View allAll Photos Tagged modulation
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.
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!
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...
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
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
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
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.
I lke this simple instrumental section, and I like also the way it has apparently evolved. Compared to the LP version, at least, the guitarist Kip Berman has wound up adding more variations and extra modulations, in a way that I find tends to happen naturally when you play something over a long period of time.
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
ifttt.com/images/no_image_card.png via Blogger lawrencegoldsomatics.blogspot.com/2015/01/tetraseed-modul...
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 ]
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.
Josef Anton Bruckner (4 September 1824 – 11 October 1896) was an Austrian composer best known for his symphonies, masses, and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
Unlike other musical radicals such as Richard Wagner and Hugo Wolf who fit the enfant terrible mould, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton".
His works, the symphonies in particular, had detractors, most notably the influential Austrian critic Eduard Hanslick, and other supporters of Johannes Brahms who pointed to their large size and use of repetition, as well as to Bruckner's propensity for revising many of his works, often with the assistance of colleagues, and his apparent indecision about which versions he preferred. On the other hand, Bruckner was greatly admired by subsequent composers including his friend Gustav Mahler.
Source: Wikipedia
I believe this is known as the 'Tigner bust'. I like the way it seems to blend in with the vegetation, similarly coloured.
"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.
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.
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.
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
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
www.drosophila-images.org/2015.shtml
This image shows the nutritional plasticity of a terminal tracheal cell (visualised in green using DSRF>mCD8GFP) populating the larval hindgut (highlighted in blue with an actin staining). In well fed larvae, the enteric tracheal terminal cells are profusely branched (top panel). A mild dietary restriction that does not affect growth rate or the size of other organs results in preferentially reduced branching of these enteric tracheal cells (bottom panel), but not other tracheal subsets.
Our study further showed that tracheal branching is controlled by nutrient responsive-neurons through their release of insulin-like and Pigment-dispersing factor (Pdf) neuropeptides. It also demonstrated that the plasticity of enteric trachea plays a key role in driving adaptations to malnutrition. Together, our findings uncovered a new mechanism by which nutritional cues modulate neuronal activity to give rise to organ-specific, long-lasting changes in tracheal architecture.
Linneweber GA, Jacobson J, Busch KE, Hudry B, Christov CP, Dormann D, Yuan M, Otani T, Knust E, de Bono M, et al. (2014). ”Neuronal Control of Metabolism through Nutrient-Dependent Modulation of Tracheal Branching.” Cell 156, 69-83.
Desayunador 2da y Miramar -
Ensenada, Baja California
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 ]
175g per pair. Color black. Provides great pull, feel and modulation. Fine tune for hand reach on the fly. Standard on all Catrikes
Different sources of light on this morning's Arriva 127 bus. The LED destination sign lighting is controlled by Pulse Width Modulation hence its appearance.
Fireflies flit about an AM Transmitter array - Timelapse: vimeo.com/12601444
jsc2021e037283 (8/11/2021) --- Nanofluidic Implant Communication Experiment (NICE) (Faraday-NICE) aims to develop an implantable drug delivery system that allows for remote control and modulation of the release of therapeutics over weeks to months. In this investigation, fully assembled implantable devices are tested for remote communication capabilities from Earth to the International Space Station (ISS). This investigation aims to verify that 100% of the communications between controller and implant is achieved and maintained on station. Implants are immersed in saline solution, a surrogate of physiological conditions, then placed and sealed in 15 ml containers. The tubes are mounted within the ProxOpS Faraday experimental box. Image Credit: Houston Methodist Research Institute
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Medical Records presents the release of its first contemporary artist with the Paris-based Illustration Sonore (I/S). The duo, consisting of Dasz (also in Dolina and Ame De Boue) and Christina (aka Froe Char), expertly craft dark and atmospheric songs laced with unbridled passion in the context of synth-laden melodies, dominant percussion and pensive vocals. I/S started in 2010 and have played many concerts in Belgium, France, Germany, and Italy. I/S uses variations of electricity to control oscillators and frequency modulations. Best described as synth-gaze, dark-wave, or no-future pop, I/S recorded this full length LP in 2013. The opening track “Ulysses,” sets the mood with uncompromising intensity and passion with serious low frequency tones and catchy synth drenched hooks. The dreamy and brooding “Our Bodies” starts the B side and is a definite standout tracks. The wonderful and melancholy pop track “Flying Lights” is also included on the LP and was previously featured on the lovely compilation “Circuit D’Actes 3” on the French La Forme Lente imprint earlier this year. The relentlessly apocalyptic “Cannibals” is yet another magnificent track worth mentioning here. For fans of EBM/synth-heavy industrial crossover, lovers of Cabaret Voltaire, Chris and Cosey, modern synth-wave and the like, these tracks will not disappoint. I/S has no fetishism for the old nor obsessions for the new, and they draw their inspiration in synth pop and surrealism. Presented on high-quality 180gram ultra-clear heavyweight vinyl. Features bonus LP insert with lyrics. Front cover design by Satanik Mike/Temple Vengeance. Limited edition.
credits
released 14 November 2013
Trivia question: When Velo Orange specifies that their Rando frameset's "brakes are long reach (47-57mm)" and when Paul says "the Racer Medium is a medium reach brake with a range of 47 to 57mm," will the Pauls fit?
Answer: Nope. The Rando's front brake needs at least 62mm reach to squeeze the 700C rim.
Comment 1: I wish I knew this before installing the $350 Pauls! So I swapped 'em out for these Dia-Compe #610 centerpull brakes (47 to 61mm reach).
