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My Interviews with some of my Flick Friends!
Peony Paeony
Peony or paeony is a name for plants in the genus Paeonia, the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America. Boundaries between species are not clear and estimates of the number of species range from 25 [1] to 40.[2]
Most are herbaceous perennial plants 1.5 - 5 feet (0.5 - 1.5 metres) tall, but some resemble trees up to 5 - 10 feet (1.5 – 3 metres) tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer.
The peony is named after Paeon (also spelled Paean), a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower.[3]
The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year.[1] The family had been given other names a few years earlier.[4] The composition of the family has varied, but it has always consisted of Paeonia and one or more genera that are now placed in Ranunculales.[2] It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works.[1][5] Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in Ranunculaceae,[6] but that Paeonia belongs in the unrelated order Saxifragales.[7]
[edit]Classification
A cultivated hybrid peony
Peonies can be classified by both plant growth habit and flower type. Plant growth types are Herbaceous (Bush), Tree, and Intersectional (Itoh).
Each flower type becomes more complex in its arrangement of petals. The flower types include Single (e.g., Athena, Dad, Krinkled White, Scarlet O’Hara, Sea Shell), Japanese (Nippon Beauty, Madame Butterfly), Anemone, Semi-Double (Paula Fay, Coral Charm, Miss America, Buckeye Belle), Double (Ann Cousins, Gardenia, Kansas, Paul M. Wild, Tourangelle) and Bomb-Double (Red Charm, Raspberry Sundae, Mons Jules Elie). Herbaceous peonies die back in winter and regrow in spring, while tree peonies lose their leaves in winter, but leave woody stems.
Intersectional (Itoh) peonies are hybrid crosses between tree and herbaceous types. They have the large flowers of a tree peony, but die back to the ground each year like herbaceous peonies. [8]
[edit]Chemistry and biological activities
Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids and steroids, paeonols, and phenols.
Biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.[9]
The herb known as Paeonia (Bai Shao, Radix Paeoniae Lactiflorae), in particular the root of Paeonia lactiflora has been used frequently in traditional medicines of Korea, China and Japan. Research suggests that constituents in Paeonia lactiflora - paeoniflorin and paeonol - can modulate IgE-induced scratching behaviors and mast cell degranulation. [10]
[edit]Propagation
Paeonia caucasica
Tree peony
Herbaceous and Itoh peonies are propagated by root division, and sometimes by seed. Tree peonies can be propagated by grafting, division, seed, and from cuttings, although root grafting is most common commercially. [11]
Courtesy of Wikipedia
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 ]
The easiest way to explain, Marshall JCM In a Box! We used best quality and matched FETs for -Tube to FET- conversion. The pedal also has switchable traditional bright cap on gain control. Finally, The English White is a push-pull clipping overdrive & cabinet simulator w/ advanced bias controls. Controls: Volume, Drive, Bias1, Bias2 Switches: Bright, Cabinet
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 ]
Early Prototype AM stereo modulation monitor. Magnavox consumer electronics was involved in AM stereo and used WOWO as a test bed and WOWO was one of the first stations to broadcast full time stereo on AM. I still have an AM stereo radio that I bought just to hear WOWO. It sounded quite good.
The effects of modulation and under-highlighing are very subtle, but very much worth the effort
It adds an extra dimension of tonality that a miniature inevitably will lack due to its size. Carefully considered modulation can make a miniature feel more dynamic, and closer to how we would imagine 'the real thing' to be.
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...
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
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
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 ]
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/
Fireflies flit about an AM Transmitter array - Timelapse: vimeo.com/12601444
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.
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.
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.
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
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.
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.
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.
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
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?
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
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.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]
Untitled
2009
Mica acrylic
Rosana Castrillo Díaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo Díaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.