE MALAKAND FIELD FORCE, AN EPISODE OF FRONTIER WAR, pp. 367-368
(preface dated Cavalry Barracks, Bangalore, 30th December, 1897)
archive.org/details/storyofmalakandf00chur/page/368/mode/...
This is my favorite synthesizer. EVER.
First released as the Yamaha DX7, being one of the most popular synthesizer of the 1980s! This is the desktop version of the popular synth. It has the exact same sound engine as it's big brother, Frequency Modulation, or FM, for short.
It has been used by the likes of:
the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Les Rhytmes Digital, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Sneaker Pimps, Lynyrd Skynyrd, Greg Phillanganes, Jerry Goldsmith, Jimmy Edgar, Beastie Boys, Stabbing Westward and Herbie Hancock. (taken from Vintagesynth.com)
And that's pretty impressive as it's just "a partial listing" as the Vintagesynth.com page says. (www.vintagesynth.com/yamaha/dx7.shtml)
Today at lunch, it occurred to me that instead of dealing with building a chassis from metal, wood, or plastic, and attaching Radio Shack wheels to industrial gear motors, that maybe I could find the information on the pinout of the Lego Mindstorms motors on the internet.
I'm not very good at googling, but I did, indeed, find the pinout. A cut cable , some stripped wires, and a little soldering later, and I'm turning this wheel with code, in both directions.
If you're interested, here's the technical information for the Mindstorms motor:
Pin 1 (white wire) = Motor lead.
Pin 2 (black wire) = Motor lead.
Pin 3 (red wire) = Ground
Pin 4 (green wire) = +4.5 Volts (though, I pushed 5 through, without adverse results)
Pin 5 (yellow wire) = Encoder output
Pin 6 (blue wire) = Encoder output.
The motor will run with just the black and white wires connected. As you'd expect, reverse the polarity to reverse the motor (I'm using an SN754410NE H-bridge IC for ease)
Power and ground are there to power the encoder outputs. The encoder outputs indicate the speed of the motor via pulse-width modulation. Shorter pulses mean the motor is moving faster, longer pulses mean it's moving slower. If you spent any time in Mindstorms, you may remember that the motors have a free-wheeling mode, and a brake mode. With no voltage on either the black or white wires, the motor is free wheeling, and the encoders send the pulses on the blue and yellow wires. I've read, but haven't confirmed, that a low voltage on both motor leads activates "brake mode". Dunno.
Anyway, the encoder outputs are identical, except that one leads the other, slightly out of phase. The direction of the motor determines which output leads. Get a scope, work it out... forward and backward aren't concrete concepts with these motors, anyway.
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 ]
A breadboard test of a DC motor controller. It works by PWM (Pulse-Width Modulation), using a TLC3704 comparator chip to generate a variable mark/space ratio square wave. This is then fed to a HUF75337 power MOSFET. There's a 5k pot in a box to control it.
The PIC16F75X family of 8-bit microcontrollers (MCUs) featuring intelligent analog and core-independent peripherals, making them ideal for general-purpose applications, as well as power supplies, battery charging, LED lighting, power management and power control/smart energy applications. The new PIC16F753 MCU builds on the success of the popular PIC12F752. The PIC16F753 offers all the key features of the PIC12F752, such as the integrated Complementary Output Generator (COG) peripheral that provides non-overlapping, complementary waveforms for inputs such as comparators and Pulse Width Modulation (PWM) peripherals, while enabling dead-band control, auto shutdown, auto reset, phase control and blanking control. Additionally, the PIC16F753 offers an Op Amp with 3 MHz of Gain Bandwidth Product (GBWP), and a slope compensation circuit to help in Switch Mode Power Supply applications. For more info, visit: www.microchip.com/get/FL6L
Just about everything in place. I need some tidier patch cables and there might be another one or two the sneak in. Following the signal from the right: BOSS TU3 tuner, then grey home-made BYOC compressor, BOSS EQ, Visual Sound Double Trouble, EHX Electric Mistress chorus/flanger, home-made BYOC Tremelo. Top shelf from right: Proctavia (octaver) that I discovered needs its own isolated power, so I'll pop a battery in it, Love Pedal Pickle Vibe (lush throbbing Univibe), TC Electronic Nova Repeater (ace) delay, BOSS RC20 looper and finally a BOSS Fender Reverb pedal (for when I run into my old valve head). There's still room (and 'need' for a volume pedal (perhaps a Morley mini-wah/volume in one) and a boost or distortion. And with neater cabling, I can get at least one more pedal in the bottom row.