Comment 2: The Dia-Compe 610s fit fine around the 45mm fender and 32mm tire. But their maximum 61mm reach is barely enough (threatens to rub front tire; should have gone with the Tektro R559 with 55-73mm reach).
Comment 3: Why centerpull brakes? I wanted to see what the hype was about. Centerpulls entered my radar when a fellow Riv owner posted images of the stunning jewelry that he installed on his Rambouillet. Then the guys at VO asserted that “Top of the line centerpulls generally have better stopping power than sidepulls, but what is more important is that they tend to have better modulation. That is, the brake pressure is more linear and controllable.” And Jan Heine concurred in "Braking 101" (Adventure Cyclist, April 2011, pp. 56-57) how "center-pull brakes offer excellent stopping power and modulation" and "are a refinement of cantilevers." (His recent "Why I Choose Center Pull Brakes" blog post is interesting too.)
Comment 4: At the end of the day, I just don't like the feel of these 610s as much as the Ultegra sidepulls on my Rivendell Rambouillet and especially not as much as the linear-pull "V" brakes on my Cannondale adventure tourer. Oh well, they do stop the bike.
If anyone has a pair of the discontinued Paul Racer (non-M) centerpull brakes in silver, I'm in the market!
[Image recorded 1-Aug-2022, 5:00 PM with a Leica M6, circa-1950 "Elmar" 90mm f/4 lens (with UV filter) on Kodak "New" Ektachrome E100 color slide film; exposed 1/60 second at f/5.6. I am recording a series of images of my 2022 Velo Orange Rando project on film to document the design and part choices. The full part spec is here.]
Bathing girl, Ca.1882.
The Sukiennice Gallery, Krakow.
A fascination with the exotic character of the Orient, associated with overcoming cultural Eurocentrism and seeking new intellectual and artistic values, which was aroused during the period of Romanticism, lasted in painting for decades, with time turning into the superficial exploitation of the sexual subject matter. The favourite motifs of painters included harem and slave trade scenes imbued with hidden eroticism. Bathing Girl, one of several dozen similar works painted by Szyndler known as Odalisques, Sultanas, Female Slaves or Daughters of Persia, can serve as an example. The painting, regarded as a classic example of Polish academic art, is marked by outstanding technical brilliance. Rendered in dark, golden and brown tonality, it enchants with harmonious modulations of shades and colour values obtained thanks to soft, almost “tender’ brushwork and the glaze application of paints. A silky smooth body of the girl has been contrasted with the texture parts of the work. The artist painted over the original work to remove the figure of a man looking at the naked beauty, depicted in the background.
The best wellness item I have ever bought is this little thing: Zōk. It provides light, inner ear pressure modulation that stops my sinus pain before it can progress from a mild annoyance to a full-blown headache and nausea.
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 ]
Studio 26 - long exposure.
A quick try this evening. Some time ago I read that Edward Weston would photograph his famed vegetables with ultra-long exposures of hours to half-days.
This here is a 18.5 minute exposure of a strawberry to see if I could emulate his technique somewhat, and to figure out if I would gain anything in the exchange for laboriously long exposures.
There would be huge technical challenges to completely duplicate his method, especially if using digital. Obviously he used film and some very non-sensitive film emulsions were available to him, plus he would not have had to worry about heating sensors and batteries dying. I don't think my camera battery would keep the camera open for more than a few hours. But I've never been too much of a stickler for detail anyway...
So - was it worth it? I'm not sure yet, but I've noticed a few interesting things: For one, one of the sepals (leaves) of the strawberry is blurry, when everything else in its plane of focus is not. I think walking by the wooden floor introduced some small vibration that shows up in this leaf as it's the most moveable, and this 'technique' could be used to fantastic effect.
Also, I was surprised how even the exposure on the shiny plate was - there was only one minor reflection. The light is so low because it is very diffuse (light from the hallway spilling into the bathroom), so it's as if I was using the world's largest softbox.
Finally, I like how sharp and 'real' the strawberry looks despite the lack of shadows (the diffuse light again) and lack of defined tonal modulation on the berry.
So while this isn't the greatest photo, I find the technique interesting enough I might play around with it some more. Who knows what it can do with a better setup and a true Weston-inspired vegetable?
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
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.
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
Edison was a pioneer of sound recording and reproduction. He founded the Edison Phonograph Company in 1888 and began the production of the first phonograph cylinders.
The first mass-produced cylinders were made of brown wax. They wore out very quickly—often after being played only a few dozen times. Over time, the materials were improved: brown wax was replaced by hard black wax, which could withstand several hundred plays, and this was later replaced by Blue Amberol material.
- Edison Blank Record (1888 - 1906) - an unrecorded brown wax cylinder. Sound could be recorded directly using a phonograph, and after re-shaving the surface of the cylinder with an Edison Shaving Machine, it could be reused for recording multiple times.
- Edison Gold-Moulded Record (1902 - 1912) - a cylinder made of hard black wax, produced using a gold-coated master cylinder, with a playing time of about 2 minutes.
- Edison Amberol Record (1908 - 1912) - an improved technology with more grooves per inch and a playing time of approximately 4 minutes.
- Edison Blue Amberol Record (1912 - 1929) - offering the same playing time, but made of reinforced celluloid, which was significantly more durable.
- Edison Diamond Disc Record (1912 - 1929) - a 10-inch disc with approximately 5 minutes of playing time per side. Instead of the side-to-side movement used by modern records, these discs employed vertical (up-and-down) groove modulation and rotated at a speed of 80 RPM.
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.
Church by Antoni Bonet i Castellana
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.