And I might pull the looper out as it's not part of my regular gigging setup - I can always run it last in the chain when needed. That'll give me room to put all my modulation/delay pedals up top and keep downstairs for boosts, EQs and overdrives.
One of the advantages using the Microchip PIC microcontroller Pulse Width Modulation or PWM for short is; this PWM peripheral circuit is designed to control the DC motor using the full bridge mode PWM feature. The PWM peripheral works by supplying the correct signal to the H-Bridge DC motor circuit such as speed controlling and changing the DC motor direction. For more information please visit www.ermicro.com/blog/?p=706
Water lilies, setting sun, Ca.1907.
During the final two decades of his life Monet devoted himself to painting the water garden he had created at his home in Giverny, producing around 250 innovative canvases. His paintings became increasingly experimental as he gradually abandoned depictions of the banks of the pond, its Japanese bridge and the traditional horizon line in order to concentrate on the subtle modulations of light as it transformed the water and the reflections of foliage and clouds.
In this painting the only hint to help situate the viewer is the clump of plants in the bottom left corner which indicates the approximate position of the bank. The pink and yellow rays of the setting sun shimmer on the pond. Our vision seems to oscillate between the surface of the water and the depths of the pond; between the horizontal lily pads and the dark vertical reflections of the weeping willows.
The National Gallery, London.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The long reach rear brake; this took some fiddling; the reach was almost not long enough to reach the 650b rim. I have to use v-brake pads because the threaded posts on these are slightly thinner than ones on the road-brake shoes; plenty of braking power and modulation, though; definitely an upgrade in those areas from the tektrok R-556 sidepulls
Atmospheric optics expert James Bridge had this to say:
"I
don't know how many times this effect has been noticed but it must be
quite often because you are the second person to ask about it in the
last year, to my knowledge. I first noticed several years ago and
started to think about it. The striking thing is the way it encircles
your eye. Eventually I wrote a paper for Physics Education and you can
find a copy on my web site www.xmas.demon.co.uk/misty.html. So
far as I know it had not been written up before.
In outline, it is an interference effect due to light scattered by the
water drops, related to the rings seen on dusty mirrors and first
described by Newton. However, those rings don't centre on your eye and
do require a directional light source. The mist droplets scatter light
by refraction and act as tiny point sources; the mirror reflects their
light back towards you. As it passes the same drop, some of the light is
scattered again by diffraction and this scattered light interferes with
the light passing to the side of the drop. Because the second scattering
only affects about 10% of the light, the intensity modulation is not so
marked and the rings not so obvious. The paper gives a much fuller
account with diagrams."
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Minus Mixers and the Combinator.. this is pretty much all the instruments and effects that come with Reason...
Thor is an amazing Synth.. everyone likes working with Rex files.. and blah blah blah.
I feel like Reasons needs a little more.. I really think they ought to work out some sort of effects plug in system.. or a rewire system that allows you to feed audio in and out of Reason.. because.. well the power of Reason is it's simplicity.. but a lot of times you'd like to have more power.. you'd like to work with convolution reverb, lets say, or a better distortion unit.. or other types of modulation effects..
During Trans Am's encore at Santo's Party House, this dumbass got up and started headbanging to "I Want It All"... he then proceeded to fall over taking out Sebastian's ride cymbal and the ride's mic. The mic stand appeared to be broken as someone in the front row of the audience held it up for the rest of the song.
It was a good but weird show... someone had dropped the Nord keyboard that Nathan uses and was replaced by a Moog from another band. The trouble with that was that Nathan switches between vocal modulation with the keyboard and playing the keyboard, so he had to juggle cables all night long... not a lot of fun for him or the rest of us. Although it did sound good... with some missing lyrics in certain places and their new material off of "Thing" (Thrill Jockey) sounds great.
The 1950s in general involved much more engagement and synthesis with historical form than is normally acknowledged in narratives that give the glory to postmodernism. The silhouette is not just generically historicist but quite specific to this place: compare it to the Sforza Castle we were so recently admiring. The modulation of the elevation (see closeup, image 4) is a bit more typical for the period; I see a Team X sensibility there more than anything.
The use of historical form was a shot across the bow of Modernism; the re-engagement with this particular history was, I think, something more specific to the Italian political scene. Ernesto Rogers was an anti-fascist who had lived in exile towards the end of the war years, and I would imagine at least one reason for the stylistic shift was a recognition that the International Style, in the hands of Terragni and the other Rationalists, had somehow become mingled with the totalizing ambitions of the Fascist state. Not that the fascists had ever 100% signed on with modernism, mind you - but the affiliation was there. Note that the history BBPR mine here is medieval, not Roman. For all its round-headed arches, the Sforza fortress calls to mind the era of independent Italian city-kingdoms, which isn't exactly the grand epoch of the Roman imperium enshrined by Mussolini.
Pituitary gland in the brain. Computer artwork of a person's head showing the left hemisphere of the brain inside. The highlighted area (centre) shows the pituitary gland. The pituitary gland is a small endocrine gland about the size of a pea protruding off the bottom of the hypothalamus at the base of the brain. It secretes hormones regulating homoeostasis, including trophic hormones that stimulate other endocrine glands. It is functionally connected to and influenced by the hypothalamus.
25th (or rather early hours of 26th January 2014 at the Piping Centre, Glasgow.
The Effects Box is a table top unit which modifies the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. Unlike Pedalboards on the ground which are operated with the feet, musicians need to take their hands of their instrument to operate the effects.
Lang’s effects include a Boss FV-50 Volume Pedal and a Boss SD-1 Super Overdrive, and a Pro Harmonic Mixer.
Old Fuzzy.
Pen and ink on paper.
Copyright © 2012 by Ian J MacDonald. Permission required for any use. All rights reserved
Once the life of the party and the center of attention, he played all the greats: the big bands, the stars and so many radio shows. He consoled the family during the war and celebrated triumphantly at the dance when it ended. But time went by and technology and music changed. A guy with the gyrating hips and new loud instruments and bands without horns!
The phonograph never was any real competition, but the coming of the transistor signaled the beginning of the end for old fuzzy. The Hi Fi set gradually replaced Old Fuzzy's fine "Golden-Throated Monaural" technology. Solid state circuitry came home and it could play that raucous Rock and Roll music much louder and clearer and in stereo too. The new set had frequency modulation and clearer sound than ever before - although FM couldn't bounce off the ionosphere and deliver live music from around the world!
Then the tube tester was removed from the corner drug store and the radio store stopped carrying vacuum tubes. Now they could only be gotten from old Russian military surplus - the enemy that Old Fuzzy used to play civil defense drill warnings for, and now he was using their tubes. For a while he made a interesting plant stand but eventually was relegated to the basement where he has sat ever since miserably pondering how it all came to this. once he was swinging on top of the world and now a moldy relic too interesting to throw away but too old to be in the living room anymore.
Fuzzy's small consolation is that the record 8-track and cassette players have all found their way to the county electronics recycling day. His fancy mahogany and maple veneer, Bakelite and mother of pearl details make him too handsome for that. So he sits and hopes that maybe some day someone will haul him out again. After all fads come and go, but back in the good old days there was true style and true style never goes out of fashion!
See the others here: www.flickr.com/photos/ianmacdonald/sets/72157629372584685...
Jamis DXT Dual Sport Bicycles ON/OFF road hybrids: What are they? This is a hybrid with a mountain bike position but with road wheel 29” 700c wheels that are a bit wider then road hybrids so they are great for all round use: roads, dirt roads, a bit of mud as well. You can put wider tires with bigger tread as well if you want to go hard core off roading. They also have suspension forks and mountain bike gears so they are like a light weight fast mountain bike.
The dual-sport DXT’s are pumped-up, go-anywhere/do-anything versions of our Allegro fitness bikes. With more gearing range to take on steeper hills and tougher terrain. Wider tires with a trail-capable tread for access to more riding areas, both paved and packed. And disc brakes and suspension forks for real off-road exploration and off-pavement adventure.
Fast Tires: The advantage of large diameter wheels is getting a lot of press these days with all the noise and news about 29’er mountain bikes. We like to think that the DXT is one of the original 29’ers. With big 700c hoops (same as a 29’er) that roll over bumps & holes better than smaller diameter 26” or 27.5” wheels, and with a bigger contact patch for greater traction and control. But in the case of the DXT, with a smaller 40c width & smoother tread that significantly reduces rolling resistance over fatter, knobbier mountain bike tires for faster sailing on streets and paths.
Absolute versatility: Every DXT offers a full complement of eyelets and rack mounts to simplify installation of carriers and fenders. We even include bosses on the underside of the seatstays for installation of a ring lock. Ring locks are tremendously popular in Europe. A simple turn of the key immobilizes the rear wheel and prevents someone from riding off with your bike.
Go Anywhere. Do Anything: The drivetrains on our DXT bikes feature long cage ATB rear derailleurs, full-size triple chainring cranksets and big 11-34 or 32T cassette blocks. This gives you the dual advantage of having high road bike gearing for controlled pedaling at speed on descents and low mountain bike gearing for easier pedaling uphill.
Full Shimano Shift Systems: Fully integrated shifting systems offer the most precise and reliable performance. That’s why every DXT offers Shimano shifters, Shimano front and rear derailleurs, Shimano cranksets and Shimano cassettes.
Awesome brakes: The advantages of disc brakes over rim brakes on a versatile bike like the DXT far exceed their sole disadvantage, weight gain. Besides their incredible power and modulation, they’re just plain safer, especially in the rain. Once rims get wet or muddy, using friction to stop the wheel at its circumference is less efficient than using friction to stop a less wet or muddy small diameter disc near the center of the wheel from rotating. And eliminating the rim from braking surface duties results in a longer lasting wheel
Suspension When you need it, Lock out when you don’t: The advantage of a suspension fork should be intuitively clear: hit a bump and absorb it. Hit a bump and stay in control of your bike. But suspension isn’t always desirable. When riding on smooth pavement or climbing, pedaling energy and power can be absorbed and dissipated by the movement (bobbing) of the fork. Enter lockout. With a flip of a knob on the top of the fork, the fork’s travel can be locked from movement, allowing the bike to be 100% responsive to pedaling input .
Adjustable Cockpit height (stem adjustment): Proper fit on your bike is critical for maximum performance and comfort. That’s why we offer the patented ATS adjustable threadless steering system on the Allegro Elite and Comp models. Whether you want to fine tune your ride and establish the perfect fit, or change it regularly to suit different terrain, with this stem, adjusting your handlebar height is as easy as adjusting your seat post height. You can even adjust it quickly while out on a ride.
2016 DXT Sport $586 WAS $853
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2015 DXT SPORT STEP THROUGH $599 WAS $955
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2015 DXT COMP $817 WAS $1279
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2016 DXT COMP $699 WAS $1069
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2016 DXT ELITE $899 WAS $1459
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2017 DXT SPORT $771
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2017 DXT SPORT FEMME $771
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Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
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
Various outputs from a C++/OpenGL custom software i'm working on.
Demo here: vimeo.com/user18035206/sound-sculptures
A Voltage-Controlled Amplifier (VCA) made from three BC549 NPN transistors and three BC214 PNP transistors. It's a Gm Cell with variable current followed by a simple op-amp.
The four traces shown on the Tek 5440 are the input (1kHz), the two intermediate signals and the output. The control or modulation voltage was a sinewave in this case.
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.
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
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.
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.
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